Sunday, April 24, 2016

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CATHLEEN ROOTSAERT ON WRITING MASS EFFECT, THREE DEAD TROLLS IN A BAGGIE (MF GALAXY 075)


HOW IMPROV HELPS WRITING, THE DIFFERENT KINDS OF LAUGHS WRITERS MUST UNDERSTAND, THE GAME MECHANICS OF IMPROV, FACING RESISTANCE TO HUMOUR ON MASS EFFECT 3

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Cathleen Rootsaert is a remarkable creator. She wrote plot and dialogue for the video game Mass Effect 3 by BioWare, and edited dialogue for the studio’s Star Wars: The Old Republic and Mass Effect 2 games. In the late 1980s, along with rising improv stars Wes Borg, Neil Grahn, and Paul Mather, she co-founded the legendary Edmonton comedy troupe Three Dead Trolls in a Baggie, which had a brief run as a CBC television series.

She’s the playwright behind Mimi Amok, After You, Legacy, Make Me and Mama Mia! Me a Mama? which won the Sterling Award for outstanding new work. She also won the 2005 Alberta Playwriting Award for Abigail in Twilight. She appeared on the Ken Finkelman series The Newsroom and the Winnipeg Comedy Festival special I’m Becoming a Mother. She’s a core member of the two-decade strong live improvised soap opera Die Nasty!
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In this episode of MF GALAXY, Cathleen Rootsaert discusses:
  • How improvisation helps writing
  • Understanding body mechanics of speaking and how actors talk
  • How to develop the ear to find the voice
  • The different kinds of laughs writers must understand
  • The mechanics of long-form improv, whether stretched over a theatrical season or in one 50-hour show
  • The game mechanics of improv
  • The Three Dead Trolls experience of working in TV comedy and facing the proverbial “suits”
  • How sketch comedy prepared her to write video games
  • Why she wishes she’d had more stomach for failure when she was younger
  • Her advice on editing scripts and relationships
  • How, despite not being a science fiction fan, she writes for one of the most successful science fiction video games ever made, and
  • How she dealt with resistance to including humour in Mass Effect 3
Along the way, Rootsaert refers to “beats” in a script, which is a specific stage playwriting term referring to how long it takes characters to seek their goal for a scene before changing their tactics.




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Tuesday, April 12, 2016

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VERN THIESSEN, GOVERNOR GENERAL AWARD WINNING PLAYWRIGHT, ON SOCIAL ENGAGEMENT, WHY THEATRE BEATS NEW MEDIA, AND REVISION STRATEGIES FOR WINNERS (MF GALAXY 073)



LINK BETWEEN IMMERSIVE THEATRE AND VIDEO GAMES, EFFECT OF EDMONTON INTERNATIONAL FRINGE FESTIVAL ON THEATRE ACROSS CANADA, WHY THIESSEN IS A DEVOTED PANTSER

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Vern Thiessen’s plays are among the most produced theatre in Canada, and his work has delighted audiences across the United States, Europe, Asia, and the Middle East. His many dramas include Lenin’s Embalmers, Apple, and Vimy. He’s written for young audiences, worked on a commission for the late Leonard Nimoy, and created an adaptation of W. Somerset Maugham’s Of Human Bondage. He’s won the Elizabeth Sterling Haynes Award, the Alberta Playwrights' Network Competition, and Canada’s highest literary honour, the Governor General’s Award.

Despite coming from a Mennonite family in Winnipeg, Thiessen spent seventeen years in E-Town and won the Canadian Jewish Playwriting Competition for Einstein’s Gift.

For seven years he also directed youth and community engagement theatre education in Harlem, Brooklyn, and the Bronx. He’s since returned to the Big E where he’s the Artistic Director of Workshop West Playwrights’ Theatre.

In this episode of MF GALAXY, Vern Thiessen discusses:
  • His experience of community-social theatre engagement in New York
  • How, despite competition from other media, theatre endures and in some ways triumphs over those other forms
  • The link between immersive theatre and video games
  • The effect of the Edmonton International Fringe Festival on theatre across Canada
  • Why Thiessen is a devoted pantser
  • Why he wants to leave audiences inconsolable
  • The imperative of revision and his dynamic strategies for it, and
  • Why writing plays is easier than writing novels
Vern Thiessen spoke with me in November, 2014 at Workshop West about his aesthetics and writing strategies that have made him one of North America’s most celebrated theatrical voices.

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Tuesday, April 05, 2016

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TOM FONTANA, SHOWRUNNER SUPREME OF OZ, HOMICIDE, THE BORGIAS + ST. ELSEWHERE ON CREATING ICONIC, UNFORGETTABLE CHARACTERS WHILE “COLOURISING” US TELEVISION (MF GALAXY 072)

MULTIPLE AWARD-WINNING TV WRITER ON SOCIAL REALISM, CHALLENGING VIEWERS + HIMSELF THROUGH DRAMA, AND HIS ARCHETYPE OF THE “MALCOLM X PROFESSIONAL”

Tom Fontana  is  the writer/producer and/or showrunner on St. Elsewhere, Homicide: Life on the Street, Oz, Copper, The Jury, The Beat, The Bedford Diaries, and The Borgias.

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He’s also one American television’s most  celebrated writers. He’s received the Cable Ace Award, the  Humanitas Prize, an Edgar Award, the Austin Film Festival’s Outstanding Television Writer Award, first prize at Switzerland’s Cinéma Tout Ecran Festival, three Emmys,  three awards from the Writers' Guild, four from the Television Critics Association, and four Peabodys. And all this, if his website is to be believed, without using a single computer--Fontana claims to write longhand on yellow legal paper.

Long  before HBO’s The Wire took all the credit for long-form, serial innovation in US television addressing racism and oppression in the United States, there was the work of Tom Fontana. Long before Denzel Washington was an A-list money-magnet, he was guided by Fontana’s pen as Dr. Philip Chandler on the acclaimed St. Elsewhere. Andre Braugher was frequently lauded as the finest actor on US television for his work as Detective Frank Pembleton on the Fontana-driven Homicide. Oz  showcased Eamonn Walker as Muslim Minister Kareem Said, Adewale Akinnouye-Agbaje as Simon Adebisi, Harold Perrineau as Augustus Hill, Ernie Hudson as Warden Leo Glynn, and muMs da Schemer as Poet.

In other words, Tom Fontana, a Euro-American writer, has created some of the very best African-American, Nigerian, and Muslim characters—and in the last two cases, some of the only ones—on US television. He also created an archetype we’ll hear about later in the show: what I call “the Malcolm X Professional.”

Tom Fontana spoke with me via telephone from his office in New York at the end of March 2003, shortly after the US Academy Awards and during the illegal US invasion of Iraq, events that arise during our conversation, and which include Ari Fleischer, then a spokesman for US President George W. Bush, and Bowling for Columbine director Michael Moore who’d then just made a speech critical of Bush at the Academy Awards. Our conversation focuses on Fontana’s strategy for creating such iconic and dynamic characters.

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tomfontana.com/scripts