ZOUNDS! GOD'S BODKIN! YEA VERILY! ...DUDE!
So the question inevitably becomes, what do I write after I've written the most Hollywood-friendly thing I've ever written. What comes after DANGERBALL? Simple. A blissfully arrogant stab at rewriting Shakespeare. Oh, how clever I suppose myself to be!
I mean, if Tom Stoppard can do it, why not a big stupid like me?
It's a project I started when I first got to NYC, inspired by my experience in taking part in U of M's production of MEASURE FOR MEAUSRE, being able to perform the role of Pompey, the pimp. The character kind of stuck with me, I suppose, and I guess I felt somewhat slighted in not having enough material to work with. But then, I really just wanted to be funny on stage, and didn't want to burden myself with learning a lot of lines, most of which I just didn't get, man. As productive as I seem, I can also be very lazy.
But it's really Shakespeare's fault for writing a "problem play." And it's my immense idiocy that seeks to solve it for him. So, here's what I'm doing...
I'm simply adding a different perspective to the piece, that being Pompey's. I'm also adding a beginning I thought should be there, as well as an ending. In this piece there is a plot to assassinate the Duke, and Pompey finds himself in positon of assassin, as he owes the instigator, Lucio, quite a bit of money. My first stab at this saw me adding a completely new character, but starting up again made me realize that Lucio was far more interesting to pursue as a revolutionary. And here's the kicker...
How does one write like Shakespeare, yet remain instantly decipherable? The answer? You can't. You just try to establish a rhythm as always and pretty it up a bit, being as clever as you need to be, hoping that the transitions from me to Willy won't stray to far from each other. La la la.
Yes, Sean, you are a big stupid.
I mean, if Tom Stoppard can do it, why not a big stupid like me?
It's a project I started when I first got to NYC, inspired by my experience in taking part in U of M's production of MEASURE FOR MEAUSRE, being able to perform the role of Pompey, the pimp. The character kind of stuck with me, I suppose, and I guess I felt somewhat slighted in not having enough material to work with. But then, I really just wanted to be funny on stage, and didn't want to burden myself with learning a lot of lines, most of which I just didn't get, man. As productive as I seem, I can also be very lazy.
But it's really Shakespeare's fault for writing a "problem play." And it's my immense idiocy that seeks to solve it for him. So, here's what I'm doing...
I'm simply adding a different perspective to the piece, that being Pompey's. I'm also adding a beginning I thought should be there, as well as an ending. In this piece there is a plot to assassinate the Duke, and Pompey finds himself in positon of assassin, as he owes the instigator, Lucio, quite a bit of money. My first stab at this saw me adding a completely new character, but starting up again made me realize that Lucio was far more interesting to pursue as a revolutionary. And here's the kicker...
How does one write like Shakespeare, yet remain instantly decipherable? The answer? You can't. You just try to establish a rhythm as always and pretty it up a bit, being as clever as you need to be, hoping that the transitions from me to Willy won't stray to far from each other. La la la.
Yes, Sean, you are a big stupid.
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