"Y'know, these work..."

Lieutenant Ed Traxler: Nowt wrong with his specs.

Repeat after me: "Show. Don't tell."


Yes, we get it. Nobody likes to read in a script (or see an actor reeling out) exposition and plot reminders again and again. That's not to say you can't ever do that - used sparingly, or in a comedic way, it can work. (e.g. The Terminator: Lance Henriksen's cop reels off a load of info for OUR benefit, and his boss Traxler gives him a wry slap-upside the head. Genius.)

Its a good rule to try to avoid patronising your audience. But I often find its easier said than done.

Having spent the past six weeks script editing my completed works, I've found polishing dialogue and perfecting character motivation the most challenging part of writing a script. Its where the hard work really comes in, constantly asking yourself 'How can I make this flow better, or at least in a more challenging or original way?' Not that everything I write is dire, I hasten to add/protest too much: But its having that inner 'coach' voice that pushes and drives you to improve: The literary version of 'Gimme 50 more laps!'

And then I watch a tv show like 'Treme'. Now I know I've been evangelical about this show: Tough! I'm not kidding, they should be handing out the scripts to film students, or at least make them available to buy. Its that good. In a couple of the latter episodes, I witnessed a couple of scenes that were so simple but effective - and a good example of 'less is more'.

Davis & Annie: Will they, won't they?

Firstly, there's an episode that centres around a Mardi Gras parade. Local DJ and general hyperactive loudmouth Davis crosses paths with street violinist Annie. They have a nice day together, and get on great. Later in the day, there comes a moment where you think Davis and Annie might make a cute couple - at least that's the look on their faces. And then Davis pulls out a joint, sparks up and offers it to Annie.

Unbeknownst to Davis, but known to the audience, Annie is struggling with a drug-addicted boyfriend. And for the time being, it derails any possibility of a blossoming romance. And its all said and done with a look.

Big Chief: 'Nuff Said.

Next up: Albert/Chief leads his clan through the streets, only to come up against another 'rival' procession: Things look heated. The two clan chiefs face-off, but ultimately show each other respect and pass-by peacefully. Later on, Albert and his clan come up against a group of aggressive cops. After a brief shout-down, one of the cops informs his colleagues to back off: Show respect to tradition. A lovely mirroring of a previous scene - one for the spirit world, the other for the real world. Again, not much is said, but having been informed that the first face-off was about showing respect, then second face-off has a deeper relevance.

Now where can I get my hands on those 'Treme' scripts?

Down In The Treme... We're All Goin' Crazy...

Being a huge fan of HBO's 'The Wire' (apart from series 5: They dropped the ball IMHO), I looked forward to settling into 'Treme'; a post-disaster New Orleans-based story about how real lives are affected by the floods and how they are left to pick up the pieces of their lives.

This is what Lester Freamon gets up to when he's not
building miniature furniture.

Once again, I'm left with the same thought that I had when 'The Wire' ended: Why can't we make television drama like HBO in the U.K.? Okay, HBO has the budget and all that, and I'm not about to start knocking Brit-TV Drama - we've had plenty of successes in our time - but with both instances, 'The Wire' and 'Treme' show a reality that rarely hits our screens. A humanity. Its gives time and space for the characters to unfold - not in a pretentious, drawn-out way - but it has a clear love for their people, even down to the one-liner bit-parts. And above all - it all feels necessary.

Cheeky womaniser Antoine Batiste

Bunk Moreland: No relation.

I recently watched a labyrinthine UK drama which was strung out over many episodes, when it could have been told in about, oooh, three episodes. The critics loved it - "nevermind the quality - feel the width", they chimed. Sure, the first few episodes held my attention. But then it 'gave time' to its characters - and they didn't have much to say for themselves. Suddenly, it was all looking one-note and repetitive; a self-spoof.

Like 'The Wire', 'Treme' has a lot of atmosphere. Its not about pace, storylines and what-not: But you actually care about the characters: The good and the not-so-good. 

So take time to soak it up - nevermind the width, feel the quality.