TGL - Today we have the pleasure of speaking with Noah Danby. Originally from Guelph, Ontario Canada (props to the hometown!), Noah has had an action packed career as a series lead on Painkiller Jane, as a regular on Stargate SG-1, and appearing on Sci-Fi hits like Smallville, The 4400, and Mutant X and in features like the upcoming release of Uwe Boll's Darfur. Thank you for taking the time to do an interview with us at The-GreenLight.com.
Writers often wonder what impact their words have on the people who bring them to life. As an actor, what makes a great script great? Is it well defined characters, good dialogue, or is it a script with more room for you to play?
ND - Well I think it’s all of the above but it all starts with a story. Dialogue can change according to the circumstances. Room to play is important but a lot of the time, trying to find what works with what is written is also challenging and fun. Well defined characters, is more like icing on the cake but at the very base of it all a story that people would take 2 hours out of their day to watch and listen to is what you want to go for. If you have that you’ve just up’d the anti for everyone working on the film and watching it.
TGL - It seems, at least from the sidelines that one of the major differences between TV and Features is that there is more collaboration between cast, crew, and the writers on a TV set. Have you ever have to opportunity to work with the writers to develop your characters and if so, what kinds of input can a writer expect from an actor?
ND - From my experience it all comes down to time. For feature films, there is a lot of time for development. So an actor can and should spend that time developing that character into something very different and unique. While with TV most of the casting is done the week before you go to camera so an actor is more inclined to spend his rehearsal time coming at the script from his or her own perspective rather than that of a fully developed and original point of view.
TGL - There was a really great episode of Painkiller Jane when your character Connor was suffering from hallucinations and almost took out the entire team in a hail of bullets. When you’re presented with material like that how do you take the written word and give it such emotion? Do you stick to the script word for word, or use it more as a guide and use your skill as an actor to provide the impact?
ND - I dare say that was some of the best material that Matt Hastings had ever shot. Those words came from his mouth not mine. After reading the script I had decided that I was going to bring everything I could to that particular scene and I did. We shot and shot and I went to that dark place for almost 16 hours. Wearing a body cam for 7 hours and then taking it off and shooting the rest of the material with the Vipers we had on set. But to answer your question. I don’t think anyone knew what was going to happen in this scene until they saw me do it for the first time. I ended up going above and beyond what was given to me in the script. We ended up shooting way past our time constraints for that day but Matt simply turned to the line producer who was questioning his decision and said “What do you want me to do, This is the best fucking footage I have ever shot. I have to keep rolling.” Out of all the work I did on that show that is definitely one moment that stands out.
TGL - You’ve done Sci-Fi, Action, Comedy, pretty much the entire spectrum. What type of script is your favourite? What captures your attention about it?
ND - My favorite material to work on, is the story that inspires. That, after watching, you think to yourself…”Yes I can!” Those were the movies that had the largest impact on my life and the least I can do, is return the favor.
TGL - If you could pick a role, any role from any movie or TV show ever made, what would it be? What aspects of the character, story line, and dialog makes that the role for you?
ND - My next role, is always the one I am most excited about playing because the possibilities are endless and it’s mine! ALL MINE!!!!!!
TGL - What advice would you give a screenwriter who’s just starting out in the biz? If you could offer any insight from an actor’s perspective what would it be?
ND - Work on your craft every day. Remain Disciplined with it. Like a workout or eating. LOL. Don’t sit and wait for inspiration because then it will pass you by.
TGL - What projects are you working on? Where can we catch up with you next?
ND - You can see me in the upcoming season of Flashpoint, The Bridge and in the Feature film Darfur. I am currently in preproduction on a reality TV show called Bounce set to start shooting this September.
TGL - Thank you again for taking part in this interview, we look forward to the release of Darfur, and talking with you again.
Showing posts with label screen. Show all posts
Showing posts with label screen. Show all posts
Tuesday, August 11, 2009
Monday, April 6, 2009
Writing Contests
Hey...
So today (now that my rant about skinny jeans is done), I wanted to talk a bit about writing contests.
Some people say that writing contests are just a way for some people to make money. And I guess for some of the sponsors that is true, BUT I think even those contests can offer you a little insight into your writing.
I never enter a contest unless it offers feedback. Feedback is the most important thing you can get your hands on as a writer. If you let your family and friends read what you write, GREAT! but don't expect impartial feedback from them. They will either be overly hard on you, or far too easy on you. Feedback is what will help you develop your story in subsequent re-writes... and there will be many re-writes. I joke on the main the-greenlight.com webpage that I have re-written my script Losing Faith 150 times. Well, I'm currently working through 151. Why? Well because of some feedback I received and some new ideas to punch up the humour. As you grow as a writer go back to your previous work and take a look at it with fresher more experienced eyes. You'll see holes and rough patches that you hadn't noticed before.
My suggestion is that you find yourself a pro. Before I start shipping my scripts off to contests I like to feel that they are as close to perfect as I can get them at the time. (I know I just said I've re-written them 150 times). Find someone who will work with you, and offer you ways out of problem areas. A good reader will point out the weak parts but show you what you've done well because it can act as an example of how you have been clear in your writing and created some strong scenes. They will help you learn from your own success and their experience. Once the two of you have reached the point of exhaustion with a certain project and you both agree that material you have in your hand is really good... Send it out into the world of contests. See what other people, who aren't intimately involved in the creative process have to say. Chances are they will come back with some useful tips and ideas for improvement.
Writing contests are good tools, but they can be quite costly. AND THE WAITING WILL DRIVE YOU MAD!!!!
A few good ideas to make sure you are working with a reputable contest are:
Waiting for the deadlines to arrive is grueling. I always try to make the early submission deadline because there is usually a break in the cost of the entry fee. But it makes waiting for results (sometimes up to 8 months) a living nightmare! Because, if you are like me, you are constantly re-writing your work and making it better so by the time the contest roles around you've found 20 funnier jokes, 3 typos, and taken out 2 scenes that made the script lag in the 2nd act. The way I have overcome my writers anxiety for situations like this is to simply forget about them. I put an entry in my calendar that reminds me that I have a deadline coming up and I check the website or keep a more vigilant eye on my email for about a week before the announcement date. AND you do have to watch! I read a review of a contest by its winner who said he had no idea he had won until he received his prize pack in the mail. The contest people had not otherwise contacted him, but when he went to the homepage there was his name in lights! Sooooo... don't completely forget, but put them out of your mind. You know?
Writing Contests are good tools. Look for contests with feedback, and low entry costs. If you go for the high end contests with big entry fees, make sure the return on your investment is good. Feedback, and interview with a few agents, a live reading of your script... You know... Make sure to do your homework, both in researching the contest, and in evaluating your work. Rarely do contests accept corrected pages so if you send them a script with 100 typos, you'll likely be kicked out in the first round.
Good luck!
- G
So today (now that my rant about skinny jeans is done), I wanted to talk a bit about writing contests.
Some people say that writing contests are just a way for some people to make money. And I guess for some of the sponsors that is true, BUT I think even those contests can offer you a little insight into your writing.
I never enter a contest unless it offers feedback. Feedback is the most important thing you can get your hands on as a writer. If you let your family and friends read what you write, GREAT! but don't expect impartial feedback from them. They will either be overly hard on you, or far too easy on you. Feedback is what will help you develop your story in subsequent re-writes... and there will be many re-writes. I joke on the main the-greenlight.com webpage that I have re-written my script Losing Faith 150 times. Well, I'm currently working through 151. Why? Well because of some feedback I received and some new ideas to punch up the humour. As you grow as a writer go back to your previous work and take a look at it with fresher more experienced eyes. You'll see holes and rough patches that you hadn't noticed before.
My suggestion is that you find yourself a pro. Before I start shipping my scripts off to contests I like to feel that they are as close to perfect as I can get them at the time. (I know I just said I've re-written them 150 times). Find someone who will work with you, and offer you ways out of problem areas. A good reader will point out the weak parts but show you what you've done well because it can act as an example of how you have been clear in your writing and created some strong scenes. They will help you learn from your own success and their experience. Once the two of you have reached the point of exhaustion with a certain project and you both agree that material you have in your hand is really good... Send it out into the world of contests. See what other people, who aren't intimately involved in the creative process have to say. Chances are they will come back with some useful tips and ideas for improvement.
Writing contests are good tools, but they can be quite costly. AND THE WAITING WILL DRIVE YOU MAD!!!!
A few good ideas to make sure you are working with a reputable contest are:
- Submit only to contests that are recommeneded by other people in the industry. I like to use a website called Movie Bytes to find and research contests. But the WGC has posts occasionally for these types of events.
- Follow the submission guidelines to the letter. It sucks to have your script disqualified for a minor issue.
- Try using a service like Without a Box when possible. They will qualify your project and make sure its not missing anything and track your submission for you to make sure it has been received by the contest officials.
- Look for the annoucement in the periodicals they say they will be announcing in or have announced in previously. Some\Most contest say they will annouce the winners in a magazine, or post the results on their website for 6 months etc. Check! See if the previous winners are listed.
- Make sure the cost justifies the return. If they are asking for $75 and all you get is email notification that you've made it to the finals... No good. There are plenty of economy contests that offer feedback, software and publicity to their winners.
Waiting for the deadlines to arrive is grueling. I always try to make the early submission deadline because there is usually a break in the cost of the entry fee. But it makes waiting for results (sometimes up to 8 months) a living nightmare! Because, if you are like me, you are constantly re-writing your work and making it better so by the time the contest roles around you've found 20 funnier jokes, 3 typos, and taken out 2 scenes that made the script lag in the 2nd act. The way I have overcome my writers anxiety for situations like this is to simply forget about them. I put an entry in my calendar that reminds me that I have a deadline coming up and I check the website or keep a more vigilant eye on my email for about a week before the announcement date. AND you do have to watch! I read a review of a contest by its winner who said he had no idea he had won until he received his prize pack in the mail. The contest people had not otherwise contacted him, but when he went to the homepage there was his name in lights! Sooooo... don't completely forget, but put them out of your mind. You know?
Writing Contests are good tools. Look for contests with feedback, and low entry costs. If you go for the high end contests with big entry fees, make sure the return on your investment is good. Feedback, and interview with a few agents, a live reading of your script... You know... Make sure to do your homework, both in researching the contest, and in evaluating your work. Rarely do contests accept corrected pages so if you send them a script with 100 typos, you'll likely be kicked out in the first round.
Good luck!
- G
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