1-Discuss the role of feedback, both giving and receiving – both of these so helpful believe for writers. How has screenwriting informed your writing practise
generally
the Feedback”. This is a strange and poetic script which in which the train journey provides a useful frame for both conversations between the protagonist
and the brother, sister, lawyer, but also the more mysterious meeting with her Dad, who we learn died, and she is blamed by her siblings for this. I think even
more specificity in what the dad does, while sitting opposite her on the train, to make him real and yet not real. A play I wrote had a dead father and daughter
conversation, and the Dad gradually insisted he was leaving. This screenplay too has that sense that he has come to see her, perhaps to forgive her and tell
her how to remember him before Somehow leaving her. Maybe he could actually get up from the seat and walk away, and gradually fades as he walks? Does
she call after him. When you mention that she goes cold, how would we as an audience know that. Perhaps darkness in the carriage might be more of a
visual metaphor for the recognition of his death by the protagonist. By not naming characters they take on an archetypal quality and I wonder if that was an
intention of yours?”
2-what is the difference and similarity between a short and a feature? How do character and structure work together what can screenwriting bring to you as a
writer? Or what is the nature of visual storytelling compared to other kinds of writing?