Word: scripting
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Dates: during 1990-1999
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...tony suburb of Dallas, Nobody's You aspires to nothing beyond frivolous entertainment: a bit of comedy here, a bit of romance there, all mediated by the Southern accents and smooth dialogue of Roberts' script. The production is by no means flawless, and the plot smacks of TV sitcoms, but both are solid enough to carry the audience through the myriad gags and delectable characters that make up the meat and fluffy potatoes of the show...
Though the plot is fairly conventional and sometimes contrived, Roberts' script is a well-written and coherent student effort. She has a good ear for dialogue, and a sharp sense of humor that hits more often than it misses. Nobody's You is her second script produced at Harvard (her first, Hell On A Platter, appeared in the Loeb Ex last spring), and it shows a marked improvement in writing, content, and humor...
This time around, Roberts decided to direct her own script (Andrew Ehrlich, the director of Hell On A Platter, served as Assistant Director for this production); the choice was a good one. Writers often run into trouble directing their own plays. Their personal involvement with the script can get in the way of confronting the directing experience on its own terms. Whether or not Roberts ran into this problem, her presence is positively felt in the performances of her actors. A show so heavily dependent on its colorful characters begs for the writer's input to fill in what...
...Brady Bunch Movie was in some ways his most trying project. In one version of the script, the naive-to-their-knee-socks Bradys were turned into foulmouthed hellions. "It was vulgar," says Schwartz. "Instead of making it a gentle satire, it was written with an ax." Schwartz, who has four children and has been married to his wife Mildred for 54 years, fired off memos to Paramount chief Sherry Lansing, threatening to campaign against the film should it contain racy scenes or base language. He won. The film, which transports the Formica-loving clan to a '90s world...
...were only this simple. Wellman's script is a minefield of abstractions, a barrage of heavy-handed symbolism and non-linear (dis) connections. And where else to witness this fragmented and worn schema of juxtapositions than a junkyard? The mire is realized in James Murdoch's artfully ramshackle set. Littered with couches, barrels, tires and a clothesline, the audience is strewn around the playing space, indistinguishable from the wreckage...