Iron Man 3: Review

Iron Man 3 is built much like Tony Stark’s machines; it generally blasts super-power and awe, but on a few occasions, it flies into a wall and blows into smithereens.

Read the rest of my views on this latest kiddified yet dark-enough instalment of the Iron Man series on Yuppee Mag.com

Do You Know the Story of Each of Your Characters? See the Benefits in Nordost

"On Wednesday October 23, at 9:05PM, 42 Chechens attacked a theatre in Moscow. They interrupted a performance of the musical Nord-Ost and took the entire audience hostage."

A piece of paper handed me by one of the young actors set the stage for this hugely gripping Company of Angels and Salisbury Playhouse theatre play, but despite its blockbuster feature film sound, it’s told on a static set through three monologues. It shows how inventive theatre can be, but more interesting, from a scriptwriting perspective, shows how knowing the journey of each of your main characters, and considering fresh perspectives, can help you write a better story.

Nordost follows the attempt of a Chechen leader to use young women who lost their husbands in the struggle, known as black widows, to hold hostage a theatre until Russian troops pull out of Chechnya. The three monologues are from the point of view of Olga, a lady who treats her husband and nine year-old daughter to the family musical, Tamara, a doctor whose daughter is in the theatre with a friend, and Zura, one of the black widows.

It gets off to a choppy start as each character introduces life before the event, but when it becomes clear that each is heading towards the theatre, the monologues rapidly cross-cut to a spectacular midpoint where the terrorists take over, and things go from bad to worse.

Although it’s dramatic to see victims endure their ordeal, it’s Zura who really brings Nordost together. It’s her story and follows her change from loving death to loving life. She’s less driven by revenge for her husband than she is her desire for the terrorist leader, who takes a liking to her when he asks her to remove her Burka so he can take a look at her skin. She’s thrown into a dilemma when her nerves take over before the event, and gradually starts to question the raid when she befriends Olga and admires her courage with which she protects her family and others, and gradually, after a betrayal from the leader during the final siege, she manages to escape. It’s tragic as we know she’ll be on the run forever, but she wants to repent for her sins and embrace life, and there's hope she’ll find peace in the future.

The end was once again choppy as we followed the resolution for each character, but there was something interesting in the depth of knowing the ins and outs of each journey. I felt empathetic and didn’t want anything bad to happen to any of them, creating real moral grey areas, making the play more about inherent evil in the world, and the impact of war on individuals and how it can drive them to extremes.

Even more impressive was the choice to tell the story of one of the black widows. It could easily have been told from the point of view of Russian forces and their attempt to save the hostages, making the terrorists cardboard cut-out evil. Instead, it made Zura the protagonist and showed us how she was lured into this by another, misguided and misled, grappling with loss, anger, her place in her community, and its moral and psychological implications.

When writing a story, don’t just know your characters, like favourite hair products and breakfast cereals, know their stories. Tell us how they change. Even Olga changes from bubbly to vengeful and bitter, a great mirror to how Zura starts the story. Think also about whose point of view it would be more interesting to follow. What would happen if we focused on the criminals rather than the heroes? The victimiser than the victim?

Check out Nordost until Saturday 27th at Salisbury Playhouse, 7-8 May at the Egg in Bath, and 14-15 may at North Wall, Oxford. Nordost is written by Torsten Buchsteiner.

A Leap or a Tiptoe of Faith? The Artist’s Way, Check-In – Week 12

I’ve reached the end of the Artist’s Way, and feel bad for not posting this a few days ago. I hope this isn’t a sign of things to come; a decline in creativity and positive action. I’m sure it’s not, but this is how I feel as I reach not only a close to this great programme, but my masters as well. It’s as if all these doors are closing, which of course means many new ones are set to open, but like the focus of this week, I need to regain a sense of faith and trust all will be okay.

There are many competitions I’d like to enter, such as the Little Pieces of Gold Writing showcase, and I’ve recently found many opportunities through Ideas Tap, Literature Works and BBC Writer’s Room. I saw how much I could do and forced myself to come up with as many ideas as possible, but ended worried I’d never have a great idea again, if even I had already.

Cameron talks about the gestation period for ideas. That we must allow these ideas to grow in the dark before we force them out into the open. I took a few deep breaths and stepped back from my blocking pattern and took myself a little lighter, and soon, away from my computer and notebooks, I found new perspective and came up with a story I think in time could work.

It’s okay to mull on the page, says Cameron, and comments on the value of hobbies as a way to find inspiration. Since following this course, I’ve allowed myself to sign up to the Ramblers, a Tai Chi class, and this weekend I’m doing walk leader training. Through all these things, I have a greater chance to cultivate ideas than I do staring at my computer. I've started a report about the process of writing my script, and after staring at my machine for hours it feels like I have blinkers on. Perhaps if I go for a meditation or practise my Tai Chi, I’ll find the distance I so desperately need to get into a creative, fun having mind.

It’s all about succumbing to the great creator and trusting we’ll get there in the end. Slaving away for hours till numb does nothing for creativity, as much as we hope it might. We get the creative spark through fulfilling our desires, something I’m working to change as I look to the future.

I’d like to go travelling, but I think I’m afraid of failure or coming home poor. If this were a movie I’d need a shove out the door, at least I would if I thought I had to take a drastic step. A leap of faith sounds terrifying, and I think in reality it’s about a tiptoe of faith. Despite being unsure if I want to travel, I’ve gone for a meeting at a local school and secured a week’s worth of work experience to see if teaching abroad is the thing for me, as well as having researched countries and course providers. I didn’t wake up one morning and say, I’m off, boom. Instead, I listened to my intuition and took little steps as they came. Before I know it I’ll be in Taiwan thinking, “urm, excuse me, how did I get here?” I had a similar, surreal, suddenly in the moment awakening when I slept my first night in New Mexico. It’s a sign of the little steps you’ve taken, and a new adventure is your reward.

I’ve thoroughly enjoyed my journey along the Artist’s Way and will keep up morning pages and artist dates. I get anxious still, but can now identify what’s going on before I get too worked up. I hope I’ll get more scenes staged and find time to enter some competitions, but whatever happens, I vow to believe in myself, and go forth with excitement and anticipation for what comes next.

Has anyone else followed the Artist's Way or a similar course? How was it for you?

This article is based on my experiences from following Julia Cameron's, The Artist's Way, a twelve week course designed to help blocked artist's rediscover their creative selves. 

The World's Most Irritating Movie Baddies

Have you ever watched a film thinking it could really go some place, when a really annoying character comes on and you almost audibly boo them off the screen? Maybe it's just me, and as much as I love to watch a character do something really bad but still find myself drawn to them, I'd rather not spend a few hours with someone I'd like to punch in the nose. There are so many great baddies throughout movie history, and this article takes a look at why some work, and some really don't.

Read the full article on Yuppee Magazine.

Theatre Writing South West – The Art of Adaptation Workshop

The Salisbury Playhouse was buzzing with creative minds during Saturday’s latest workshop from Theatre Writing South West. Both new and established creatives came for a series of lectures and workshops on developing and adapting stories, with a networking event, and hot drinks and lunch bundled into an intense, yet highly rewarding and informative day.

Playwright Nell Leyshon gave a speech about the benefits of developing stories across multiple formats, and discussed the different features of novels, radio and theatre.  She put emphasis on working out what kind of a writer you are, whether you write alone or devise ideas with others, and suggested no play be entirely written in a vacuum. She encouraged writers to think about their scenes visually, for example, she uses A3 charts with boxes for key theatrical moments, which she adds to in later versions. Her session ended with the group considering the challenges of adapting the short story, Ashputtel to the stage, which revealed a bad habit of writers using narration and other non-visual cheats to get out of problems, and once again emphasised her point on developing more story through visuals.

The Playhouse’s creative director, Gareth Machin, spoke on his keenness for new writing, which he feels will allow him to stage something more modern about the issues of today. He favours unique pieces that stand up on their own, and gets excited when he has to adapt moments that are seemingly impossible to stage.

A session of speed-networking had delegates darting between tables and discussing what they’d like out of theatre and skills they can offer. It was great not just for finding out about initiatives, like pop-up venues and fringe theatre groups, but for working out what it really is you want out of theatre, and discovering useful skills you might not have thought you had.

It was interesting to hear from Paul Milton, creative director at the Everyman theatre in Cheltenham, and his challenges staging Nick Dark’s adaptation of Laurie Lee’s, Cider with Rosie. Paul was unable to show the darker side of the original piece as his hands were tied by the Lee family. These restraints are often something we don’t consider as writers, and perhaps emphasises Nell’s point that adaptations require more collaborative development.

The day closed with Rebecca Manson-Jones and her work-in-progress adapting Henrik Ibsen’s, An Enemy of The People into a modern day setting (which I was interested to hear was the inspiration behind Spielberg’s Jaws). Her final advice on writing a compelling story made for a nice close; “Show me a story with people affected by the world in which we live.”

I got a much needed confidence boost after hearing from all these passionate, creative people. Nell reassured us not to take writing so seriously; we don’t necessarily need any formal training, just the willingness to write every day. With people willing to collaborate, opportunities for performances in theatres and pop-up venues, and producing theatres keen to support new writing, it’s certainly an exciting time to be a part of the theatre scene.

You can find out more about Theatre Writing South West on their blog page

Going Against The Grain; How To Embrace An Artistic Life. The Artist’s Way, Check-in – Week 11

I felt good this week. I’d hit the nail on the head when thinking about creative blocks, and started to regain a sense of self-belief through affirmation. This week focused on accepting who we are, and being brave enough to be ourselves in the face of the opinions of others and society. It’s about believing in yourself, your dreams and lifestyle, regardless how irresponsible you might feel.

We live in a success driven world, at least that’s how I feel when I tell people I’m a writer. “What have you written? Isn’t that hard? I hear only people with connections get in?” The concept of getting in suggests you can’t be a writer until you have films commissioned. Talking about the difficulties is about a business plan, and if you don’t have one, why even try? I know writing is more than typing away at a secluded desk, and we need to gather connections to get films made, but did anyone say we need to do this overnight?

In job applications, you need to specify your skills and how you’ve used them to make a difference. This makes me feel I need to win competitions if I’m to call myself a writer, and instantly sparks up doubt. If I’ve not won anything, perhaps I’m no good. Perhaps I should call it a day and find a responsible job with a clear path to the top of the career ladder?

And where is this top, I ask? As a creative, whenever I finish a project, no matter how good or how bad, I’m left with a sense of dissatisfaction. There are other ideas to write and new things to try. Cameron calls artists spiritual sharks; we need to keep on swimming or else we die. If we take the career ladder notion, then how does it apply, for surely at the top there only more rungs to climb? Perhaps then, a creative life is not about a business plan, but the lifestyle we enjoy as we do that which we love.

This week helped me find things I enjoy and embrace my life, warts and all. I looked over changes I’d made on the Artist’s Way, and noticed I’ve started listening to classical music and film soundtracks. I’ve identified people I like to be around, and people I don’t. I’ve realised my urge to travel is real and needs to be embraced. And how have I done this? Through morning pages, artist dates, and the other exercises of this course. What lies at the root of these exercises is the ability to listen to my inner-child. To focus on me and what I like.

Affirmations have been the key to allowing me to be myself. I’ve posted them all around my Story Fort (my workstation), and most key to these past few weeks have been the words, “I get what I enjoy out of my writing, and that’s what makes it great.” It reminds me true greatness comes not from awards or glory, but through embracing my passion. Of course, films are made to entertain and inspire others, but I believe the key starts here. If I allow myself to re-work and re-write ideas and stories, embrace my artist and say what I have to say with true passion, then perhaps the story, script, play, will have something that audiences can enjoy.

This article is based on my experiences from following Julia Cameron's, The Artist's Way, a twelve week course designed to help blocked artist's rediscover their creative selves.

Before I Set Out; a Poem

Following my journey along the Artist's Way, I've started to allow myself to write more poetry. I mostly write single stanzas at the moment, but perhaps I'll develop some longer pieces soon. This poem is inspired by my weekly walks and my love of tea. 





Before I Set Out

I bow the laces on my boots and pack
Essential kit; a flask of water, a map,
An extra layer and coat, and most of all,
A flask of tea to warm my spirits
And bring me safely home.

Creative Blocks; The Artist’s Way, Check In – Week Ten

What is a creative block? In The Artist’s Way, Julia Cameron suggests work, alcohol, sex; anything to prevent us from facing the page. I never thought drinking with friends was a block, until I wondered if I aimed for a next day hangover to give myself a day free from writing.

This week was particularly hard for me as I freaked out about the value of my writing and desperately sought jobs to help me feel secure and successful, but after working though the exercises, I was back on track with some ground-breaking insights into why I sometimes pick up a creative block.

I started the week in a stupor about money and damned my writing. “This is so irresponsible,” I thought, “I really have to get my act together.” I wanted a back-up plan and a more secure career, something to support me and prove my greatness to others, a quick way up the ladder to success. I’m not actually all that competitive, but I do get jealous of other peoples successes and sometimes get angry at artists who're happy to get on with their creative work. It’s a defence mechanism. I’m not mad at them, but rather at myself for lacking the self-confidence to get on with my art.

I think it's okay to be sure of our abilities and rave about our latest ideas, as often it’s not us raving about how clever we are (although for some, it might be) but us getting excited about our art. This is passion. Happy, unblocked artists are happy to create till the cows come home and call themselves artists no matter what people think or how successful they are. It's like a musician friend once told me; "you can't please everyone," but you can certainly please yourself.

My desire for success stems out of a need for a success to hide behind. If I work in a pub, this is a threat, as how can I prove to others I'm an artist? I crave something tangible to show for my hard-work, otherwise I only have my creative projects to prove it, and what if they aren't any good? What am I then? I know I can’t not have a job for however long it takes for me to go from aspiring to published (although surely it's all about the journey and not a perceived goal of glory?), but I shouldn’t worry about the work I do in the meantime. As my passion is my writing, it doesn't matter what I do as long as I write. I am an artist no matter what it looks like to others.

Creative blocks seem to pop up when we are struck with fear, but as I learnt from the documentary, Finding Joe, fear doesn't go away. We can't get rid of it, but we can act in the face of it. Write despite our money fears and our insecurities about our day jobs or how we're going to pay the bills. This is my aim for the rest of this year. To become a carefree, happy writer. To become more me!