Death becomes Him - Alan Ball in conversation

Wil Anderson in conversation with Alan Ball 

Alan Ball: Vampires, Death and the Mundane:

Sydney Opera House

8 September 2011

Bringing the miraculous within the mundane is Alan Ball's catch cry... and he certainly doesn't disappoint with iconic films such American Beauty (1999) and Towelhead (2007), and multi-award TV series as Six Feet Under (2001-2005) and True Blood (2008-).

Why the fascination Wil asks? In true multi-layered styles as complex as his movie and television series are, Alan Ball responds:

As a graduate from Florida State University in Theatre Arts, Alan Ball originally sought to be an actor. As it is be known to happen, acting roles are scarce to newcomers and so he began writing "parts" for himself and colleagues...  he realised writing was what he really wanted to do.

Thinking about Alan Ball as a writer, comedy isn't usually first thing that springs to mind, though one of his first TV writing gigs was a sitcom called Oh, Grow Up, a talking dog whose thoughts were communicated via subtitles. Universally hated... the talking dog went on to become something of a grounding experience. While accolades were on American Beauty, his sitcom was deemed unwatchable. Should of given the dog a voice (and some drugs to smoke) maybe.

However, death and the mundane obviously featured prominently throughout the evening, and in fact his career. Ball, having been traumatized by the death his sister at a young age, he identified with the 'normalization' of suppressing grief and emotion that he experienced in funeral homes. His own mother was whisked off behind a curtain at the first visible sign of grieving at her daughter's funeral and his own feelings toward viewing the open casket. Later, these experiences and observations would go on to inform and personify the setting for writing a pilot for the HBO series of Six Feet Under.

 Though the subject matter isn't as morbid as the title suggests. Six Feet Under, for those that haven't experienced it, is a series that deals with, comedy (albeit dark), life, grief, denial, guilt and everything that engulfs the people that are "left behind". Ultimately, it suggests themes of: how well do we really know our loved ones - their secret lives revealed only after death. Each character's story within the series is explored fully, with Alan Ball creating a revolutionary approach to a television series where equality prevails on screen. A humanistic approach.

The prelude to this series has related moments in the film American Beauty. It touches on insanity, insecurity, fantasy, desire, conformity, the alluring of the scary but beautiful things that are behind the doors of suburbia.

Moments of Ball's ingrained observation appear throughout his body of work such as: the memory of watching a plastic bag 'dance' through an empty World Trade Centre Plaza as it mesmerised him for fifteen minutes, creating a feeling that there was this entire 'life' behind things, an incredible benevolent force that wanted him to know there was no reason to be afraid, ever. A scene that was beautifully depicted in the film.

The teenage girl's dialogue captured so wonderfully between Angela and Jane in the film (...you total slut, you have a crush on him. You're defending him, you love him, you wanna have, like, ten thousand of his babies...) was also inspired by an attending a U2 concert when a teenage fan got up in front of Ball and screamed "I love you Edge, I wanna have, like, ten thousand of your babies!"

On True Blood and vampires, Ball cites same same, but different, themes of sex, desire, danger, equating vampires = sex.

First encountering Charlaine Harris' Sookie Stackhouse novels arriving, thirty minutes early to the dentist and wandering into a neighbouring bookstore, he was drawn to the vampire shelf and consequently read the first novel in a day. Taken by the novel, excuse the pun(s), he could immediately envision his next television series.

Alan Ball is a funny guy (fantastic humour)! A Buddhist, an activist, an ultimate observer of life and what it is to be human, Wil Anderson asked how he'd like to go. Ball replied that he would like to have his cremated ashes stuffed inside a talking dog.

Go now to your nearest DVD outlet and purchase his work... you'll want to watch it more than once!

Interview with Script Developer Sonia Armstrong

Interview with Sonia Louise Armstrong

Freelance Screenwriter, Script Development

  

Queensland based Sonia Louise Armstrong kindly answers some pointy questions about Australian Script Development and Assessment and the state of marketing after all the hard work is done.

Hey Sonia,
Thank you for meeting with me today...

What does it mean to be a Script Developer/Assessor?

Script assessing is certainly a role that a script developer undertakes, however often these two job descriptions can play separate roles in industry.  Personally I am extremely passionate about all facets development – to me it is about bridging the gaps between the key creatives and the executives by effectively communicating to both parties about their needs.

How does developing a screenplay differ from a screenwriter?

Being a screenwriter is extremely advantageous when assisting others in developing their script.  It provides empathy towards the often frustrating elongated torment of crafting story.  It is easy to be much more open minded when the screenplay is someone else’s!

Are you able to make a living as a screenwriter? Is it easier to make a living as a script developer or assessor/editor?

I have been freelancing fulltime for over 13 years now but it is never without its ups and downs.  I think it’s imperative to have many strings to your bow and be flexible with your skills in order to provide the best employment avenues. That being said, script developers should be thriving in this country – but they’re not.  There aren’t many of us around!  The talk or complaints of lack of script development in this country far away the jobs.

What kind of projects have you worked on? What were your roles?

Again, with many strings to my bow I have worked on both Film and Television product aswell as web series in development, writing and script assessing.  Comedy, Drama, Childrens, Animation, Sci Fi, Horror, Thriller, Documentary; Format & Entertainment TV programs, Feature Film, Short Film, Corporate, Adaptations, Commissioned and Spec.  I have also written and advised across other writing mediums.

What genres do write in? Preferred? Television? Film?

My dream run would be to work permanently in TV development, focusing on narrative comedy content or some great gritty character driven drama.  But as mentioned above, I continue to keep my skills broad for opportunities sake and to save being pigeon holed.

Are you aware of any Australian mythologies or legends that often appear in Australian Film?

Despite my copious studies and analyzing of product I can’t say off the top of my head any that have stayed with me.  I’m sure if I cast my mind back there would be something significant to ponder on but I prefer focusing on the pure development of story, character and structure no matter what the content.

What factors influence the success of Australian film in 2011 and how does this differ from previous decades?

Like fashion and hairstyles, content changes with time aswell.  Audiences predominately favour what they are exposed to.  One of my favourite adages for content is: If you keep feeding them tuna they won’t know there is salmon!   My biggest soap box tout is that there has always been an issue with marketing in this country which then needs to be followed up with strong product.  Red Dog figures have been very successful because of a) the marketing b) clever crafted content c) word of mouth.

What Australian screenwriters do you consider the most influential to Australian Screen industry?

I don’t think any really are – sad isn’t it (sorry guys!)  I think there are a lot of good writers doing great work and for most of them, they don’t get the right opportunities to display their talents. Ie: forced to write for genre TV when they’d rather be seeing their passions on the big screen.  I do love, and am very proud when Aussie writers make it big in the US though!

How would you describe the current state of the Australian Screen industry?

Forever struggling but determined, strong, passionate and talented beyond belief.

What steps does a new talented writer have to pursue to get their screenplay realised?

Make concessions to get your first credit, keep an open mind, network your arse off.  And don’t forget – your interviewing the producer with your script just as much as they are interviewing you!

Is there a system of government grants for screenwriters in each State or Federally? What kind of government awards is there for screenwriters?

There are some opportunities offered by state governments for writers – Queensland opportunities fluctuate wildly from year to year.  But there are still considerable gaps in the funding systems and I have had to attain funding from other bodies for my work because of  those gaps.  Awards – the Qld Premiers Literary Award which holds screenwriting categories aswell as other state bodies.

Are Australian people interested in viewing their own screen stories?

Australian audiences are afflicted with a terrible disease “Aussiecrapfilmitis” it has grown significantly over the last 10-15 years to affect a majority of the population to endemic proportions – particularly the Y generation.  This health issue can easily be eradicated with a minimum 5 year vaccination program of “marketing” which needs to be assisted by government bodies! 

Any other comment you would like to make about screenwriting and developing in Australia?

An increasing focus is required on not just ‘developing scripts’ but developing script developers!  That’s when content will have a fighting chance.  PS: WHERE THE BLOODY HELL ARE YA’ MARKETING?

Thank you for being so candid, greatly appreciated.

Details on how to contact Sonia see her website :

http://www.sonialouisearmstrong.com/