ships that pass in the night

Heartening to see (and a reminder of the need to persevere) is the tremendous critical response to Terence Davies' latest film Of Time and the City. I've long been a fan of his work. Here in another interview from 2 years back - is Davies' damning and passionate assessment of the UK film industry. Interesting to note that much of what he says chimes with what is being articulated elsewhere lately - the need for spiky, original and 'difficult' voices and narratives to be returned to British cinema and television.
Perhaps change is in the air..

In other news: I'm still making headway on the current script - (even better news they just agreed to give me more money - yee haa!) - despite the various shortcomings of the online stuff (I'm now loath to mention any scriptwriting tool by name on the blog now - since it sparks a mass of visits from developers.) Why don't they just put all the functionality of word into an online system - or better still - why not have writers just type in a few key words and let the programme write the script instead?

Locally, the state of affairs at the SABC continues to baffle with yesterday's news that the CEO has now been reinstated after his suspension was ruled unlawful. Watch this space.

And finally an opportunity: Migr@Tions International have put an international call out for short films about immigration. Full details are available by clicking here.

So there you go - bits and pieces today. And where are you by the way?

merits of feedback

I've blogged briefly about feedback but I think it might be useful to go into more depth especially since feedback on my latest script has varied so much in quality and usefulness.

I think there are basically 6 types of feedback

1) The mum (best friend) feedback. Well we all know what this is like - usually over the top, complimentary, uncritical and non-analytical, always delivered verbally and ends with "well I know you're a good story teller anyway." The best thing about the mum/best friend feedback is that it is quick - they read it usually before anyone else. The worse thing is the lack of impartiality.
However, I have been wondering lately whether it is possible to combine the mum /best friend feedback with the Michael Arndt feedback sheet.
If you hand your mum/best friend a printed sheet where they have to rate particular categories of your script from 1- 10 and also rate the weakest elements - then perhaps it could be more helpful....hmmmm?

2) The spot on feedback - usually comes from someone older and wiser than the writer. This feedback is from someone who knows you, knows your writing, your narrative leanings, your weak spots, your inspirations, your motivators. This is the most valuable feedback you can get - because not only does it hone in on exactly what is wrong with a particular script but it presents that information to you in a wholly acceptable manner and thus propels you towards writing greatness.. ahem. The 'spot-on' feedback is always correct. It can say when the idea is completely off the boil and should be abandoned.
The downside to such feedback - is that it is rarely available 'on demand' so there's a tendency for the writer to over-rely on it. Remember the feedback favours must be returned with as much wisdom as can be mustered.

3) The mish-mash feedback. The mish-mash feedback is your average, everyday run-of-the-mill feedback containing some moments of brilliance yet little to surprise the writer. It is quite likely that the mish-mash feedback person does not respond particularly well to your story or was not excited by the writing.The mish-mash feedback is indecisive and contains mixed messages which tend to confuse the writer.

4) The slasher feedback. This is feedback from someone who either doesn't really 'get' the story at all or who only ever scanned the script - but nevertheless considers their opinion to be both important and useful. Slasher feedback is delivered with confidence and aplomb and holds little regard for the writer. Slasher feedback is characterised by negative phrases, snarky witticisms - and always demonstrates a lack of ability to see a way through any narrative difficulties. The slasher may even take it upon themselves to cut up your script for you and send you back a mutilated or completely re-arranged version of your text for your appraisal.
It is worth reading the slasher feedback with care, as on occasion, there can be the odd suggestion which may prove valuable ..

5) The late feedback. There's the feedback that always comes after you have sent your script off - usually from a busy person. Luckily it usually confirms all the strengths and weaknesses that you have acknowledged in your script and therefore rarely creates much agitation.

6) The executive feedback is frequently paradoxical or confusing. Never wanting to appear mistaken, it tends to be short and convoluted. This type of feedback usually accompanies a 'no'. The 'no' can arrive quickly or slowly. However if the 'no' comes from someone high up, who has obviously read the entire script - within a week of it being sent, then don't be disheartened - because that's really not too bad at all.....

good, bad and the ugly

Just received another helping of feedback on my script - which this time was apposite, thorough, practical and constructive. It articulated issues which I hadn't been able to put my finger on as well as confirmed that I'm on the right track and was right to follow my instincts. So for now I'm going to do another print off, work out the 'through story' properly and then tackle the last revision.

Getting a critique is a bit like taking a child to the doctor when you don't really know what's wrong with them. Amputation is unlikely to be the best answer.

Laters

Initiation

Ok this is not something I normally do - and for readers outside South Africa - this post may hold little interest (and readers within South Africa are few in number anyway!).

Right now there is a quite a hot debate in moviezone about a 4 part TV drama series which the main local broadcaster developed and commissioned, aired the first 2 episodes of and then abruptly pulled from the airwaves. Apparently this was done in response to the concerns of several powerful organisations including Contralesa who objected to the subject matter.

So what is this controversial topic that is too 'hot' to be dramatised in the new South Africa?

Xhosa 'initiation' (or male coming-of-age ceremony.)

Update: "SABC1 took the decision to halt the broadcast of the local mini series 'Umthunzi Wentaba' due to objections raised by various interest groups and the general audience." Clara Nzima Programme Manager of SABC 1 explained that in line with the corporation's organisational value of "Conversations and Partnerships" (which encourages ongoing dialogue with stakeholders), it became necessary to raise the issues in the public domain through open discussion on 'Asikhulume'. After the consultative process the SABC re-briefed the producers of Umthunzi Wentaba, taking into account the valid views raised from all stake-holders."Starting on 3 May 2007, 'Umthunzi Wentaba' will enjoy an uninterrupted 4-week broadcast, in line with the original channel schedule strategy", says Nzima.


I have also written a script on the same topic - (albeit a completely different narrative take) My story was in fact about Sotho initiation. At the time I wrote a statement of intent which I am re-posting here - as a contribution to the debate:

A close friend of my family went off to his Sotho initiation and after 10 days, was brought back dead. Shocked by this untimely death, I wanted to delve deeper and over the last two years - talked to men who have been through initiation. I found out more - although the subject is pretty much taboo.

'Death during initiation' is both important and problematic to write about. As a woman I'm automatically an outsider. Here, a Xhosa storyteller could be accused of tribalism or attacking Sotho tradition. A Sotho storyteller could be criticised for 'selling out' or even betraying their own culture. I wrote to try to understand and as an outsider, I had to try to 'get it right'.

'The script tells a story which neither condemns nor condones tradition but which unearths some of the darker aspects of ritual. Just as in gangster initiation or even the army where young men, holed up together are forced to prove themselves under duress. Though it is not what happens on the 'inside' that interested me particularly but how men 'outside' (friends and family - in particular the father) try to cope with such a sudden and terrible death. Thus it is a story that explores men's relationships via the emotional landscape of loss.

For those interested in finding out more about the controversy there's a local news story here and another news story about initiation deaths here (may be slow to load)