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Sunday, March 5, 2011

A Screenplay is like a novel. It is the base unit of play. In a screenplay, we write a story in the most distilled form of the language of art and life, in which we can say everything we can in a few hundred or thousand words. In that form, we get to say some things that other forms allow us only to hint at. When I say the language of art and life I mean what I am given to believe is the language of the God of Love, the God of Light, the God of Life, those are the names I have given the source of what I understand as the Great Unity. All that the language of art and life affords us is an offering to that source.
The Script (Movie). It is not a visual artwork, not a performing art, it is not even an art of action or a showing of its effect, it is a medium of creation for voices from the divine. It is based upon the rhythm of the human heart. It is a musical form expressing the love of the Heart of God. An unknown spiritual force in the form of a human being in whom we ourselves are identified and within whose identification we share, has given us this language. We do not pretend to understand it, we do not pretend to be able to make anything of it, we do not pretend to be able to use it for our own purposes, we are satisfied with letting it speak to us by being open to it.
Some readers and listeners fall prey to the presumption that the writers of movies were given some special ability by Nature to bring the source of the language of art and life into the form of their art. As a movie writer and screenwriter, I am convinced that our work is an offering to the source of the language of art and life, and so in the purity of our intention we are open to that source, and in that sense, we are open to the God of Love, Light, and Life, who created all our senses so that we might be conscious and aware of His presence and His Love in each moment. That is an offering that is accepted by all who listen and read.
All it says is that on the next page, Mr. or Ms. Producer, check out the list of ways we think they can “voice character” more efficiently.

Examples of Character Voices
We are not using these examples as a guideline. We are using these examples as proof of our point that the heart of the actor


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