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European Script Fund

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The history between the two ended up well despite the first frustration: are now working together on another project. I would have liked that subjective world had been devised by the screenwriter, because, in my view, it is the richest that takes place in history; but it was not so. This time, fortunately, there was a director who was responsible for creating it, even if it was not given in script. The other side of the coin is that the professional writers suffer more than they would like: a director will not pick up the subtext captured on paper and is limited to reproduce dialogue, ending with any form of subtlety that is reflection of human communication and its greatness; namely: that mixture between verbal communication and non-verbal, that every writer should dominate and create, and every director, orchestrate until fuller synergy is achieved. Peter Webber and I met thanks to Christian Routh, good friend and splendid Adviser of hyphens, former director of the European Script Fund, Pilots, Co-Pilot and several sheds. We gave conferences in the framework of the European development programme Four Corners, who directs Christian with wisdom and skill. Mine was about the dialogue and yours about the girl with the Pearl Earring.

To you He played defend the reasons why ended up with most of the dialogues of the Olivia Hetreed screenplay. Would collapse of points of view? Quite the opposite. There was never a better understanding. I applauded that his Conference would even allusion to one of the points of mine in which we could not be more matching: the characters need not always talk but to communicate; and communication can be verbal or non-verbal. And, sometimes, the best way of dialogue is saying nothing, or saying something different from what is the engine of thought at that moment. That’s what led him, in his words, to cut the text of its screenwriter until he starved, but much richer.


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