Lena Dunham: Creative NonFiction

Lena Dunham is my new favourite.
Yes, I know, again a bit late coming to the table… Girls and stuff, I’ll get there, the internet is just a tad slow chez chateau Triolet and my laptop has no memory.

Creative NonFiction is a one-hour long film Dunham made whilst in College. It is great, and it kind of isn’t. It almost does sit somewhere towards the more non-fiction end on the scale of truth.

More then anything (more then the fact that I seem to have found a kindred spirit, someone I can identify with 100% in Dunham) I like this film because I am beginning to realise the importance of just doing things, maybe they don’t have a big budget, flashy cameras, or a great editing suite, but the fact is she made a film – and it’s really not that bad at all.

Maybe the shots could use work, maybe the acting isn’t great, but it’s 50 or so minutes of actual produced work that makes sense, and is entertaining.

It is especially interesting to note the creative process Dunham used when creating the work. As outlined in the conversation, she had the scenes on sticky notes and would just go through it slowly – it’s a really interesting approach… something to keep in mind.

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The Project evolves…

So, this post is typical, it’s predicable, but I feel that it’s worthwhile writing about all the same…

I’ve organised auditions and sent an excerpt of the script out to all auditioning. I’ve been hesitant as to what I should send out. Firstly because I don’t want the dialogue to be that important in the final film, but obviously, it is important for the audition and secondly, because I am looking to the actors we chose to further develop the characters. Paul has mentioned several times that we can’t hold ourselves to a particular look, or image, we need to be open, and expect the actors to eventually know more about the characters then we (or I) do.

So that I had something decent to give the actors, I fleshed out the scene in which Bill and Linda fight about their lifestyle and their relationship and in doing that, in over-writing it I got  new perspective on where their relationship should move to. In early draft stages I was stuck on this 1 minute per page. I found it hard to write, to add in more – but not have unnecessary dialogue (even though it may appear that most of the dialogue in the first draft was unnecessary…). The script was coming together in a new way, right in front of my eyes. There was more meaning – Linda needs to be in the drivers seat of the car, she was driving the two of them, and in the end Bill, now in control, drives off. It’s all laid out, right there. In writing more then I needed I was able to create a more finite image of how I want the film to look – the way I want it to finish.