Interview: Listening Raven - screenwriter of "REZ" (Question 4)

ROFFEKE: You predict that ten years from now "Native American projects, movies and sit-coms will be prolific." Why are you confident about this, despite the discouraging statistics? (Less than 1 percent. "Indigenous Representation is Still Scarce in Hollywood: We need more Native Stories" by Crystal Echo Hawk, variety.com, October 11th, 2021)

LISTENING RAVEN:

There are things we just know and feel. And there have already been hints, breaks and missed opportunities for Native Actors and programs.

The number of Native American/Canadian talent out there this very moment is massive. And for that matter, Indigenous Persons all over the world. This includes comedy.

There is without debate a vast number of Indigenous Persons that have the ability to jump right into leading roles.

It's going to happen just out of the laws of probability. The mainstream can only shun such a giant talent pool for so long.

When it does happen, it will appear to be an accident. As are many of life's greatest moments. And when it does take place it will be like an artistic volcano that erupts from the earth after being silent for many years.

A small group of Los Angeles or New York City executives will stand up and cry to the show business heavens how they discovered this amazing resource. When, in fact, that resource has been here for years. If you want to get technical, somewhere around 15,000 years. That's how long Indigenous Persons have been walking on this land now called The Americas. And in places like Kenya and the continent of Africa, much longer. The birthplace of humanity has so much to offer all of human kind.

(Mildred, please extend a greeting (Kiwakomile, kee-wah-ko-nee-lay) from the people of The Americans to the Indigenous Persons of Kenya. More should know that the issues of Indigenous Persons just doesn't apply to The Americans, but Kenya as well such as the Pastoralist and Hunter-Gatherers in Kenya.

Please tell these Indigenous Persons they have brothers and sisters in Spirit from a land far away. Then again, all women and men from all places around the globe are brothers and sisters. We all began our journey in Africa. And someday, we, the people with pure hearts and righteous intentions shall all meet in one place.

I pray every day I am in the group of the decent and kind.  

Many years ago, a Native American Elder explained to a newcomer to his land the struggle within all persons was like two dogs. The first was angry, aggressive and hateful. The second dog was kind, giving and filled with love.

When the Native Elder was asked by the newcomer which dog was stronger the Indigenous Elder responded: "Which ever one I feed the most.")  

Some say its good old-fashioned prejudice that keeps Indigenous Persons out of the mainstream in this thing called show business. And that can be the reason in some cases, no doubt. Sadly, there will always be some that are so filled with bile, hate and vengeance to the point that bigotry is all they know.  

However, the many persons in show business I've encountered are not bigots. They despise prejudice. And these studio executives that will jump with joy when they discover this Native wealth of talent are also good people for the most part. More Hollywood executives have given more chances to people of color and marginalized groups than many other businesses in The United Sates during the 19th Century. Not as many we'd like, but many other businesses. So, bigotry is not the primary reason for the exclusion of Indigenous Persons in entertainment. Many, myself included, believe it is fear of the unknown combined with the risk of losing money on what they see as a gamble. In short, it's not a question of black or brown, but green.  Lose the green stuff and you're out of a good paying job.  

And as for those brave studio executives that do take that big leap, it will be their discovery in the sense they took action when others sat still. They are the ones taking the career and financial risks. Always consider the other point of view. It's easy to be audacious with other people's money and business reputations. That's just life. That's taking an adult and realistic point of view.

That said, yes, risk taking needs to play a bigger factor. The first, second and even additional efforts may only break even or fail when it comes to Native Projects turning a profit. But it will pay off. We've had small breaks along the way.

A great example of an introductory moment was the sitcom Seinfeld in December of 1993 when this top rated programs in the ratings featured a Native American Woman on an episode. The name of the Indigenous actor was Kimberly Norris (Now Kimberly Guerrero) and she played the part of Winona. Without going into detail about this episode, which is brilliant, this stellar Native American talent was hilarious. In addition to being incredibly beautiful, she also had a certain stage presence that is a combination of great training and another element that can't be learned in the classroom.

Kimberly Norris-Guerrero (Winona) could easily have become a regular on Seinfeld, she was that captivating. Essentially, she was a Native version of the feature female character, Elaine Benes played by Julia Louis-Dreyfus.  

How incredible it would have been to have had the character of Winona start dating Jerry? The character was that enthralling thanks to Kimberly Norris-Guerrero. The issue here in 1993 is that some believed the audience wasn't ready to see The Native American Character as just a character the same way they saw the rest of the cast as just individuals.

We have to get to the point where great characters such as Winona are intriguing characters that happen to be Indigenous Persons as opposed to Indigenous Persons that are also great characters.

And even after Winona was not brought back for another episode, Kimberly Norrie-Guerrero absolutely should have been picked up for any number of other comedic roles in any number of other great shows. How that didn't happen, is a mystery. Or, worse yet, maybe it's not.

But this pattern cannot continue. The tides shall turn.  Once again, it's the laws of probability. So much sheer and overpowering talent in the Indigenous community will eventually explode upon the scene. And, as that Bill Shakespeare might say if he were here to see it happen, Why did equal talents bestride show business for so long like a colossus, while Native Talent found themselves in dishonorable artistic graves for far too many years.

Another key component to comedy is self-effacing humor. Many Indigenous Persons have amazing humor, much of which is self-deprecating. Just like any other group. We are all different; we are all the same. That can be depicted and celebrated.

The issue here is some in the mainstream are so hyper sensitive to offending Indigenous Person with smart humor that the powers to be won't take that risk out of political correctness. However, when you treat a group with kid gloves,that can be pandering. It's a fine line to many that produce programs.

Accept the fact we are all weird in our own way regardless of skin color, religion or geography. If you're not laughing at yourself some of the time, you're just not looking hard enough.

A 2024 version of Winona from the December 1993 Seinfeld episode could take the whole Indian giver remark in a completely different direction in 2025.

One: to be funny.

Two: to make a serious point about how the saying could factually be called: An Anglo giver.

And audience, and people in general don't like to be screamed at, lectured and demeaned even when they make ignorant remarks. Humor goes a long way regardless of what we look like on the outside. It can then open the door to a gentle manner in which to give a history and/or moral lesson.

The aforementioned Seinfeld episode with Kimberly Norris-Guerrero, if done today, could have gone unfolded as such:

WINONA:  You mean like an Indian giver?!

JERRY: I'm sorry, I'm not familiar with that term.

WINONA:  I could argue as a Native American isn't it my prerogative to be an Indian giver? Are you denying me my cultural birthright?

JERRY: You really want this TV Guide.

WINONA:  Besides, when you think about it, it's the white man that broke every contract they ever made with my people, so maybe it should be Anglo giver.

JERRY:  I think you just invented a new term.

WINONA: And I'm not even warmed up.

ANOTHER SUB-PLOT SCENE TAKES PLACE WITH OTHER CHARACTERS. THEN CUT BACK TO WINONA AND JERRY WALKING OUTSIDE

JERRY:  You know the term red skin is really inappropriate.

WINONA: I'm supposed to thank you for that sentiment?

JERRY:  Think about it, the only people that turn red are pale skinned whites with sunburn.

WINONA:  Fine. We'll go to the beach and I'll hide your suntan lotion and put your profile on a football helmet.

WINONA AND JERRY TURN TO ANOTHER TOPIC NOT RELATING TO CULTURAL DIFFERENCES. SOON, WINONA IS JUST ANOTHER CHARACTER AS FLAWED AS THE REST OF THE CAST. NOT FOR HER HERITAGE, BUT HUMANITY.

***

Look out for Listening Raven's answer to question 5: "Advise to upcoming screenwriters and those in underrepresented communities?"

Interview: Listening Raven - screenwriter of "REZ" (Question 3)

ROFFEKE: Your portrayal of women in "Rez" is non-stereotypical, does not show them as being "voiceless, or silent...an object of desire, and victims of violence...without agency" (Illuminative's "The Time is Now: The Power of Native Representation in Entertainment", page 26). Did you purposely set out to portray the women in this more positive and realistic light or was it just a happy accident?

LISTENING RAVEN:
Perhaps my single greatest blessing has been the women in my life that have personified the Warrior Culture Spirit. As a child there was much assistance in my journey of life. I will leave it at that. Most of that has come from the strong women. 

In terms of the Female Warrior Spirit, I have heard of examples of women taking actions that were of such a just and affirmative manner that if revealed, they could be misinterpreted by the contemporary justice system. Sometimes justice takes place in places outside the court rooms.

So, I guess the female characters in REZ were just portrayed as the strong female figures that saved those of us that were once too young to fight back.

(NOTE: The following are free flowing thoughts. These free-flowing thoughts may apply to any and all of the questions. Just wrote down some extra text that happened, thanks to your intriguing and inspirational questions, Mildred.)

The list of female Native/Indigenous Performers is just as prolific. Especially when keeping in mind the genre of rock -n- roll has many mothers, fathers, cousins and siblings when it comes to musical forms.

The Native American Jazz Singer, Mildred Baily from the 1930s was known internationally as the Queen of Swing. She also sang blues music.

Today there is the folk music singer Kelly Jackson of Native American Heritage. And the Pop Music great Raye Zaragona who takes inspiration from her Native American and Japanese roots.

And the brother and sister duo of Sihasin.

There are so many more.

One could get lost celebrating the eclectic array of Native American/Canadian-Indigenous musicians past and present. Sadly, however, in order to lose oneself in these glorious cultures, one has to begin the journey. Once the mainstream entertainment industry takes this step, it will be a groundbreaking journey. And not just for Indigenous Persons, but the world. 

***Look out for Listening Raven's answer to question 4:
You predict that ten years from now "Native American projects, movies and sit-coms will be prolific." Why are you confident about this, despite the discouraging statistics? (Less than 1 percent. "Indigenous
Representation is Still Scarce in Hollywood: We need more Native Stories" by Crystal Echo Hawk, variety.com, October 11th, 2021).

Interview: Listening Raven - screenwriter of "REZ" (Question 2)

ROFFEKE: In 2016, you wrote a stage play that ran Off-Broadway in New York City and have written many other plays. What do you enjoy about writing screenplays that you find challenging when writing stage plays, and vice versa?

LISTENING RAVEN: Wow, good question! I like how with a stage play, actors can get up on stage and read the dialogue days after putting it on paper. That's the case with a stage play-type-format. That's huge. Its cool how something will come out that you didn't know about your dialogue. And then there are times a good actor will read it and you realize you laid a big fat egg.

If that's never happened to you, you're lying. Everybody's written some bad stuff.

And then there's times an actor will read something that turns out great.

Stage plays however have to be on one set. I love flashbacks and jumping to different places. Screenplays allow for that freedom.

Screenplays are a visual art. I feel the writer can inspire the director to some degree. Great directors are awesome. Then the camera, light, sound people along with folks putting down the little railroad tracks as I call them.

Sometimes when writing a stage play, I wish it were a screenplay. And then when its a screenplay, I wish it were a stage play.

When two actors are engaged in an amazing moment, the stage allows for more time. The difference between a 12 second exchange is so much different than an exchange that goes on just 24 seconds. Screenplays should move a little quicker when it comes to dialogue. You have to show the audience with images and quick cuts. Stage gives the writer more time to elaborate with dialogue.  

You can lose your audience in a matter of seconds in a screenplay.  The audience these days want things to move along and move fast. Especially in a comic exchange.

That's just how it is.

In a stage play, the audience knows going into the theatre there is going to be a lot of dialogue. You're not going to have realistic looking bombs, explosions, car chase scenes and people jumping off buildings, into a pool of fire, and coming out to chase down the bad guy in slow motion.

But, if a great actor(s) are engaged in a stimulating conversation with engaging dialogue, it works in a screenplay or stage play.

***

Look out for Listening Raven's answer for Question 3: "Your portrayal of women in "Rez" is non-stereotypical, does not show them as being "voiceless, or silent...an object of desire, and victims of violence...without agency" (Illuminative's "The Time is Now: The Power of Native Representation in Entertainment", page 26) Did you purposely set out to portray the women in this more positive and realistic light or was it just a happy accident?"

You can read his answers for Question 1 HERE

Interview: Listening Raven - screenwriter of "REZ" (Question 1)

ROFFEKE: Your screenplay "REZ" has many moving parts that work well together. How long did it take you to write it? What's your writing process like? Are you an outliner or a seat-of-the-pants-er?

LISTENING RAVEN: First off, thank you for your observation and sentiment that REZ is, many moving parts that work well together. That is extremely observant and complimentary.  

Never actually put together a written outline. Maybe I will next project, maybe not. I wish I could. But, then again, maybe there was one that just took place somewhere other than documentation. Maybe in my head floating around.  

Writing to me is not pencil & paper. Or computer in the contemporary sense. It's day dreaming. We all do that. We all daydream. As a child, many thought my wondering off in my mind was a medical condition that required some medication to resolve. Thank the powers beyond us my handlers never put me on those drugs.  

We see things when we don't think; or try not to think. Thought, ideas, concept come to us. From where, I think I know, but I can't prove it. Then write it down in no particular order.

It can be a single sentence. It can be pages of non-sense. No matter. See where it goes from there. That in and of itself is meditation. That is being one with God; The Great Spirit. The place beyond us. Have many friends that are atheists. And that is their choice.  

That said, these folks are incredible dreamers, some of them, just as some believers can't write a grocery list to save their lives. The best atheistic writers I know can go places in their minds they can't explain. Nobody knows for sure what they're going to dream tonight. There is so much that is unexplained. But meditation is peace and out of peace can come order.

So you have a bunch of thoughts written down.

That's great and they are valuable. Anything you take the time to write down is worth saving. If not for the public, yourself. If you're like me, you'll look at stuff you wrote down years ago and feel embarrassed, ashamed and down right sick at how incredibly stupid you were, and still are. So what.

Eventually, if your passion is in it, something precious will surface.  

Then comes the editing. You can do this yourself. And/or get input from others. But, BE CAREFUL of those who will destroy these thoughts. Sometimes these critics will give you great advice. But, once you mull it over, you will know.  

In my case, I've spent tens of thousands of hours writing regarding many projects. They were followed by just as much time editing, cutting the parts that went on too long. And by too long I mean the parts that don't appeal to the audience. When you see your stuff performed in front of an audience, and the body language of those in the crowd is that of, Please get me out of here, that makes a writer ponder.

It also sucks.

I've sat in the back row for one act plays when there was feedback time.  I heard one lady say about one of my works, If that character pontificated for another second, I was going to pull my hair out and scream out loud.

I was not all that happy. Then, upon further review, she was right.

REZ was actually in New York City's Off-Broadway in the summer of 2016. The stage play went by the name of, “Last of the Caucasians. It was written under my legal name, Erich L Ruehs.

The name gifted to me by my brothers & sisters as a child long ago is Listening Raven. That is now the name I write under.  

This was some time ago, and a story for another day I chose not to share with the public. It's when I not only found out for a fact about my dirty blood, but leaned to embrace it. And the Raven that always showed up during our story telling hours was real. It took the form of a real creature we could all see. And, as Forest Gump would say, That's all I have to say about that.

Last of the Caucasians was on YouTube for some time, but alas is not there anymore. Don't get me started about the internet. *Actually, during my re-write of these questions, I think LAST OF THE CAUCASIANS is back on The YouTube if you search:  Last of Caucasians Erich L Ruehs. At least its on The YouTube for now. I don't really understand these search engines.

(ROFFEKE Note: You can watch it HERE)

But, it's about the re-writes. Thousands of hours; literally. And that's cool. Writing is life. Never write because you have to. Write because it gives you life.

LAST OF THE CAUCASIANS, the stage play, turned into REZ, the screenplay.

Lots of hours. Many days ran into afternoons which would turn into nights. Followed, naturally by daybreak next day. The first draft for REZ was around 185 pages long.

More weeks and months were joyfully spent getting it down to 95 pages. You will feel as if there is assistance from somewhere else when you write and edit from the heart.

Study the little things. Just meditate on one line, even one word. If a sentence can be said with five syllables, instead of seven, that's a victory. If that takes you days to edit, take those days. I don't count words, I count syllables. Each is a musical note.

When you realize there's something on page whatever, and it can come back as a reference point to another page, grab it.

Then there's something said on the later pages that could be introduced in a subtle way 30 pages back, that's a victory.  

Read your own work hundreds of times.  Read it thousands. Something is going to come to you for the first time. And then you still might have it wrong. And if you think that is a struggle, it isn't. That's living on the pages. That's where you live at that moment.

So how long did it take me to write REZ?

I guess a really long time. Thousands of hours followed by thousands more.  I would guess around 10,000 hours on LAST OF THE CAUCASIANS (The stage play) combined with the metamorphization into REZ (The screenplay.)

During these two project, which one could say was the same project, there was other writing going on. Other stories or just free-flow-writing. I do some free-flow writing at the end of this interview, Mildred, which was inspired by your questions.   

One writing secret I have is to print out a hard copy of my play/screenplay. I say secret because I'm not writing for money or people to notice me. I wouldn't charge people to learn my technique. Somebody asks, I share. Many good people have shared their time with me and I'm proud to do the same.

Anyway, my secret is having a hard copy of something I wrote. Even if it's one page, it can be pulled out when on line at the grocery store, or anywhere else. Make edits and/or add to what was written down.

Then put in on a computer copy. And then make edits and/or add dialogue to that computer document when it's on the screen.

Then, print out into a hard copy and do the same.

Then, put those changes into the computer version and do it again.  

Go back and forth a couple hundred times, I don't know why, but you'll discover things on the hard copy version you won't see on the computer screen and vice versa.

Each gives a different perspective in a subtle manner.

I'll have a hard copy with the words printed out and a pencil in my hand and something in hard copy form just JUMPS out at me. Then circle something and point it to another place on the page. Or some other page. I'll line the pages out it a room and look at how the flow goes and look to one page to the other.

Then put the edits back on the computer. The computer version will reveal a different perspective. You can zoom back and forth on the computer in a different manner in which you edit with papers on the ground.

I love papers in my hand, or on the ground, or pinned to a wall or old barn outside. There's this movie with Russel Crow and his mind and he puts stuff on a window, or something and the thoughts bounce back and forth from the written stuff on the window to his head and then back and forth again.

I can't relate when folks think he's crazy. He's not crazy. He's the only normal one in the movie.

Or, sometimes you'll get something right the first time. It could be that the first thing you write down is the best, especially with one important line of dialogue.

There aren't really any rules but passion, hard work and honesty. And thousands of hours.  

***

Look out for Listening Raven's answers for question 2:
ROFFEKE: What do you enjoy about writing screenplays that you find challenging when writing stage plays, and vice versa?

Interview: Mario Luis Telles, Screenwriter of "Time"

 ROFFEKE: What inspired your screenplay “Time” and how long did it take you to write it?

MARIO LUIS TELLES: In 2020 I was stuck inside for most of the year because of covid. I couldn't be around people because things were so weird. So I wanted to hear a happy story. I sat down with the memories I had from my jamming days, I remembered how to format a script from my days at the University of New Mexico, and I had new memories from acting and being on set. I sat for about 12 hours at my computer and out came "Time". As soon as I wrote it I saved it and submitted as it was, no editing, just because I wanted my peers and colleagues to see my work as I am. It turned out to be a success beyond my wildest dreams. To be accepted as a person in any way is a huge achievement.

ROFFEKE: What was your writing process? Are you an outliner or a seat-of-the-pantser?😀

MARIO: I would have to really feel what I want to write. To affect me in such a way that I would have to sit down and tell a story. Most people wouldn't take the time to stop and think about it, but to me it's an opportunity to be that story teller. To tell a tv show ok you're coming to life, I got to get you out on to paper. Seat-of-the-pantser totally. I wish I had a team to bounce ideas from, but it's just me for now😃🎥.

ROFFEKE: What are your thoughts on artificial intelligence? Would you be open to “Time” being produced using artificial intelligence tools or would you prefer it to be produced in the normal way?

MARIO: Anything put through AI would be a fun experiment. Like a what if come to life. I would really enjoy seeing the show come to life the old way and possibly in front of a live studio audience. Norman Lear I know you hear me where ever you are, thank you for bringing the live studio audience to the show instead of a separate entity. Like you can tell the difference from I Love Lucy to All In The Family. One was part of the show(All In The Family), the other was a fun spectator(I Love Lucy). Always for the audience!

ROFFEKE: You have worked as a stage hand at The Super Bowl, you have been a radio show host, you have been a musical guest on a network late night show and you have performed as an actor/stand in/ photo double in more than 30 TV shows and movies. Your family has supported and stood by you through all of these accomplishments. What would you say to family members who, understandably, are hesitant to support their sons/daughters to pursue a career in the arts?

MARIO: I would say "Quit Being Jealous"(like a tv show title, hmmmm could be a new show😃🎥) because it's not you that is successful. You may be close in relation, but it's still not you. The child is going to be successful no matter what. You, the jealous one, need therapy at the very least. Mom or Dad lost it because of the bitterness and jealousy they had towards their child is such a tragic thing, but I've experienced that from my Dad. My mom was/is always supportive. She passed away from cancer complications, but she told me to never give up. My dad's stuck trying to be cool. It's weird and sad.

ROFFEKE: What advice would you give a budding screenwriter/actor/musician?

MARIO: Don't ever give up. You will be the outcome of your hard work. The success is already inside you. Let it come out as naturally and as beautiful as you are. I love you all so much you creative artist you. Thank you for your dedication to story telling and performance. The world needs you.

Interview: Joey Kent - Screenwriter of "Simon Says"

ROFFEKE: You are the vice-president/curator of the Rockabilly Hall of Fame Museum and the owner of the Louisiana Hayride Archives. Your screenplay "Simon Says" features lyrics from 25 Paul Simon songs. Why Paul Simon's lyrics and not, say, Elvis' lyrics?

JOEY KENT: My father was the producer of the Louisiana Hayride for many years, the place where Elvis and others got their start, and I chronicled that rich history in a book called “Cradle of the Stars: KWKH & the Louisiana Hayride” just a few years ago, so this script was a welcome departure from all things of that world.  The idea came to me while listening to “Me and Julio Down by the Schoolyard” one day as my mind began to wonder what exactly had been witnessed that day.  Similarly, I started my first novel of historical fiction not long ago entitled “Last Train To Clarkesville” after hearing the Monkees song of the same name and wondering what the “one more night together” Mickey sings about might be like.

ROFFEKE: Paul Simon has written many songs. How did you narrow it down to 25? What was your criteria for picking the songs? 

JOEY KENT: Once I committed to the idea of exploring what “me and Julio” were doing down by the schoolyard, I began to hear other Paul Simon lyrics in my head and started weaving together the story of retired boxer Al Simon.  I then read over many of Paul’s lyrics and sourced the parts I needed to tell the tale.

ROFFEKE: I am no lawyer but one of the common things screenwriters are advised to do is to avoid writing brand names and songs/song lyrics in their screenplays. How does your screenplay avoid any potential legal/production nightmares regarding the song lyrics?

JOEY KENT: I am a writer, so I write first and ask questions later!

ROFFEKE: *laughs*

JOEY KENT: Well, my complete answer is that I write what's in my heart and then work out the details if and when we get to production (or let the lawyers do it!).  I actually reached out to Paul Simon's camp but didn't get through the gauntlet.  Did, however, shoot the film several years ago, at least the interview part, but felt I needed to do B-roll inserts of Rosie, the school, and other elements, and missed the deadline for the Film Prize contest I had my eye on, so I shelved it.  Al Simon was played by the brilliant Shreveport actor Richard Folmer, and my wife (now ex) played Betty Robinson.  Maybe in a few months I'll shoot the B-roll and edit it and release it.  Richard died a few months back, and this would be a fitting tribute.

ROFFEKE: You've been active in the film and TV industry since 1992 but it was in 2010 that you began writing movie scripts. What would you say were your early mistakes and what screenwriting lessons have you learned since then?

JOEY KENT: My earliest mistakes revolved around thinking I understood the format of screenwriting.  I remember realizing on page 130 of my first script effort that I was only about a third of the way through the story and, in those days before short series on streaming networks, I was mortified that I was writing an epic and that forced me to study the genre.  A friend pointed out that my script contained a lot of description and a fair amount of camera directions and he gently explained that a screenplay didn’t have a lot of either.  As an example, he pointed out the infamous scene in “Gone With The Wind” in which Rhett and Scarlet are fleeing Atlanta as the Union Army is burning it to the ground.  This action amounts to more than eight minutes on screen but in the script, it simply says “Atlanta burns.”  That simple two word sentence became the cornerstone for my understanding of the art of screenwriting.  I realized in that moment that screenplays had to be part story and part owner’s manual, with just enough description to engage the reader but not so much that it might step on the toes of potential directors or other production professionals trying to envision their own work in the project.  Where I might be tempted to take a paragraph to describe an ancient couch for a book reader, in the script it became simply “a well-worn couch that has seen better days”.  Gone, too, were words like “we pan up and see the horror in his eyes”.  That is the job of the director and cinematographer.  Replaced instead with “his eyes darted around in terror”.  To that end, I endorse a short book written by a protegé of mine entitled "Atlanta Burns" by Ima Judge.  He took the title from my talk on the subject and offers up many great tips for screenwriting.  It is available from Amazon by searching the title, and I can't recommend it enough.

ROFFEKE: You have been awarded 45 "Best Screenplay" awards. What is your secret???!!!

JOEY KENT: Once I began to master the art of brevity, the main thing I focused on was achieving the best possible start to the screenplay.  They say you have about ten minutes on screen or about ten pages of a feature script (less for a short) to engage the audience’s interest, so I start there.  I focus on hooking the reader in the first 10-15 pages and I don’t proceed from that point until I am completely satisfied.  If you hook the reader, then you will hook the viewing audience, and they will stick around to see how it ends as long as you tell a good story and don’t go on for some ridiculous page count (or unless you are writing with an installment series in mind).  I take my time but if I get in the zone, I have been known to write a feature screenplay in as little as 9 days, but I seem to comfortably average around 3 weeks for the process.  Part of winning so many awards is knowing where to place your project on the festival circuit.  For instance, a faith-based festival isn’t likely to award your bloody horror script, so do your homework.  I began entering scripts into festivals with only one goal in mind:  to show my ideas have merit beyond my own say so.  It is one thing to try and convince potential investors or producers or actors or directors that your work has merit.  It is quite another to offer that many people with no vested interest in my financial future share my opinion.  So, make sure you get your project off to a good start with an opening that hooks your reader.  Most of the time, any professional that agrees to read your script is not going to continue past page 10 without being captivated, and the same is true of your friends and colleagues.  Most will indulge you for ten pages, at least the first time or two!  Hook them, then tell your story without wasting precious words on description and camera moves, and keep your desired page count in mind.  Finally, I like brief titles, if at all possible – again, trying to capture the attention of someone seeing only the poster and trying to decide if they want to see the movie.  I research titles on IMDb to see if one I like has been used before and, if so, then I try to think of one that hasn’t.  If you can avoid confusion from the start and set your script apart with a unique title, all the better.

ROFFEKE: In 2012, you produced a civil rights documentary called "Beyond Galilee". You say in a 2012 KSLA 12 News interview: "We were afraid that this might ignite old feelings and create problems rather than solve problems." Ten years later, what reason would you give people to watch Beyond Galilee?

JOEY KENT: “Beyond Galilee” tells the story of the civil rights struggle in the city of Shreveport, Louisiana.  I was born in that city and recognized there were many rumors and stories about Martin Luther King Jr.’s visits to the city and the resulting empowerment it gave people who heard him speak.  I am an historian of the city and in the late 1990s was brought a tape of King speaking at the Galilee Baptist Church in 1958.  I owned a recording studio at the time and was charged with transferring this historic tape to digital format.  It turned out to be King’s earliest full length recorded speech.  It predates his famous “I Have A Dream” speech by five years, and you can hear the elements of that speech in his Galilee address.  We took that recording and made it the bed for the documentary, listening to King call the congregation to arms, then cutting away to interviews of some of those participants as they recalled how history unfolded, point by point.  Unlike his more famous speech, in the Galilee speech you can hear the audience getting excited, exclaiming “Watch him now!” as King gets fired up.  Being able to share not only that inspiring speech but watch and hear the results is truly inspiring.  Anyone facing prejudice of any kind, especially racial prejudice, will find solace in the struggle portrayed in “Beyond Galilee”.  At the 2012 premier in Shreveport, we instantly saw the beginning of the healing process as people were finally able to separate fact from legend and realize the implications of what the local heroes had gone on to accomplish.  On the festival circuit, “Beyond Galilee” has won 36 awards from 18 countries including 12 Best Documentary awards.  Unlikely wins from places like Russia perhaps offer the best testament to the universality of the subject matter, its relevance, and a clear cut reason why it should be viewed ten years after its creation.  Director T.D. Antoine grew up in Shreveport not far from Galilee during those trying times, and he did a masterful job of putting together the documentary in linear fashion (cutting from interview to interview without benefit of a narrator) which is no easy task.  T.D. and I look forward to sharing other content with the world as 2023 unfolds.

ROFFEKE: You are an archivist and a historian. What are your thoughts on artificial intelligence, virtual reality, augmented reality, the metaverse and the future of filmmaking?

JOEY KENT: I have embraced areas of technology to help tell documentary stories by using Photoshop tools to bring life to static images.  In that way, they help illustrate the story when supplemental images are few and far between.  I am concerned about advancing technology being used to create “new” roles for deceased stars like Elvis or Marilyn Monroe.  This may be viewed the same way people look at colorizing old black and white photos.  When used as a spice, sprinkled here and there, these tricks can help enhance a project, but if you are casting an artificial image of Marilyn Monroe in a feature, then you are once more overlooking the thousands and thousands of great actors out there looking for work.  As an independent filmmaker, I recognize the value a quality actor can bring to a project, and also the Hollywood tendency to group and label stars, casting them again and again in similar roles rather than take a chance on a former great or a newcomer.  The only rule I have in casting independent films is don’t pair an “A or B list” actor with some “F list” guy who does local theater on the side because people will end up focusing on the vast differences in their acting styles and your movie will have that “cheap” look about it.  Cast people with similar levels of acting abilities, light your sets competently and capture good sound.  Nail those things down and the hard part will be over, at least until you get to editing!  I may very well end up doing some sort of hologram show of Elvis or Johnny Cash at our forthcoming Rockabilly Hall of Fame Museum, taking advantage of those emerging technologies to supplement the original recordings that I own, similar to the way the King speech was supplemented by the stories of his congregation.  In that way, I appreciate the future contributions of technology but, as someone born in the era of celluloid and raised with Ed Sullivan, Johnny Carson, Dick Cavett, and a host of other variety shows, I am a purist for film movies shown in a big theater every time.  Thank you so much for the great questions and for making “Simon Says” a selection for competition at the Rock ‘N’ Roll Film Festival Kenya.

"Simon Says" Synopsis: "Lyrics from twenty-five Paul Simon songs are carefully crafted to give life to a former junior Middleweight as he recalls his short lived boxing career in a candid interview with a columnist."

Screenplays - ROFFEKE Official Selections 2021 (Part 2)

“Surreal” is one word that could be used to describe “Tomi Thirteen”, a screenplay by Max Sparber and Coco Mault, and “Tethered” a screenplay by Kirimi Kiage, Teddy Gitau and Blake Simpson. Tomi Thirteen, is both light and dark. It is an “anime-inspired half-hour comedy, set in a future in which all of humanity lives in giant arcologies protected by superheroes.” You can watch the ROFFEKE screenplay trailer of "Tomi Thirteen" here.

Speaking of the future, 15 years ago, Thomas Behe wrote a graphic novel about “five people’s discovery of this century’s greatest tech convergence - online communities and video mobiles.” Result? A “frighteningly accurate prediction of today’s malignant world of social media - an eerie FORESHADOWING of today’s tech-driven paranoia and online political mayhem.” Thomas submitted the “Contraband” screenplay and although it is longer than ten pages, it is selected since the themes are in line with ROFFEKE’s motto of ‘Friendship, Fun, Freedom’. You can learn more about the Contraband graphic novel here and read reviews of it here, here and here.

Both Tomi Thirteen and Tethered feature a female protagonist. In “Tethered”: “A woman tethered to her ancestors, who she had long misunderstood but not forgotten, is forced to reckon with an experience she cannot explain. You can watch the Tethered screenwriters interview here.

Another screenplay that features a female protagonist is “A short film about a metal head” by Simon X. Frederick: “A mother of two tells a bedtime story. Once upon a time, a young lady discovered the key to her heart…heavy metal.” Simon says: “…I am interested in the psychology of an individual and how society influences us.” You can watch the ROFFEKE screenplay trailer of Simon’s screenplay here.

Read ROFFEKE Official Selections 2021 part 1 here

Interview: Max Sparber - one of the screenwriters of Tomi Thirteen

ROFFEKE: What inspired you two to write Tomi Thirteen?

Max Sparber: We've been working on one version of this script or another for a long time. I think the original idea, which has always been central to the story, was that in a post-apocalyptic future, even ordinary jobs would have to be superheroic. Once we settled on the story being set in a city contained inside an entire building, it seemed quite funny to us that the superintendent would have to be a literal superhero.

ROFFEKE: What are the benefits and challenges of working as a duo on one script?

Max Sparber: The benefits are that we have very different imaginations, and so the story is enriched by unexpected details and ideas. We work quite well together, so if we have any challenges it is that we have a lot more ideas than we have time for.

ROFFEKE: Max, you are in your 50s. What has been your screenwriting journey? How long have you been a screenwriter? Highest point so far? Lowest point so far?

Max Sparber: I have been a professional playwright for a long time, but have always wanted to pursue screenwriting. I only began to do it in earnest a few years ago, with my writing partner (and girlfriend) Coco Mault, and almost entirely through the festival circuit. It has been very rewarding -- at this moment we have won 18 contests and were flown out to Los Angeles to pitch a script at a number of different companies. Of course, it's much easier to write a screenplay than to get one produced, and so we are patient, knowing the process is slow, but it can be frustrating trying to attract the attention of agents and managers.

ROFFEKE: Any advice for upcoming screenwriters?

Max: Write the movie you would want to see. There is no way to predict what the market is going to be, or what scripts people are going to want to buy, but if you write something you care about, at least you will have done something that will have been worth doing even if it takes forever to get made.

ROFFEKE: What lessons did 2020 teach you?

Max: That it's important to pursue the things you care about, and to surround yourself with the people and projects that really move and interest you.

Check out Anime, Rock and Tomi Thirteen screenplay by Max Sparber and Coco Mault

Anime, Rock and Tomi Thirteen screenplay by Max Sparber and Coco Mault

“Whether you’re a die-hard Otaku (a young obsessed fan) or a total newbie to anime, there’s plenty of Japanese music to discover on Spotify.”

 - “How Anime Has Helped Japanese Music Go Global” 

 EXT. OTAKUKING HIGH RISE - DAY 

  “Anime isn’t just a style of animation - it’s a rich and exciting world of storytelling….A futuristic city where humans clash with titans, the adventures of a teen wizard…anime can mean action, fantasy, supernatural, comedy, or romance…” 

 “In this anime-inspired half-hour comedy, set in a future in which all of humanity lives in giant arcologies protected by superheroes, a 13-year old hero must navigate life in junior high school while battling the superintelligent insect larva that has moved into the basement.” - Synopsis of “Tomi Thirteen”, a screenplay by Max Sparber and Coco Mault. #ROFFEKEOFFICIALSELECTION2021

  “Anime fans know that music plays a major role in heightening the drama….The cinematic rock ballad [Red Swan] was created by composer, pianist and rock drummer YOSHIKI, leader of the world-famous rock band X Japan, and HYDE, vocalist of legendary rockers L’Arc~en~Ciel….the rock band FLOW…blends elements of punk, ska, and pop-rock….The band’s top 10 Spotify songs - all anime related - have already reached over 25 million streams.” 

  Watch Teaser of Tomi Thirteen screenplay. Music: “Miyagisama - The Haunted Dollhouse (Cinematic: Halloween, Creepy)" by MIYAGISAMA (from pixabay.com)

 

Mike Messier: Lessons from 2020, New novel, Screenwriting versus Novel writing

ROFFEKE Alumnus Mike Messier shares what he's been up to and the lessons he learned from 2020.

 1. What is your novel about and what makes it stand out?

"A Distance from Avalon: when the dying and the dead reunite" is about a school teacher named Joe and his co-worker named Shadow who find themselves at a mysterious, gothic castle on Halloween night hosted by the enigmatic Jean La Croix Distance and his lover Heartbreak. As the night unfolds, the hosts are able to pry emotional secrets from their guests in what seems like genuine bonding and friendship but is ultimately revealed as a more nefarious tactic to gain their trust. I'd like to think that the dialogue of the piece and unique paragraph structure stand out as well as the cover art by my collaborator Nazar Germanov. 

2. What did you like about the process of writing the novel and what did you find challenging?

Writing in the novel format definitely has more freedom in terms of length of paragraphs, structure, page count etc. Also, there were no deadlines on me for this project, since I wrote and self-published it on Amazon on my own terms.  The book can be purchased on kindle or paperback here: https://www.amazon.com/dp/B08SQ6SQ48?ref_=k4w_oembed_S4vCSZx87c64LC&tag=kpembed-20&linkCode=kpd

3. What's the difference between writing a novel and writing a screenplay?

A big difference is that feature film screenplays have certain understood "expectations"  that become part of the mix for a writer. "By page twelve, there should be an inciting incident", "no scene should be longer than two pages" etc are some of the lessons learned in screenwriting classes and through books that become part of the "mental fabric" of a screenwriter's mind. When writing a screenplay, there is also a running dialogue of "can this idea be actually filmed?"  and "Am I writing a script that can be filmed on a budget?" type questions.  When writing a screenplay, there is usually not a guarantee that the script itself will ever be filmed, so there is a sense of uncertainty if the writing efforts are in vain or not.  Freeing myself from those constraints and concerns in writing this novel was a welcomed change of pace. 

4. Any other new projects?

I have been working a lot on my YouTube Channel during the pandemic, doing road trip videos, Mike's Instant Movie Reviews, Pro Wrestling rants,   interviews including "This Podcast Cures Racism", and more. People can subscribe from this link:https://www.youtube.com/channel/UCSx8RE_a4Nh_Fq-BpUq7ghw

As far as writing, I'm working on the second of  A Distance from Avalon  trilogy right now! The cover art is already ready, now it's up to me to do the writing! 

I also worked with my friend Aaron Woodson on an "urban romance" feature film script titled Aaliyah and Troy, more info can be found here: https://mikemessier.com/2021/01/27/aaliyah-and-troy/

 I recently did some acting in a couple of films, both of which directed by my friend Tom DeNucci. One of them titled "The Mick and the Trick" is a fun action film shot in Pennsylvania in October, 2020. Info here: https://mikemessier.com/2020/11/26/mikes-road-trip/

Federico Castelluccio and Mike Messier on The Mick and The Trick set

I chronicled my road trip up there for "Subscribe to Mike Messier YouTube Channel" . I have also been tweaking and improving a lot of my feature film scripts including American Luchador: The Dream of Lobo Fuego and Also Ran, my prison drama.

5. What lessons did 2020 teach you?

The lesson from 2020 is that time is short for all of us and if any of us want to "make a dent in the universe", then it's best to get going soon because we are not guaranteed another fifty, thirty, ten or even five years on this earth. We must do what we can to make our goals into realities before we are dead, because if we end up in that shallow grave with things still on our "things to do list" , well, then it will be too late! 

Reviews: The Riveters by Kate Felix

On 13th and 14th May and 20th and 21st May, I was privileged to conduct a Basics of Screenwriting Masterclass at Talanta Institute. On the 13th, we covered Differences between screenwriting and other types of creative writing, types of protagonists, types of antagonists, the logline and S.M.A.R.T goals. We went through the students’ loglines and critiqued them.

On the 14th, we begun by watching #ROFFEKEOFFICIALSELECTION2018 “The Riveters”, which was written and directed by Kate Felix.

"Fed up with her 'lame duck' status, The Upstart decides to face The Patriarch in a 1940's feminist throw-down"

DIRECTOR STATEMENT

"We have created this film to explore the barriers, historic and contemporary, to women making films. It was written, produced, and edited by an all-woman crew. All women, only women, start to finish (with the exception of the two male actors!). With it' s short run time and powerful, unapologetic message, this film would be an ideal piece to introduce or conclude a shorts program.

This is the Director/Screenwriter's first film. She is a mother of 3 with another full time job who still somehow manages to get awesome ideas on to the screen. All of the women in this production collaborated both in and outside of their traditional professional roles to make this program a success. This film is a testament to what women can do when they give themselves permission to go out and kick ass."

We used "The Riveters" to recap what we had learned on Day 1. I later asked the students five questions related to the short film. Below are some of their answers:

1.What did you like about the short film?

It was short and precise, straight to the point.
- Edminah Kanana M.

It was Clear and precise ,the protagonist, antagonist and goal was clearly brought out.
- Fredrick Kimani.

It was brief and to the point.
- Moses a.ka. Pinto.

I liked the short film on how they managed to tell the story in less than two minutes.
- Denzon Mau.

There is the protagonist, antagonist and one is able to know the goal because it's clear.
- Carol Kanyora.


2.What didn't you like about the short film?

They did not show us what next, what she planned to do when her proposal was rejected.
- Edminah Kanana M.

The suspense it left me with.
- Moses a.k.a Pinto.

I didn't like how the film ended. If one is not keen enough he/she may not know the protagonist’s final decision.
- Denzon Mau.

I didn't get know if she became a filmmaker.
-Fredrick Kimani.

Nothing. To me it's perfect.
- Carol Kanyora.


3.What does this short film remind you of?

The film reminds me some of the challenges that some film makers go through because not everyone especially the parents appreciate film as a career.
- Denzon Mau.

The day I told my parents that I wanted to engage myself in acting, out of the love I had for it. I wanted to be the next Natalie Portman (world famous actress) but they wanted me to be an engineer. It was a hectic time to convince them.
- Carol Kanyora.

My friend whose parents chose an engineering course for her, and that was not her passion. She did the course and took the certificate to them. She started hustling to help herself study for art and design.
- Edminah Kanana M.

There must be a protagonist,antagonist and a goal.
- Fredrick Kimani.

The lecturer on Act 1
- Moses a.k.a Pinto.

4. On a scale of 1 to 10, with 1 being very poor and 10 being excellent, how would you rate this film?

8/10...very good.
- Edminah.

On a scale of 1 to 10 I give it 5 because it was fair
- Denzon.

A 9
- Fredrick Kimani.

5
- Carol.

8
- Moses a.k.a Pinto

5. Any other thoughts you would like to add about the short film?

They should at least have shown us what they were going to do next now that the man had refused.
- Denzon Mau

Even though we can predict through her smile what will happen next,they should have shown us what happened maybe.
- Carol Kanyora

Act in 21st century style, to make it more attractive, capture attention.
- Edminah Kanana M.

It was interesting.
- Fredrick Kimani.

I enjoyed it.
- Moses a.k.a Pinto

'The Riveters' touches on SDG 5