FEATURE: 27 MAY 2008

Jodi Rimmer, Madeline Sami, Anthony Starr, and Tim Balme

The May Writer’s Room invited some well-known actors to voice their comments about dialogue writing from a performer’s perspective. MC Tim Balme asked local performers Anthony Starr, Madeline Sami and Jodi Rimmer to share their experiences with scripting.

A New Script – Initial Responses

Anthony starts by taking out a trusty red pen. “The first thing I do is read it from my character’s point of view and mark out anything interesting or something that might work well.” Then he walks away for a while and returns to look at it from a more structured point of view. As an aside, Anthony shared his trick for learning lines – a Dictaphone, voicing the lines of other characters.

Tim asked the actors if they read scripts from the point of view of their character or the writer. Jodi explained that performers often cannot help but read a script from the character’s perspective. Anthony added that reading from a character’s point of view is completely unconscious much of the time.

Punctuation

The all-important role of punctuation within a script came under scrutiny by the panel. Madeline said, “I ignore punctuation a lot. I always hear a voice when I read a character for the first time.” Anthony felt that punctuation was not a particularly helpful thing. “Your impulses have to come off the other characters or it’s not going to work.” Jodi said beat and rhythm are important aspects of the dialogue especially in theatre production.

Ownership of the character

How do actors bond with their characters? At what stage do they feel ownership of a character? Jodi felt it was only after the improvisation of back stories that she owned her character whereas Madeline felt she owned hers straight away, “ …so that I’m free to do what I want with them.”

Anthony plays twins Jethro and Van West on Outrageous Fortune and Tim asked if one twin felt ‘owned’ before the other. “Ownership over the dopey one came easier,” said Anthony. “The other one was a bit of a stretch.”

Jodi recounted her experience with the role of Jackie in In My Father’s Den, saying she connected so well with this particular character that ownership came the moment she auditioned for the part.

When asked at what point a writer should let go, Anthony compared the roles of actors and writers in a show. “Sometimes they can be the two most neurotic groups of people on the crew, understandably because they are constantly being judged. Each character has two parents – the actor and the writer. It’s furthering the relationship between actors and writers that’s important.”

Dialogue and the ‘bits in between’

Some actors love a dialogue-heavy script while others hate it. Tim asked the actors which they preferred. Anthony said his preference depended on a connection with the dialogue, adding that good dialogue is easier to learn and makes a script easier to connect with.

Tim said that bad dialogue can have a lot to do with the ability to learn a script. He remembered auditioning recently with a script that “…wasn’t even dialogue” and the lines were impossible to learn because they did not make sense.

The panel then discussed how much liberty actors should have with a script and opinions varied widely. Theatrical experience has trained Jodi and Madeline to follow the script closely and there is little room for variation. Jodi said, “It’s bred into us not to do that, a complete no-no. You might come to some sort of quiet agreement but usually it’s just the odd word.”

Anthony freely admitted to taking liberties with Outrageous Fortune scripts. “I paraphrase anything – but not as much with Jethro who is far more contained. I’d rather serve the impulse with Van.” Anthony glanced over at the Outrageous Fortune writers sitting in the front row and proclaimed, “…there are worse people than me that do it! We’re working a really quick turnover and when we have to shoot something, the director can take the rap.”

Tim moved on to the BIG PRINT, the ‘bits in between’ the dialogue. He asked the actors if they read those and if so, were they useful? Anthony thought the big print could sometimes be unnecessary and obvious and Madeline suggested ignoring it and then seeing what happens on set. Tim asked if the ‘big print’ was ever wrong and Anthony said there was no right or wrong.

“It should never be concrete, it should be alive. Having flexibility and lack of preciousness in your words is important.” Anthony cited the example of In My Father’s Den, where the writer/director was completely open to ideas, always listening to the actors and offering opportunities for them to have their say.

Improvising Back Story

Anthony and Jodi were asked if they had much creative input during the filming of In My Father’s Den and Jodi said they did. “For rehearsal, we used the ‘script, no script’ technique in a really organic and loose way.”

Madeline said the creation of the original play No.2 was similar, “…and in Sione’s Wedding, the female characters were always asked to give input. Although it is drummed into you to just do the dialogue you can ask to change lines. I have grown to question things.”

Anthony believed back story is helpful as a guide but too much can threaten the point of the script to where an audience can tell the dialogue has been created in an improvised way. “It’s good as a building block, but writing is essential and knowing the character will help you to improve.”

Jodi remembered a day spent working at back story in Australia. “You find really powerful stakes in the building process, not the final performance.”

Question time

Do you think of genre when reading?

Tim replied, “I read Braindead having never seen a horror. It was the best ride of my life, but I didn’t know anything about the genre. When you read a great script it’s a ride either way.”

When you are given writers’ notes what do you like to see?

Jodi said, “… character notes are useful – it’s where you start from, they’re great.” Anthony agreed by saying’ “You need all the information you can get – the more feedback the better in the initial stages.”

Do you look for rhythm and poetry in a script?

Jodi said, “…you do find your own rhythm. You ask yourself what you know about the character.” Anthony said, “…good dialogue is impulse to impulse – it’s reactive.” Tim felt,“…the actor’s job is to make the dialogue work – the director harnesses rhythm.”

Do you prefer plays or film scripts?

Madeline replied, “…it’s usually denser in theatre and there’s more room to move.” Jodi added, “…there are more words to say in a play; also in theatre you don’t have to be naturalistic.”

What gets you ‘hot’ for a script?

Madeline responded, “Great dialogue always gets me excited” while Anthony joked, “I just want to have a big part.”

What turns you off a script?

Both Madeline and Jodi agreed bad or clunky dialogue put them off, whereas Tim was turned off by ‘safe’ topics.

What’s the earliest point you think an actor should be involved with a script?

Jodi thought the third draft and Anthony thought as early as possible. Madeline finished by saying, “… getting involved with the script can be great or a hindrance.”