Having spent a lot of time at Steampunks in Space talking about early films with Gregg McNeill, we clearly had homework to do. Film is not a medium I’ve ever worked in and I don’t have a very visual mind. I have written scripts – for the comics, and also for mumming sides, so I knew just enough to know I was out of my depth. We set out on a process to steep me in old films in the hopes that this would enable me to write a viable script.
Some of it was a bit random, as Tom and I wandered about on youtube and online archives. Some of it was very deliberate as Gregg steered us towards things, and alerted us to details we should be considering. How the text boards are done. How the sets are put together. The lighting and mood. I would have to write for period appropriate technology, one camera that can’t move much, a small budget… there was a lot to think about.
Several period films became key to us during this process. One was Nosferatu – the way the lighting and shadows work there. The one that most impacted on me was The Cabinet of Dr Caligari because of the way in which the sets are painted. I realised this was the kind of look I wanted for us, and after consulting with Gregg it became apparent that this might be the most realistically affordable approach for us.
Having started this whole venture from the observation that there are parallels between silent films and comics, it because vital to dig in on those mechanics. A silent film needs a script for the actors to work from, and it also needs text cards to support that and guide the viewer. Gregg directed us to early Buster Keaten films for the most effective and minimal use of text cards. That became a bit of an obsession all by itself and there is a part of me that wants to make that kind of film. This may be a story for another day…
So much would depend on finding a team of people for the human characters who could embody what’s going on and get it across. The acting style in silent films is not the same as modern films. I admit that I love the more overblown acting approaches, and for several of our characters – Durosimi and Melisandra – that would make a lot of sense. The more we looked at films, the more aware I became that I needed to know who I was writing for. It wouldn’t work for us to have a script and try to cast it.
There was only ever one person I wanted to have playing Annamarie Nightshade. There is only one person I could imagine playing Melisandra. But would they be up for it? And who else should be in that team?
Check back next week for the next instalment of how we did all the crazy things…
And do have a look at Gregg McNeill’s patreon page – https://www.patreon.com/DarkboxImages