There is a market and a need for support in film and television for the LGBTQ+ community. Many Indie projects do support diversity and inclusion. The bump in the road is the lack of support from marketing and advertising professionals to talk the good talk, but when it comes to supporting projects through product placement and integration, their rubber leaves the road--they don't follow through with their support. Talk is cheap. The projects I write and produce break stereotypes by supporting diversity and inclusion. However, instead of making a big hairy deal out of it--looky, looky, we have a gay character--we do as a matter of fact, every day--she/he is gay; so what? mentality.
There is a scene in Completely Loyal to Me where William James speaks to the portrait of his love, Samuel. He expresses his loss and anger. Of all that could have been, that will never be because of the murder. When it comes to grief, gender doesn't matter.
WILLIAM JAMES
Today, your beard gets shaved. They will be gone and the Oyster will be back at her home dock. Will it make me miss you more or less? The sea was our oyster. We could be ourselves--without fear. I wish we could have claimed our love. If we hadn't needed her, you would still be alive. We would be together. Happy. Maybe we should have left. So many maybes and what ifs. But you are dead, my dearest. Nothing can bring you back.
(crying)
After they have gone, I'll take your ashes to your favorite fishing spot. She thinks she got away with it. She thinks they can leave and enjoy their love. She murdered you. She stole our lives together. I may be alone
(grief turns to anger)
but I'll see them in hell even if it means I can't see you in heaven. Ohmygod Samuel, I miss you!
To read more about Completely Loyal to Me and the other projects on our slate visit our website.
Screenwriting 101: One page doesn’t always equal one minute.
Most screenwriters are taught that one page of script equals one minute of screen time. But that is a misnomer. Timing depends on the amount of dialog versus action. But more importantly, it depends on the director and actors involved; they are the ones who set the blocking and delivery of the lines.
Scenes, which focus primarily on dialogue, more closely align with the one-page-one-minute concept. These scenes open with a general description, which sets the stage. Unless specifically written, the director and actors will set both blocking and emotional motivation. Both determine the context of how the lines are delivered. The perfect illustration is how the different actors, who played James Bond, said the classic line “Bond, James Bond.” Each of the actors had a unique tempo, which was only slightly altered by the scene settings. Emotions and actions always affect how lines are delivered. Strong emotions and intense actions will slow down the dialogue in some situations by creating necessary pauses, while fear and anger increase the speed of others. The interactions between the character, whether with overlapping lines or long pauses between them, will either shorten or length the scene.
However, scenes that focus primarily on action might be described in a few sentences, yet they will run for several minutes on the screen. For example:
The crowd’s cheers rapidly became gasps of horror as Jackson and Drake's cars murderously battle for the lead. Using the other vehicles as weapons, they played bumper cars with each trying to knock the other off the track.
These two lines could very easily run for two to three minutes on the screen. Without a word of dialogue, the scene and the motivation are set. Nothing needs to be said. Their actions speak louder than any words could convey. The final length would be determined by how explicit the director wanted to make the violence and if there are intercutting scenes, which reveal actors inside the cars.
Most scenes combine both dialogue and action. The following scene from my dark comedy, Completely Loyal to Me. It’s just shy of two pages. According to the formula, it should run for two minutes. However, the action and reactions of the characters would more than double the screen time. Walking and running on beach sand while trying to catch someone, who doesn’t want to be caught isn’t easy and will quickly lead to exhaustion. The lines would be interspersed with action with the delivery becoming increasingly slower as actors portrayed the characters become breathless and tired.
EXT. BEACH: DAY
Cheryl and Karen walk down the beach. Lynne runs toward them from the other direction.
CHERYL
You are so grounded.
LYNNE
(excited)
I have proof!
CHERYL
You promised mom and dad--
LYNNE
But I have proof!
CHERYL
You broke your word!
LYNNE
Just listen!
KAREN
Let’s go home.
LYNNE
(Pulling away)
No! I won’t!
CHERYL
We’ll drag you back.
KAREN
We who? Don’t look at me.
Cheryl tries to grab Lynne. She eludes them. In a keystone cop chase, Cheryl and Karen try to catch her.
KAREN
Damn! She’s fast!
LYNNE
(frustrated)
Promise you’ll listen!
CHERYL
Do you want to be arrested?
KAREN
Arrested? Wait a minute. Just her? Right?
LYNNE
Just listen.
CHERYL
I will--at home!
Lynne continues to elude them.
LYNNE
NO! We have to go to the lighthouse.
KAREN
No! It’s off-limits.
LYNNE
But we have to.
CHERYL
Why? Why do we have to go there?
LYNNE
That’s where he went.
CHERYL
Who?
Lynne points up at the mansion.
CHERYL
If we don’t find anything, do you pinkie swear to stop playing Nancy Drew?
With one hand behind her back, Lynne offers her pinkie.
CHERYL (CONT.)
Let’s see your other hand.
Lynne shows her other and uncrosses her fingers.
CHERYL (CONT.)
Let’s go.
KAREN
(whining)
My feet hurt.
The dialogue implies the action and emotion of the characters, but it also gives the actors and director a great deal of leeway to enhance the action and emotions, especially for the actor playing the eight-year-old Lynne. The comedic possibilities would be nearly endless as the twenty-somethings try to capture her Realistically the scene would run about three and a half minutes. Running it too short would stunt the humor; too long would be overkill.
