Shooting period drama: ideas, script, cast, action

Let’s make a drama. How often have we heard this? Everyone agrees. Yes, what fun! Then full stop. A kind of silence while we all try to think of a subject, a sparkling idea or theme. Without that idea we cannot write a script and “NO FUN!” So First the idea is a must. Good stories are seldom if ever created by a group of people. They must come from the heart and that can only be from one person’s imagination or a strong feeling that something has to be said whether it be comedy, a good story, or simply a message to put across.

Second - the script has to be roughed out for a start to give enough to discuss and expand. This is where other people come in and, believe me, that is the most difficult part because the person whose story is being discussed may not want to change anything. But what usually happens is that either nobody likes it, or they like the story but have one or two suggestions to make it work better. The original author will

probably agree to some of these ideas if they are a genuine improvement and

there are smiles all round, we hope! So, once agreed upon, the idea is turned into a shooting script.


Third - you need a crew!

Fourth - THE CAST! This aspect is the most difficult to resolve; Almost anyone in the club may want to try their hand at acting, but it is not as easy as it sounds. Like artists, writers and musicians it is something you have to be born with, though practice and/or training is a must of course. It’s disappointing, to say the least, when you see your idea ruined by hammy acting. You must be ruthless when choosing people for parts, especially those with dialogue!

Approach a local dramatic society. They will have experienced members who would be willing to audition. Video club members can fill in the extra walk-on and pad-out characters. To think of an extremely funny and fantastic example, imagine a professional film unit on location and one of the lighting men stepping in to take over an important acting role.

The complete unit on location is of course made up of a large film crew, actors and extras. A club that has members who also belong to a drama group has a considerable advantage.

Coming back to the script. The thread of one idea can lead to another story with a similar meaning. A good example of this is the first serious amateur film that I was privileged to do the camera work for, Alan Lavender’s Escape. The idea was triggered by a short Canadian film that did the circuits. The theme was past life flashing by at the moment of death. He used a boy of ten as the main subject. This proved difficult, but with skilful direction it worked.

I have in the past acted in some club films. Yes great fun! We had lots of laughs when we saw the rushes ("cine days” when you had to wait for the film to be proooooooocessed!). However I wouldn’t have liked those scenes to have been shown to a non-club audience. “HAM”, oh dear, yes. But our expectations have moved on a long way from those far-off days.

by John Woolmer