The production of the man inside has been a mahoosively beneficial experience for me and I shall come back to the production of it in a later blog but for now my role as a writer.
As it is what I want to do in the future (for today) it was purely amazing that my script was chosen by my production group Neon Monkey productions to be made into a short film. The basic principle of the film hasn’t changed since I came up with the idea on my journey home from university on the day it was set. I wanted it cute, funny and simple. Girl meets boy but funnier. The man inside is one of the first scripts I have written that I could picture clearly from brief to every single draft and how it could be directed.
I drafted the first 3 versions of The man inside on my own re reading over bits of dialogue and adjusting it until it was was more natural. Working independently was an enlightening experience as I was able to craft my own ideas with only my self as a judge. It was on my third draft I fell for Isobel and Brian and they really came to life. I knew everything about them, their hates and loves, favourite songs and even why they got divorced. But all that still remains our secret.
After casting two professional actors that specialised in improvisational comedy I sat down with the group and acted out the script between us and made a few changes so that the chemistry could spark off the actors sleekly. A major change was the complete revamp of the engineer character into a proper old school incapable jester type which you can see in this final version. (Which I felt worked particularly well on set in production). I knew that attempting to master a comedy could very well backfire but these sessions with my group where we all got to know the mindsets and alibis of the characters meant I could sneak in things I wouldn’t have dared off confidently. (See boob plane in later post).
The biggest thing this experience of writing screenplay taught me is that silence is truly golden. Before writing the man inside and reading it over a million times I never really appreciated the genius of an ….
awkward silence. I took out loads of dialogue and focused on something really useful I was told in one of my first lectures and tried to ‘Show it don’t say it.’ I think this is why I am particularly proud of this script I know Brian , Isobel and the engineer I mean the characters sorry inside out that I felt I could bring them to life through actions and reactions alone so the dialogue wasn’t the only way the narrative was told. Considering the actors experience I encouraged them to ad-lib their lines to make it more realistic but very few changes were made by them. It was so confidence boosting to see the actors making the script come to life so colourfully yet naturally off my own labour and I have learnt many things about what actors thrive off in a script and what things are just not needed . It has genuinely been a breakthrough for me as a media practitioner. Long live Brian and Isobel ❤
I hope you enjoy reading the final copy of the script as much as I enjoyed writing it.