I set aside a two-week block of time primarily to accomplish two things; write/rehearse Dick and cut the music video together. Didn’t really see this block of time as ‘strategic’ to my career or anything – it just seemed like something I had to do. I am a writer and I need to write. I am a filmmaker and I need to create. Period.
Something unexpected has happened.
The music video has opened some doors to potential opportunities. I met with Matt Devlin Thursday morning, looking for advice on my documentary series idea. We came up with a much bigger concept together. It’s still too early to get excited about anything concrete, but I came out of the meeting with far more than what I expected going in – I’m developing a project with somebody who’s worked for a number of major US networks and has connections that I don’t have.
The music video also opened some doors in terms of corporate work with my friend’s production company here in town. They’re using the video as part of their pitch package to a big client. They get the gig, I’m in – and I’m earning enough money to focus three quarters of my time on writing and developing my own projects. A very excellent balance methinks.
Version 10 of Dick has been completed. We rehearsed it Thursday night with the full company present. The new changes held up, and there remains only a small tweak in the final scene to address. We can make the change in pencil, it’s so small.
Rehearsing the play has been incredibly gratifying. I am constantly being surprised by how my words in the hands of other artists, transcend what I imagined them to be, when I wrote them. Blocking was our major focus – so much so, that some of the David/Becky scenes were glossed over in favour of getting a full run of the play in, before it was time to call it a night. Those scenes suffered as a result. They simply weren’t as tight as the rest of the play.
I actually didn’t sleep well that night. Combination of things. I was thrilled with the scenes that thrilled me. I was excited to have Renee present for part of the rehearsal process (she won’t be able to see the show on Sunday). I was concerned with how often we had to stop and start because of blocking issues. I was occupied with how to simplify everything, without cutting too deeply.
Movement in Dick is as important as the dialogue. It speaks as loudly. We need to see Richard dance. We need to see the tender, unspoken, moments between David and Becky, contrasted against the sex scenes with Kate. Obviously those scenes with Kate are scaled back from what they would be in a full production, but the David/Becky scenes can be played very close to how they are written.
Readings for a play can be everything from actors on stage, reading from the script behind music stands, to something closer to what I’m trying to do – rudimentary blocking, on a cobbled-together set. No light cues. No music. Someone offstage reading the stage directions to the audience. I don’t think I’m asking too much of my cast to present the later.
Andy, Aubree, and Laine are coming in tonight to rehearse the David/Becky scenes. We hit the stage tomorrow night at C’est What.