As I work on this short film script, noting down various dramas that could happen over a dinner table, I’ve discovered a few things — this is where believing in the process comes in. I discovered:
- a theme about what men must endure to support their partners that’s definitely enriched my story far beyond what I started with;
- a feminist theme in opposition to the one above;
- how simple plots can lead to complex themes;
- how opposing character arcs can enrich a script but also get in the way of the main character’s arc;
- how the main character’s point of view can be grey enough that other characters’ views can be shown to be just as important.
It’s all very illuminating work that reflects any notable story point hiding beneath the dirt — diamonds in the rough.
Reading it back some hours later, I realise the pace is a little brisk. Maybe that’s a good thing for a short, maybe not; refinements can come later. At the moment I’m trying to make sure the actions speak louder than the words. It feels like the story is being moved through the dialogue, but I want it to move through the body movements a person may have at a dinner table. E-mote-me-baby.