Leslie Crowther & The Red Pen of Time

I’m catching up on the quantum script after moving house.  As you’d expect, I had put the annotated script “somewhere really safe”…. far too safe, it turns out. Almost four months later, it was still “lost but obviously not lost”. Panic was forbidden. It was just not lost. Right?

The irony of this is not lost, however: a play all about “what if?” & woulda-coulda-shoulda was always going to turn up….just not necessarily in this universe, and certainly (if we go with the Copenhagen interpretation of quantum physics) it wouldn’t help to go looking…Sorry. I’m making quantum physics jokes that I haven’t earnt the right to make…

It seems to be (look at all this havering and hedging about) that being somehow unable to work on a script for 7 months might be a Good Thing. Scripty types know why: not seeing the wood for the trees (even those which might not fall unless watched…). Now I’ve got a far better chance of being some kind of reasonable script editor / dramaturg / red-pen-demon for myself. And I’m a great believer in timing. “The Time Is Right”… conjuring up Leslie Crowther-esque images of a weird QM game show…Maybe I’ve just found my title….


Does this make me a Marxist?

Busy, good times.

Last week saw the London VAULT Festival outing of Passion, thanks to  Allie Butler and Helen Cuinn at tidycarnage. I’ve also been working up the notorious ten-page treatment (and other stuff) required for ifeatures and proposals for Screen Yorkshire’s Triangle. And we’re moving towards the development day for the all-consuming quantum mechanics play (I still can’t thank everyone enough for their support. That includes offers of help in kind, which are still coming in. Thank you!)

Sadly, it’s all unpaid. In fact, it costs me money.

If I can get some spare time, I fancy speaking to some economists or think tanks about quantifying the “private investment” that individual artists give to the British economy. All that time given for free, subsidised by the individual. If we were rich/organisations/accountants, we might know. And if we know, we could perhaps argue for better funding models. And drama GCSE…

We might know the knock-on income we generate for our local economies (pay to venues, technicians, printers, costume hire; income for local pubs, restaurants, taxi firms). We might know the cumulative impact (say, 100 professional writers, investing X hours a month in one small city alone…). We might know what would be lost in the longer term if we stopped subsidising the public’s entertainment.

Where would the UK broadcast, theatre, TV and film industries be in ten years’ time if the underpaid refused to be unpaid? If it was decent pay or none?

If anyone knows of a union or think tank who fancy developing this further, I’m up for it…(you can reach the professional campaigning version of me at http://www.lyric-communications.com or contact me here. Love to hear from you.)