Friday, November 30, 2012
Thursday, November 29, 2012
Head-in-a-Cart Takes an Improv Class: Week #8
Well, it’s over. And it couldn’t end without me disturbing
my classmates with one of my monologues.
I arrived to class and found everyone stressing out about our graduation
performance on Saturday. I told them
that if someone like me who wasn’t anywhere close to being a performer could do
it, they, actors, could do it. They just
looked at me and continued whining.
Someone asked me if I was nervous.
I answered honestly: No. I added
that I had learned that it was best to feel it and not try to suppress it
because by the time you have to perform that anxiousness has left your body.
After we warmed up with Zip Zap Zop and the thumper games,
we got to work on the show. Some scenes went well but most of them sucked. But it’s okay. The teacher said we’re at
Improv 101 level. My last thumper was “Jazzzzzzzzzz
Hands!”
After the first word suggestion (I forgot what it was) and a
couple of scenes, I stepped forward onto the stage with Richie, one of the
better improvisers, and he immediately made me Mrs. Johnson, a little old lady
he took care of and had drank an entire bottle of Pepto Bismol. I channeled my grandmother and insulted him,
telling him he had given me diarrhea and that now I was constipated. The rest of the scene was him struggling to
sneak my meds into a gluten free apple pie I wouldn’t eat and eventually threw
on the floor. The scene was funny, but
we never found the Game.
The second scene I was involved in was problematic because I
turned it into a transaction scene. The monologist
talked about having to participate in a parade wearing shoes that didn’t
fit. I started the scene and I offered
the customer two pairs of Prada shoes size 3 and size 16. He was size 10 but the shoe store only sold
size 3 and 16. That was the Game. Someone stepped in as the manager and when
the customer complained, he said, “Yeah, so what’s the problem?” We couldn’t find or say anything to keep him
from leaving so he did, leaving me and the manager to continue the scene. Transaction scenes are very difficult to
maintain.
The second word suggestion we got was “lipstick.” I gasped and walked on stage automatically. It was as if someone had pushed me
forward. I couldn’t believe I had just
remembered something that happened to me that I had suppressed for a few years
at least. And now here I was in front of
all these people and I couldn’t step back.
I had no choice but to tell the story because I couldn’t think of any
other story about lipstick.
When I moved back to the U.S. after a stint in Puerto Rico
and Mexico, my friend’s sister’s husband offered me a job working for him. I didn’t know anything about working in a law
firm but I said yes. I struggled a lot
on the job but eventually got the hang of it.
Well, sort of. As much as you can
without giving a shit about your job. A
year later one of his associates, a female lawyer with a predilection for very
short skirts, threw a holiday party at her house. My boss’s wife (my friend’s sister) met us at
the party. We didn’t stay very long
because it was boring and we got hungry.
We ended up at an Italian restaurant eating delicious food. My boss had a few drinks. Since they had taken separate cars, she drove
home and my boss and I walked back to the office’s underground parking. I didn’t have a car back then, so he was going
to drive me home.
We got in the car and suddenly, he put his thumb on my mouth
and gently glided it across my lower lip.
I was wearing bright red stick.
At that very moment, I wanted to be dead. I wanted there to be an earthquake and for the
high rise to fall and flatten us. But it
didn’t happen. I pretended what just had
happened didn’t happen. He started to
drive and periodically would squeeze my knee.
I kept on talking and talking, what, I don’t remember, while I pressed
myself against the car door. I figured
if I kept on blabbing nonsense nothing else would happen. When we arrived at my place, I said thank you
and ran. I could never make sense of it.
I still can’t.
The only way I could deal with this was to pretend it never
happened. He did too. Let me say it again. This is the man who is married to a woman
whom I have known since I was 13 years old.
My best friend’s sister. Surprisingly,
it wasn’t awkward at the office. We were
really good at pretending it didn’t happen. I only told my sister and even forgot about
it. Until today.
Throughout the monologue I kept on looking at my teacher and
classmate’s faces. I expected them to
have shocked expressions but they didn’t.
They were just engrossed and I could tell they were really looking
forward to what I would say next. When I
was finished, I turned around to join my team and I saw their faces. Bulging eyes and open mouths. The scenes that followed were all about
lipstick and make up. At the end of the
class during note-giving the teacher told me that it was a very courageous
monologue, full of material for scenes.
But again, my team failed to use any of it.
I’ll miss having the chance to become someone else once a
week. I had fun doing something that is
so different than anything I’ve ever done in the past. Something so unlike me. I enjoyed using parts of my body other than
my head. It’s unlikely I will continue
because at this stage I really have to focus on moving my filmmaking forward to
the next level. Unless, of course, something
miraculously happens on stage on Saturday and I decide I can’t live without
performing long form improv. It’s very unlikely.
Lesson #8: Most people aren't used to honest and painful storytelling
but I intend to give it to them anyway.
Friday, November 16, 2012
Head-in-a-Cart Takes an Improv Class: Week #7
You’re probably wondering what happened to week 6. Or maybe
not. Anyway, I missed class because I
was at AFI Fest hanging out with friends. Priorities.
2. Ouch ouch ouch and jumping up and down yelping like a puppy in pain.
3. I gotta pee I gotta pee while I squeeze my thighs together.
4. Oh shit that’s my ex!
5. OMG I’m so positive! while I jump up
I told them the word Prius reminded me of my ex. I live in Silverlake and every other car is a
Prius. Everywhere we went there they
were Priuses. The weird thing is that I
never noticed it until he brought it up.
So I had to listen to constant annoying comments about Priuses and
hipsters and he making fun of hipsters on Priuses. But of course I was in love so it didn’t
bother me that much until now that I have to be reminded of him every time I
see a Prius in my neighborhood. But I’m
okay really. It’s been a year a half and
I’m totally over it. The worst thing
about the break up was thinking my ex was this great dude that I put on a
pedestal and then finding out that he was the total opposite. A loser and a misogynist. I always thought I was a good judge of
character and now I just don’t know.
I don’t trust myself anymore. But
I’m okay. Really. Totally okay.
I’ve decided never to put myself in that situation ever again. I am perfectly happy with my doggy and I am totally fine with a closed lady cave.
While I was talking I looked out at the audience and saw sad
expressions. The more I talked, the
sadder they got. It threw me. What I was saying was funny to me, but now
that I think about it, it’s pretty sad if you don’t know me. I talked way too much because I got confused
and was expecting the teacher to end my monologue. He said at the beginning of the class that he
was going to be at the booth editing the scenes by going to black. Not the monologues. Luckily it fell within the two minute mark.
Most of the scenes people did were about Priuses: a father who works at Greenpeace tries to
force a Hummer on his daughter because they are a Hummer family (I pretended to
be a Save the Polar Bears protestor in the background); a lesbian on her first
Match.com date only dates women who drive Priuses. The last one was about a guy trying to talk
to his father about being heartbroken and the father calling the ex a whore and
all kinds of names. I didn’t do a scene.
When we talked about the scenes, the teacher told us that
we did exactly what we were not supposed to do, basically stick to the one
word suggestion. He said sometimes you
have to do that if you get nothing from the monologue or the scenes themselves,
but in this case, I gave them a lot to work with and almost no one took
advantage of it. Not everyone gets going
from A to C. I found it interesting that
the students who are the oldest do the best monologues. So is it true young people have nothing to
say? I don’t think so. I think young people are too self-conscious and afraid to be
honest. I’m not. It’s basically all I’ve got.
For the next two thirds of the show I decided I wasn’t going
to do a monologue and just participate in the scenes. Our second word suggestion was Post-It Notes
and another old fart did a monologue about how when you work in an office you accumulate
a lot of free supplies, especially pens.
I stood back scene by scene not really getting inspired by anything they
were doing it. I was trying to go from A
to C, but they kept on doing scenes about office supplies, going from A to A to A. I finally got an idea and stepped
forward. When my scene partner stepped up, I jumped on him and yelled “SURPRISE!!! Happy 21st Birthday
little bro!” handed him an imaginary shot then his present then a shot,
etc. He was overwhelmed and I kept on
pressing that he open his present. He
did and was speechless. I finally said, “It’s
highlighters. And Post-It Notes. Even those that say “Sign Here.” He looked disappointed and I acted like my
feelings were hurt. I asked him why he wasn’t excited and he said he didn’t
imagine his 21st birthday bash to be just us doing shots at home. He expected to go to a bar. I told him I had limited finances and he said
then why did you give me what looks like $200 worth of office supplies. I told him it was to help him realize his
dream of having his own office supply store like Lexor. (Here I called back a
scene about the manager of Lexor, a supply store that gets its inventory from
stolen stuff people misplace all the time, like lighters and pens.) I continued to try to get him excited about
becoming an office supply mogul and going to Shark Tank and getting Mark Cuban
to invest.
Our scene inspired a monologue about a 21st
birthday bash drunken blackout and that inspired a scene about a son who tells
his dad he wants to be an equestrian. It
was set in a barn while the dad brushed a horse. The father was not very receptive and kept on
trying to discourage the son by telling him how hard it was. I then decided to act like a horse and
pranced by them and then pinched the son.
The dad said, “You can never be as good as your sister, look at her.” We then lost it because we all knew I was
supposed to be a horse that bit him on the arm.
My intention was to throw them a gift because the scene was going
nowhere. As it turns out, it wasn’t
really because you can never predict what someone is going to interpret it
as. You have to be very specific with
what you do from the back line when you do a walk in. Again, that was me trying to write it my way.
I was feeling very nervous about having to perform in front
of an audience for the first time in my life.
I even contemplated bailing. Of
course I did. But I know I won’t. I can’t.
I need to do this. I’m on a
journey. I don’t know what it is. I’ll tell you when I find out.
Wednesday, November 14, 2012
New Film: Zonkey Boy
Yesterday I told a friend that it bothered me that once I
got deep into the pre-production of my first feature film I wouldn’t be able to
shoot anything. I expressed my need and
desire to shoot another short before year-end.
My friend reminded me that “Chungking Express was shot when Ashes of
Time went into production hell. You can
always shoot something.” Of course I don’t foresee getting stuck in production
hell but I have left over film from Toñita
Runs Away and I could write something around a location in San Diego using the
little resources I have now. Up until
this afternoon I had no realistic ideas that would fit my resources. I decided not to stress over it and to wait
and just let the ideas suddenly come to me as they always do. And
then, it came. I ran it by my friend and
he liked it.
A boy obsessed with cryptozoology and creatures like
Sasquatch and the Chupacabra crosses the border in search of the famed Tijuana
zonkey.
I haven’t pitched the idea to the young actor but I doubt he’ll
say no since he’s easily bribed.
Monday, November 12, 2012
Friday, November 09, 2012
Screenwriting is not real writing. - PT Anderson
Last night I had the privilege to attend the Writers on
Writing PT Anderson event at the WGA Foundation. I almost didn’t go because I’ve been
attending the AFI Fest for the past week and my dog has had it. (Good thing I didn’t have kids or they would
be whining to their shrink about how I wasn’t there for them because I was
always watching movies.) Also, it was
raining and I was tired. But my new
thing is not to use being tired as a bullshit excuse not to do something
because Woody Allen is right: "80 percent of success is just showing up."
So I hugged and kissed my dog, told her
I’d make it up to her and off I went to learn from an American auteur.
F.X. Feeney moderated the discussion. He’s that annoying guy at the movie line that
goes on and on and on analyzing shit and doesn’t let the other person
talk. I think he did almost 50% of the
talking and most of it was analyzing Barry from Punch Drunk Love. PTA was a saint for actually listening to
what Feeney was saying without letting his thoughts linger off into the
repetitive mental chant “shut the fuck up shut the fuck up” like I did.
PTA said that he never takes into consideration story or
plot. He gives everything he writes to his editor (Peter McNulty?) to read and
he always throws back comments and notes that relate to classical screenwriting
craft. PTA goes off in a huff protesting,
but when he thinks about it he realizes those elements fall into place to some
extent out of instinct. He hopes that
the audience will come along in the journey because of the strength of the
characters and not the plot or story. He
never considers theme. He said that if
he starts writing with a theme in mind that is the worst. He feels himself writing and he doesn’t like
that. He said that because he doesn’t
know how to construct a story, he simply dumps all his research and inspiration
on a table and starts to play with it until the characters come alive.
He said that so much of writing is being humiliated by what
you put on the page. That made me
laugh. Sometimes I sit in front of my
computer hesitant and ashamed before I open a particular document I know is
shitty. If he feels bored or stuck, he types
someone else’s words, like a short story, to get him going and into that
creative space. He also writes short
stories about each character. Maybe someday
I’ll try the first, but I already do the latter. He said when you’re starting
out the pleasure comes from thinking you’ve written something great. When you get older, the satisfaction comes
from using your red pen to slash big chunks of text you realize you don’t
need. He gets high from it.
Feeney asked him to tell us how he got started in his career. PTA said that the first thing that comes to
mind was that at 17 he had made a mockumentary shot on cheap video called The
Dirk Digler Story. Then he thought he
could develop it into a full feature. He
worked on it for nine years and it eventually became what we now know as Boogie
Nights. He said that’s how he taught
himself to write.
He said that he learned very early on not to be precious
about the writing. He has had actor
friends for a very long time and they told him actors only read he dialogue
they have to memorize. He said, “If they don’t read it, why write it?” Then he said something I’ve heard other top professional
screenwriters say, “Screenwriting is not real writing. Good writing belongs in books.” When he gets on set, he fires the writer
immediately so that the boss, the director, can take over. And then if he needs to rewrite something the
writer rejoices and is happy to write again.
He offered an example where the actor was right and the writer was
wrong. He wrote a full page of dialogue
for a scene in The Master where Joaquin Phoenix’s character is on a walk and
talk on his way to beat up a guy.
Phoenix kept asking him if he REALLY wanted him to say all that. Phoenix hadn’t questioned anything about the screenplay
until then and PTA took note. He said
they would do it with the dialogue and without.
And of course, Phoenix was right.
Someone asked him if he had ever considered writing for the
theater. PTA answered that he hadn’t
because that seemed really hard. Again,
he said, “That’s real writing. You have
nowhere to hide.” He was also asked to
explain why his last three films were so difficult to understand. Joking, PTA said he was getting confusing and
obtuse? He said with each film he was a
different person and he was into different things. He’s not the guy that made each of those
films. Feeney quoted Orson Welles: "One should make movies innocently — the way Adam and Eve named the animals, their first day in the garden…Learn from your own interior vision of things, as if there had never been a D.W.Griffith, or a [Sergei] Eisenstein, or a [John] Ford, or a [Jean] Renoir, or anybody." PTA agreed and he said, “I never want to go
back. Fuck that. That would be horrible.”
At the present time he’s obsessed with Apichatpong Weerasethakul and
wishes he could make a film like Uncle Boonmee Who Can Recall His Past Lives. The thought of that audience of Hollywood screenwriting
wannabes trying to watch that film makes me laugh. Someone told him that Diablo Cody said she
wished she had written Boogie Nights and asked him what films he wished he would
have written. He got excited at that
question and kept on naming screenplays.
He said it would be a good drinking game or something. He named Sweet Smell of Success, North by
Northwest, The Treasure of the Sierra Madre, Network and Dr. Strangelove.
PTA’s thoughts and words really helped me at this point in
my creative life. I’ve been struggling
with two screenplays, one of which will become my first feature film. Certain scenes and parts of the stories are
very clear to me, but there are gaping holes I haven’t been able to figure out
yet. PTA said that there are lots of
places in his script where he just writes place holder action because he doesn’t
know what he’s going to do. He likes to
leave things open so that he can do more with it. He needs to leave room for the contributions
from the actors and the camera. For
instance, in The Master, and I was happy he talked about this because I
intended to ask him where the idea came from, he wrote “sailors at the beach,”
and that was it. He figured he’d think
of something once they were shooting.
His production designer, Jack Fisk, brought with him vintage books with
pictures of “sandies,” sculptures of women made of sand. So the brilliant scene I wish I had thought
of myself was actually a result of on-location collaboration. He said that “good
writing is stealing.”
Perhaps the one thing that got me the deepest was in
response to a question about his writing habits. He said that he was so busy
that day, he hadn’t written at all and that he didn’t feel right. It had been a good day but somehow he didn’t
feel like himself. He said even 15
minutes would have been enough to feel like himself. For me, if I don’t write, I feel down and
like a failure. If I write, I feel like
I’m a good person. A better person. Not
a total loser.
So, to misquote that very famous philosopher from a galaxy
far far away, this was the inspiration I was looking for. Now I feel okay with the fact that I may have
to show up on a shooting day with no fucking idea of what I will do and the
world is not going to end. I can
continue developing my stories and live with the fact that I may not be able to
have it all on the page by the time production rolls in. My collaborators will have my back and maybe
they’ll come up with brilliant ideas I will steal and make my own. It’s okay and it will be okay. That's part of the thrill of making a film.
“I made the statement years ago which is often quoted that
80 percent of life is showing up. People used to always say to me that they
wanted to write a play, they wanted to write a movie, they wanted to write a
novel, and the couple of people that did it were 80 percent of the way to
having something happen. All the other people struck out without ever getting
that pack. They couldn’t do it, that’s why they don’t accomplish a thing, they
don’t do the thing, so once you do it, if you actually write your film script,
or write your novel, you are more than half way towards something good
happening. So that I was say my biggest life lesson that has worked. All others
have failed me.” –Woody Allen
You can watch the interview here: https://www.wgfoundation.org/writing-resources/ I was told the price will come down, so wait. I wasn't supposed to tell but you read this far so you earned it.
You can watch the interview here: https://www.wgfoundation.org/writing-resources/ I was told the price will come down, so wait. I wasn't supposed to tell but you read this far so you earned it.
Monday, November 05, 2012
a condition that affects amateurs and people who aren’t serious about writing
I came across an internet piece about authors’ advice on
writer’s block. I think writer’s block is bullshit and just a fancy term for
laziness, but I liked the stuff below.
“Now, what I’m thinking of is, people always saying “Well,
what do we do about a sudden blockage in your writing? What if you have a
blockage and you don’t know what to do about it?” Well, it’s obvious you’re
doing the wrong thing, don’t you? In the middle of writing something you go
blank and your mind says: “No, that’s it.” Ok. You’re being warned, aren’t you?
Your subconscious is saying “I don’t like you anymore. You’re writing about
things I don’t give a damn for.” You’re being political, or you’re being
socially aware. You’re writing things that will benefit the world. To hell with
that! I don’t write things to benefit the world. If it happens that they do,
swell. I didn’t set out to do that. I set out to have a hell of a lot of fun.
I’ve never worked a day in my life. I’ve never worked a day
in my life. The joy of writing has propelled me from day to day and year to
year. I want you to envy me, my joy. Get out of here tonight and say: ‘Am I
being joyful?’ And if you’ve got a writer’s block, you can cure it this evening
by stopping whatever you’re writing and doing something else. You picked the
wrong subject.” — Ray Bradbury at The Sixth Annual Writer’s Symposium by the
Sea, 2001
“The secret of getting ahead is getting started. The secret
of getting started is breaking your complex overwhelming tasks into small
manageable tasks, and then starting on the first one.” — Mark Twain
I think this is absolutely true:
“Writer’s block…a lot of howling nonsense would be avoided
if, in every sentence containing the word WRITER, that word was taken out and
the word PLUMBER substituted; and the result examined for the sense it makes.
Do plumbers get plumber’s block? What would you think of a plumber who used
that as an excuse not to do any work that day?
The fact is that writing is hard work, and sometimes you
don’t want to do it, and you can’t think of what to write next, and you’re fed
up with the whole damn business. Do you think plumbers don’t feel like that
about their work from time to time? Of course there will be days when the stuff
is not flowing freely. What you do then is MAKE IT UP. I like the reply of the
composer Shostakovich to a student who complained that he couldn’t find a theme
for his second movement. “Never mind the theme! Just write the movement!” he
said.
Writer’s block is a condition that affects amateurs and
people who aren’t serious about writing. So is the opposite, namely
inspiration, which amateurs are also very fond of. Putting it another way: a
professional writer is someone who writes just as well when they’re not
inspired as when they are.” — Philip Pullman
Thursday, November 01, 2012
Head-in-a-Cart Takes an Improv Class: Week #5
I had to rush home to take off my make up because my teacher
told me it would be distracting to the class. I was bummed that my
classmates would not have the privilege to see me as a gorgeous bride, but given
the dynamics of improv, I agreed. When I
got to class my classmates were outside waiting for the previous class to
finish. They were talking about how we
were midway through the course and that they didn’t feel prepared for the
graduation performance. Haley said she
was freaking out because she didn’t feel prepared and she didn’t want to fail
in front of her loved ones. I almost
told her to get over herself and that if they were really her loved ones they should
be used to her failing. I didn’t bother
because I had a headache and she’s 22 so fuck her and her agent too. My energy had dropped after I took off my makeup and now I felt like I was getting a cold. I was
like, meh. We waited for our teacher but
he never showed up. Instead, we got a
sub. I don’t like substitute teachers. I never have. So double meh.
We didn’t do any of our usual warming up exercises, which
was cool because I didn’t remember anyone’s name or thumpers. Being a zombie all day really turns the brain
into mush. Even with a headache,
I was still the fastest to react during the warm up exercises. It surprised me that I was able to focus and pay attention in that state. We played Hot Spot again but this time
instead of singing we broke into monologues.
I heard the hot spot say “Human Resources,” tapped him out and started a monologue
about the time I was caught tweeting during work and got called in by HR. I blocked out much of that meeting but I do
remember the HR Director holding up a stack of print outs of my tweets. She said, “You tweet a lot.”
Next we worked on painting scenes in groups of four. The teacher gave us the location and two, one
by one, were supposed to furnish the room for us by adding objects and details. When the teacher was satisfied, the other two
entered the location and started a scene.
We got air control tower. Of
course everyone wanted to paint the scene because that’s easier than doing a
scene. But most of the people in my
class are moocher actors and I decided to stand back and let them do whatever. I’m not afraid of doing a scene. That’s why I’m
taking the class. Haley added romance
novels and a box of half eaten chocolates to the tower. HA HA HA HALLARIOUS, ISN’T IT? Instead of going with the obvious unusual
element I complicated things. I said those
things belonged to a colleague that went crazy and was in a loony bin. The teacher stopped the scene and pointed out the
obvious: the romance novels. These two air traffic
controllers must be hopeless romantics. So
we went with that. It’s true. I always
complicate things by over thinking. You
don’t notice until someone points it out though.
I kinda’ lost focus at that point. I sunk in my chair and watched the scenes
while trying to suppress my headache. I
rubbed my eyes and face and noticed I still had spirit gum residue on so I spent a good amount of time peeling it off. The teacher then
talked about what distinguishes UCB from the other improv schools: The
Game. What is the game and how to you
find the game? It’s about finding the
interesting and unusual in a scene and playing that out. We played around with a scenario of a group
of firemen on their way to a fire. One
of them wants to stop for fast food. So
the fact that they would stop to do that it’s the unusual thing. Then you try to think of ways to repeat that unusual
thing, excuses and reasons to stop before getting to the fire. So that’s the game. Pinpointing the unusual and going with it.
Then we started doing scenes two people at a time, with the
teacher stopping and pinpointing things when we weren’t getting it. Two by two, people kept getting up but I just
sat back. It felt weird to sit there but I was feeling lethargic and
meh-ish. I was aware of it and it made me
feel horrible. I decided to force myself
out of my funk and get up when the teacher asked how many were left. There were only three including myself. He told the three of us to do the scene. Someone threw out the word “breakfast” and I
found myself in between two really young guys.
I took the lead and asked, “So, who wants breakfast?” (I know, original,
huh? But I'm not supposed to complicate, remember?) Then I asked them what they wanted.
One said pancakes and the other eggs.
I said I didn’t know how to make eggs.
The teacher got up and said, “Yes you do. You know how to make eggs.” I
replied, “Actually, I don’t really.” People gasped as if I had said something
blasphemous. I told them I had issues in the kitchen. The teacher thought I was trying to be weird but I was just being myself and truthful, like we are supposed to.
The teacher went on to explain that for long form improv it
was better not to throw in obstacles. I
then took the opportunity to ask something I had wanted to ask since the last
class. I told him I wrote drama and that
I directed films, where conflict is everything. In its simplest
terms, characters wants something, other character(s) keeps him for getting
it. It was about piling on the
obstacles. The teacher said improv was
not exactly conflict-free; that it was okay to have conflict, but that
obstacles had a way to throw a scene off track.
I think I understand.
So we continued the scene, with me trying to connect with my
sons who were home from college and they being total selfish pricks. We ran out of time and we went on to the next
exercise which was supposed to help us understand what we are doing for our
graduation performance. It’s going consist of a monologue, three scenes based on the monologue and then another monologue
and then another three scenes. It’s the
Asscat format.
The teacher divided the class in half. I stayed on stage. Four of us were supposed to step forward and
do a monologue. A monologue, not a
performance and not a standup routine.
The teacher said “prom.” Oh boy my memory was immediate. I stepped up and told my story. I told them about my parents pulling out all
the stops for me. They rented a vintage
Rolls Royce and even got my tennis coach’s 27 year old son to take me to the
prom. I felt like such a grownup not
going to the prom with a high schooler.
I told them about how my date left in the Rolls, leaving me and my friends in front of his house and then returning with two hoes and a bag of coke he bought with my dad's money. My friend, who's a crazy Italian, went nuts and screamed at him and I, completely out of character because I used to be very shy, lost it too and screamed at them to get out of MY fucking Rolls Royce. The teacher asked me the moral of the story. I said: Don't expect anything from prom.
Three young guys who had probably just gone to their prom two or three years ago stepped up and did their monologue. One had his clothes thrown into a bond fire at the beach, the other ended up without a date at a Mormon party and the third didn't score with his date because she wanted to watch a DVD of Twilight instead. The teacher asked us what parts of the stories made us laugh. We discussed it for a while. He said that we should be aware of what the audience laughs at during the monologue and build our scenes taking in those elements.
Poor Haley. Will she be ready to take the improv scene by storm after the three remaining classes?
Lesson #6: Don't complicate the game by being weird and not knowing how to cook eggs.
Three young guys who had probably just gone to their prom two or three years ago stepped up and did their monologue. One had his clothes thrown into a bond fire at the beach, the other ended up without a date at a Mormon party and the third didn't score with his date because she wanted to watch a DVD of Twilight instead. The teacher asked us what parts of the stories made us laugh. We discussed it for a while. He said that we should be aware of what the audience laughs at during the monologue and build our scenes taking in those elements.
Poor Haley. Will she be ready to take the improv scene by storm after the three remaining classes?
Lesson #6: Don't complicate the game by being weird and not knowing how to cook eggs.
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