Learning More from Derry Girls Than Merely More Irish Slang

Learning More from Derry Girls Than Merely More Irish Slang

If you haven’t yet watched Derry Girls you have to – This trailer to the first season shows the brilliance of creator Lisa McGee, who wrote ALL 3 seasons worth of episodes herself (much like Susan Harris wrote many of her early season shows herself to cement the tone and style). 

I don’t always agree with the idea of no writers room – writers rooms have a deeply important purpose – but in this case, her story was SOOOO distinctly of Derry, not even merely of Ireland but completely from her own home town and her own time period as a teen in that town, that I understand. In essence, she wrote an 20 hour movie broken up into 3 seasons of 8 half hour episodes apiece.

So like a loooong film, what the trailer can’t yet show is the wonderful arcs of each of these young women who by the Season 3 series finale (not a spoiler alert since I’m not telling you what they decide) must decide how to vote on the Good Friday Agreement. 

In 2022 the New Yorker had this great interview with McGee:

The house where Lisa McGee grew up, in Derry, in Northern Ireland, sits on the bank of the River Foyle, near a largely Catholic neighborhood known as the Bogside. In 1969, the Bogside was the site of a three-day conflict. Residents hurled projectiles and petrol bombs; they were met with tear gas and batons. The violence spread to other cities and towns, and ultimately resulted in hundreds of injuries and a number of deaths. British troops were called in to Derry—the beginning of a long-term military operation. The conflict, known as the Battle of the Bogside, marked what many would call the start of the Troubles, which dominated Northern Irish politics for roughly three decades. In 1972, violence flared in the Bogside again. More than a dozen civilians were killed by soldiers in a massacre known as Bloody Sunday.

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Tidbits with great points for writers (aspiring and published/produced because writers are always learning) include:

Write what you’re afraid of writing: “ “I had said my whole life, ‘I’ll never write about the Troubles,’ ” she told me. “Everything I saw about the Troubles was either the news, or something quite shit that was going on in my actual life.” In films about the period, she didn’t recognize the people. “There were never any jokes. I don’t know any Northern Irish person that isn’t funny,” she said. Lewin, who had been listening to McGee tell stories about her childhood for years, persuaded her to try. “They’re so joyful,” she said.”

AND

Create writerly habits: “She often carries a notebook. “If somebody says something funny, she’ll write it down,” Mallon said. “She might even ask you again, ‘What was that? What did you say?’ She wants to get it right, word for word.” Mallon told me that McGee once heard his father say something about his car—“It stinks of fish in here!”—and borrowed the line years later in “Derry Girls.”

While the show is comical to anyone who has any experience in a Catholic school –that background isn’t required. We all understand coming-of-age and coming-to-love-our-heritage and teenagers and parents dealing with each other. 

But on top of all that viewers outside of Ireland learn about the history of another country and its political turmoil and hear some great discussions about peace and how we’re all a lot more similar than we are different. And that’s what art can do.

Reading: Wild Girls: How the Outdoors Shaped the Women Who Challenged a Nation

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As the semester winds toward the holiday season more time for reading opens up and I love finding new books to read – both fiction and non. My Thanksgiving read this week was Wild Girls: How the Outdoors Shaped the Women Who Challenged a Nation by Harvard professor Tiya Miles.

In this short book, she traces the way playing in the outdoors shaped the lives of several American activist women from Harriet Tubman to Louisa May Alcott to Native American writer Zitkála-ŠáNative/Gertrude Bonnin to Dolores Huerta. It added female names to my list of women to be remembered and reminded to get outside this holiday season and play in the dirt.

From the publisher…

Named a Best Nonfiction Book of the Year by Publishers Weekly

An award-winning historian shows how girls who found self-understanding in the natural world became women who changed America.

Harriet Tubman, forced to labor outdoors on a Maryland plantation, learned from the land a terrain for escape. Louisa May Alcott ran wild, eluding gendered expectations in New England. The Indigenous women’s basketball team from Fort Shaw, Montana, recaptured a sense of pride in physical prowess as they trounced the white teams of the 1904 World’s Fair. Celebrating women like these who acted on their confidence outdoors, Wild Girls brings new context to misunderstood icons like Sacagawea and Pocahontas, and to underappreciated figures like Native American activist writer Zitkála-Šá, also known as Gertrude Bonnin, farmworkers’ champion Dolores Huerta, and labor and Civil Rights organizer Grace Lee Boggs.

This beautiful, meditative work of history puts girls of all races—and the landscapes they loved—at center stage and reveals the impact of the outdoors on women’s independence, resourcefulness, and vision. For these trailblazing women of the nineteenth and early twentieth centuries, navigating the woods, following the stars, playing sports, and taking to the streets in peaceful protest were not only joyful pursuits, but also techniques to resist assimilation, racism, and sexism. Lyrically written and full of archival discoveries, Wild Girls evokes landscapes as richly as the girls who roamed in them—and argues for equal access to outdoor spaces for young women of every race and class today.

ABOUT THE AUTHOR

Tiya Miles is the Michael Garvey Professor of History at Harvard University, the author of five prize-winning works on the history of slavery and early American race relations, and a 2011 MacArthur Fellowship recipient. She was the founder and director of the Michigan-based ECO Girls program, and she is the author of the National Book Award–winning, New York Times best-selling All That She Carried. She lives in Cambridge, Massachusetts.

Emma Thompson on Adapting “Sense and Sensibility”

Emma Thompson on Adapting

On one of my strolls through YouTube, I went down the rabbit hole of wonderful interviews with screenwriter Emma Thompson and landed on this “Making of” Sense and Sensibility.

While it is fun to hear about the casting and the costuming, the best part (naturally) is near the end.

In “Adapting Austen” they discuss choosing the (at that time) relatively unknown-in-the-States Emma Thompson to adapt the novel and then the segment goes over her process in writing the film.

Producer Lindsay Doran had seen some of Thompson’s UK sketch comedy show (then airing on PBS) and knew her favorite novel would need a writer who understood that Austen was funny in her comments about the societal rules she and her sisters were forced to abide.

No surprise Thompson asked for adaptation advice from Ruth Prawer Jhabvala, who had adapted Howard’s End, the film Thompson was then acting in (and which would lead to her 1993 Oscar for Best Actress.

Creative women helping other creative women for the win!

RMW Rosanne Signature for Web

Why Emma Thompson’s Writing Stands Out by Dr. Rosanne Welch

Why Emma Thompson’s Writing Stands Out by Dr. Rosanne Welch

In doing some research on YouTube I stumbled onto the speech Hugh Laurie gave in celebration of Emma Thompson receiving her star on the Hollywood Walk of Fame. What struck me is that at 2:52, after joking a bit about having known each other since they were in their late teens in college together, Hugh gets to the meat of why Emma Thompson deserves the star. It’s for her WRITING.

Yes, her first Oscar came for Best Actress in Howard’s End, which is where Americans first heard of her. BUT her second Oscar came from adapting a Jane Austen novel into one of my favorite films – Sense and Sensibility (and she cast Hugh in a small part!). She then went on to write several other films (including Wit, the 2 Nanny McPhee movies, and Bridget Jones’s Baby) though many still don’t realize she is a writer.

In this clip, he explains what makes her writing so powerful…a good lesson to us all.

 

 

STOP FORGETTING TO NAME THE WRITERS! by Dr. Rosanne Welch

STOP FORGETTING TO NAME THE WRITERS!

STOP FORGETTING TO NAME THE WRITERS! by Dr. Rosanne Welch

Once again I’ve had to email a film screening program about the blurb they posted about an upcoming screening and Q&A with the creators of a new film. Here’s the post I read:

When single father Max (John Cho) discovers he has a terminal disease, he decides to try and cram all the years of love and support he will miss with his teenage daughter Wally (Mia Isaac) into the time he has left with her. With the promise of long-awaited driving lessons, he convinces Wally to accompany him on a road trip from California to New Orleans for his 20th college reunion, where he secretly hopes to reunite her with her mother who left them long ago. A wholly original, emotional and surprising journey, Don’t Make Me Go explores the unbreakable, eternal bond between a father and daughter from both sides of the generational divide with heart and humor along for the ride. From Amazon Studios, #DontMakeMeGo will begin streaming July 15 globally only on Prime Video.

Why We Love It: Don’t Make Me Go is an emotional and beautiful exploration of the struggle between chasing your dreams or settling on the safe choices. Mia Isaac and John Cho’s chemistry is captivating in this one of a kind father-daughter road trip film. Bring tissues.

Here’s the email I had to send to the programmer:

I saw your announcement and wondered if Don’t Make Me Go is “A wholly original, emotional and surprising journey, Don’t Make Me Go explores the unbreakable, eternal bond between a father and daughter from both sides of the generational divide with heart and humor along for the ride” then WHY wasn’t the writer, Vera Herbert, invited to this live discussion? Or even mentioned in your post, which makes the reader assume that the director is a writer-director, giving them all the credit for what sounds like a film based on characters, situation, theme, and dialogue – none of which are under the auspices of a director.

As the Executive Director of an MFA in TV and Screenwriting, I subscribe to all your posts to see what events I might want to bring my MFA candidates to – but I only attend events that include writers. It’s an insult to not even name the writer. The auteur theory was invented years ago by French film reviewers who found it simpler to list directors since many were writer-directors and sometimes a film is written by 2 people which was unwieldy in a review. That’s why it exists and it’s a shame for film experts/programmers/educators to continue that practice. More women have written films than directed them (the Joan Harrison/Hitchcock team is an example) so it was another way to erase the creative work of women when we only mention directors. I would say “Please stop” but I’m tired of saying “Please”.

Dr. Rosanne Welch

Women’s Stories Matter – and Earn Awards

Women’s Stories Matter – and Earn Awards

Sian Heder reminded us how hard it is to be both a writer/artist AND a Mom – but we do it anyway — So do it anyway.

AND she won 2 major awards for a film about a young woman chasing a dream. That has happened only 3 other times in Oscar history (for Gigi, West Side Story, My Fair Lady – all musicals). Don’t let them tell you female stories aren’t powerful enough to earn awards – or audiences.

Women’s Stories Matter – and Earn Awards

A TED Talk Worth Watching – “Saving the World Vs Kissing the Girl” by Lindsay Doran

I am quite a fan of TED Talks – for their content and the spiffy way they illustrate a talk should go in a quick 20 minutes or so.  I often show students one of my favorites – Chimamanda Adiche’s “The Danger of a Single Story” and show my friend, Art Benjamin’s TED Talks in some of my humanities courses.  I was deeply pleased to be asked to give my own TED Talk, “A Female Voice In The Room”,  when CalPolyPomona hosted their own TED@CPP event a few years ago.  So when I find a new one worth sharing – I share it. 

The latest TED Talk to catch my attention was given by film producer Lindsay Doran in 2012.  “Saving the World Vs Kissing the Girl” is a fascinating look at how ‘action’ movies end on the announcement of the success to someone the protagonist is in a relationship with, making the culmination of the relationship more important than the ‘saving the world’ part. 

For instance, at the end of Rocky he doesn’t say “Yo, Adrian, I won” because he doesn’t win the fight.  He only survived it. The movie ends with Rocky and Adrian struggling to get to each other in the crowd. When they reach each other, they clutch each other saying, “I love you” over and over again. THAT’s the win.

A TED Talk Worth Watching -  “Saving the World Vs Kissing the Girl” by Lindsay Doran

Using Dirty Dancing, Karate Kid, and The King’s Speech she explains how positive relationships are more important than positive accomplishments in films.  They always end with the healing of a primary relationship. Heroes who don’t win their fight (Rocky in Rocky, George Bailey in It’s A Wonderful Life, Atticus Finch in To Kill A Mockingbird) are so inspirational because they win their relationships. 

Then she says that women don’t need to learn that relationships are more important than accomplishments in life – men do.  So perhaps these action films are women’s way of teaching that lesson that no man is a failure who has friends.

I LOVE that idea!

Mike Flannagan and “Midnight Mass”: 11 years in the making

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If you haven’t seen this short 3 minute ‘featurette’ where Mike Flannagan explains the impetus for writing the show “Midnight Mass”, it’s worth your time. 

Most importantly, he discusses how he started writing the script in 2010 (so it took 11 years to become what it became); that he thought it would be a movie first until he realized how deep the story should be; and that it came from a scary “what if” question he had in his own life. 

This short conversation is a great look into the mind of a writer (even if you haven’t watched the show and might not even intend to because horror scares you….the lessons are all still evident in this conversation).

On The Writers of Casablanca

On The Writers of Casablanca

While it is fun to look back at this review of Casablanca from when it was released – before anyone knew it would become the classic it is and be voted one of the greatest screenplays of all times – it’s also a reminder of my pet peeve. The reviewer never once names the screenwriters – twins Julius Epstein and Philip Epstein and Howard Koch – in the whole review.

On The Writers of Casablanca

Howard koch

He mentions the producer and the director in the first paragraph. Yet he writes: “through these people, the story of Casablanca is told with expert intensity.” And about the love story, he says: “the triangle is intelligently developed.” And in praise of the director, he notes “the wealth of contributing material that was placed at his disposal” without ever acknowledging the writers who did all of that.

As a final coup de grace he names each of the heads of departments and their “long list of technical achievements”… but never once mentions the writers who envisioned it all – Julius and Philip Epstein and Howard Koch. So I am mentioning them many times in this rant. Jacob and Philip Epstein and Howard Koch created the Casablanca we still watch, love, and teach 80 years after it was written by Jacob and Philip Epstein and Howard Koch.

Read ‘Casablanca’: THR’s 1942 Review from the Hollywood Reporter

William Blinn, Brian’s Song, Purple Rain, and Screenwriting

William Blinn, Screenwriting, Brian's Song, and Purple Rain

Sometimes I love the way the internet lets you drill down layer after layer of research when you only had one small question – but you learn things you forgot you wanted to know.  When I saw a question on Quora’s Ask a Screenwriter forum about the best “Based on a True Story” films the one that came immediately to mind was Brian’s Song so first I found the trailer:

Naturally then, I wanted to know who wrote it, which brought me to the film’s Wikipedia page, which brought me to William Blinn’s Wikipedia page

There I came to find that not only did he win an Emmy for writing that TV film but also one for writing on the original Roots.  Here he receives the Paddy Chayefsky Laurel Award for Television for “a WGA guild member who has advanced the literature of television and made outstanding contributions to the profession of the television writer.”

His advice to young writers is to “get off you’re a** and do the work” and to “Tell the truth in an interesting way.”

(If you listen to nothing else in this blog post – listen to that speech!).

Blinn was nominated 3 times for episodes of Fame. And he won Humanitas and Peabody Awards along the way.   Blinn also produced Starsky and Hutch (both the TV show and the 2004 movie!). Finally, he co-wrote Purple Rain

THAT is a career –  and you probably have never heard of him. 

Finally, I came to remember how much I had resisted watching “a football movie”  but I kept hearing how much other people loved it so when it re-ran on the 11:30pm film one night I snuck out of bed in the childhood home I shared with my grandparents and watched the film – finding myself sobbing as it ended.  I had never seen a film about such a strong male friendship – and I have rarely seen on as strong since.

Yay for the internet – and Yay for William Blinn.