Showing posts with label Diana Slampyak. Show all posts
Showing posts with label Diana Slampyak. Show all posts

Monday, June 25, 2012

Presentation, style and format


Format of Indigo Lady
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Nena Sylvia St. Louis
6:12 PM (11 hours ago)
to Sapna, Diana, Rebecca, tyler, indigo
ladies, i now have a very clear picture in my mind as to the presentation, style and format of the movie. i have been exploring and experimenting, and came up with 4 videos that have the format that works for what i want to do: "performance art videos - silent montages exploring the performance of simple acts in familiar, stripped down settings - formalistic presentation, multiple sensory and emotional layers." possible settings: Violet's sewing room, Flavia's house, a gazebo (for Violet), an empty diner on the highway (Russel's mistress), a prison visitation room (Indigo), a small empty Catholic Church (Violet), a barn (Indigo), a coffin or under weathered floorboards for the Great Great Grandmother, Flavia, etc. these are coming off the top of my head, but most likely the settings would all be based on/lifted from Tyler's drawings, except for the interview with a reporter that each of you will have.

i am seeing the movie as about 50 minutes long, divided into scenes that all begin with a drawing and dissolve into a scene complete with actors, props, etc., - it is likely that the actors playing the action scenes will speaking extras, one of whom would be a "doppelganger" of the main character that the scene was about (i.e., Violet's argument with her husband about the husband bathing/dressing Indigo; Russell's telling his mistress that he was getting married; the murder scene, inter alia).

i would really appreciate your watching at least one of the videos in this Vimeo Album:
https://vimeo.com/channels/insideoutoutsidein. this is the format of your movie. while the presentation is very formalistic, each one of your beats will involve a main frame monologue completely improvised by you based on the story facts and a memory/sensory/emotional secondary monologue. this will definitely be a chance to knock yourselves out as actors. R, i will work with whatever time you have available - we'll talk.

once i have clips of each of your monologues, and a "drawing come to life" clip, i will make a trailer and begin soliciting funding.

Sunday, April 15, 2012

Sunday, November 20, 2011

Diana Slampyak's Development of the Character, Violet Milazzo: First Interview

Gmail sylviatoyindustries

First set of interview questions
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sylviatoyindustries Lewis Sun, Nov 20, 2011 at 2:34 PM
To: Diana Slampyak
interview questions for Diana/Violet
I was so excited I could scarcely wait to get dressed and go into town.  But my mother came into my room wearing a narrow, lavender linen shift.  Her crazy black curls were pulled into a thick pony tail that stretched her white face across thin, flat cheekbones and slanted her eyes - YOU HAVE BLACK HAIR, BUT THERE'S NO DOUBT THAT YOU'RE CAUCASIAN; YOUR DAUGHTER IS DARK, NOT AS DARK AS THE PORTRAIT OF HER GREAT GREAT GRANDMOTHER, FLAVIA MILAZZO; IN FACT NOONE WAS SURE THAT FLAVIA MILAZZO WASN'T A DARK INDIAN, A MIXED BLOOD NEGRO OR AN ARAB, EVEN THOUGH SHE SAID SHE WAS SICILIAN AND SPOKE ITALIAN - DID YOU DYE YOUR DAUGHTER'S HAIR BLONDE WHEN SHE WAS A CHILD SO NOONE WOULD QUESTION WHETHER SHE WAS CAUCASIAN.
Violet
  Are you helping her get dressed, Blackie? WERE YOU UPSET THAT YOUR HUSBAND WAS DRESSING YOUR TEN YEAR OLD DAUGHTER?
Indigo
  Mommy!  Mommy!  I look just like Flavia Milazzo.
Violet
  Are you?
Blackie

  It’s her birthday.
Indigo
Mommy!  Daddy says I’m a princess.
Violet
Don’t you think she’s old enough to dress herself?
Blackie
Jealous of your own daughter?  Or me? SO WERE YOU JEALOUS OF YOUR DAUGHTER OR YOUR HUSBAND, OR WAS THERE SOMETHING ELSE.
Violet
She’s old enough to dress herself.
And then Mommy smelled Daddy’s fingers; and Daddy shook his head - WHY DID YOU SMELL YOUR HUSBAND'S FINGERS.  But Mommy got hysterical anyway.  She always got hysterical if Daddy and I were alone - WHY DID YOU GET HYSTERICAL WHENEVER YOUR HUSBAND AND DAUGHTER WERE ALONE.  It took her an hour to calm down before we could leave the house - HOW DID YOU "CALM DOWN": JUST CHILLING OUT, DARK ROOM WITH A CLOTH ON YOUR FOREHEAD, HOT TUB, DEEP BREATHING, YOGA, ROSARY, ASPIRIN, SEDATIVE, DITCH WEED.


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Tuesday, November 15, 2011

Indigo Lady - casting memo

sylviatoyindustries 
 

Indigo Lady quicktime storyboard - casting memo

sylviatoyindustries Lewis  Tue, Nov 15, 2011 at 4:40 AM
To: Sapna Gandhi, Diana Slampyak, tyler cohen

http://vimeo.com/32135353

hey. so i combined the montage studies that i've been making for the last month with interspersed talking head of a reading of the original stage version script. there will be talking head clips in the movie (monologues of the main characters - i.e., Sapna/Indigo, Diana/Violet/Indigo's mother, Russell - that are improvised by the actors based on the script). but also scenes of characters in action; much of this will be green-screened. there will be a lot of montage, effects (visual & sound), etc., that happens on the editing table. but there will also be full-frame clips, probably at the beginning of each plot point. just so you know, i play the ghost of the great great grandmother, who never speaks, just haunts the montage at 50% opacity at plot points in the central character's throughline, wearing a black veil and looking somber.

FYI, i am upping the mother's role in the movie because the conflict between mother & daughter is one of the story's strengths. i am going to wait and see what Sapna and Diana come up with in their monologues before i cast Indigo's father.

nidal, i'm including you on this even though you haven't committed yea or nay. i am reworking the script that i sent you because i think the relationship between the detective and Sapna's character (Indigo)  happens too late in the story. i probably will add a different unattainable male character who appears early (in Sapna/Indigo's) childhood; and right now i'm thinking that character is probably a priest when he reappears in the story - probably as the intercedent between the detective and Indigo's husband's mistress. meaning, it is the priest who convinces the detective to investigate Indigo's husband's disappearance.

steve, can you please watch this and think about playing Russell, the husband?

nima, can you please watch this and consider playing the priest?

rebecca, i will ask you about this when you drop by - but in case i forget, as is my MO, will you watch this and consider playing the mistress?


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Thursday, October 20, 2011





this is another study for my movie in-progress, "Indigo Lady" (a solo play by Nena St. Louis, staged in 1995 at the Lorraine Hansberry Theatre), about a serial murderer who murders the men she loves when they disappoint her. i'll be working with my talented gal pals Sapna Gandhi (Indigo) and Diana Slampyak. Tyler Cohen is creating the basic design of the settings. the movie will largely be based on Rashomon-type storytelling - i.e., monologues improvised by the 3 main actors (the third is the only man who survives, a detective who investigates the husbands' disappearances). (Indigo's trophy wife mom). Nena St. Louis play the ghost of Indigo's great grandmother, the founder of a ranching empire in Western Nebraska.

to interweave fact/memory/fantasy/illusion that are the stuff of each character's version of what happened, i will be using montages in a lot of the scenes. right now, i'm having a lot of fun creating video "sketches" while Tyler creates the real ones.

Saturday, October 8, 2011

Gmail                                                                                     sylviatoyindustries Lewis

Indigo Lady

sylviatoyindustries Lewis  Sat, Oct 8, 2011 at 6:48 AM
To: Sapna Gandhi, Diana Slampyak
Cc: indigomilazzo@gmail.com, tyler cohen
Ladies:

First, please add Indigo's email to your contacts. If you're wondering, Milazzo was an old boyfriend's last name (Mee-la-tso). Indigo's mother, Violet, named her daughter after her favorite color; I named her that because indigo is ancient and used to be highly valued and precious.

Although there is a script, we will be improvising, and the story will be based on Violet's and Indigo's monologues. We will work one on one at first, and when we know what the story is, we'll schedule shoots with all the cast/crew involved in particular scenes. Since I know how to do this now and have a more complete kit, every scene will be produced - i.e., designed, lit, sound-teched and testshotted. We will have a plot, but this movie ultimately is a feature-length video performance art piece. And that is something I'm an expert at!

Tyler, let me know when is a good day to meet this month. Chris and I have story conferences every Monday night until the 'Keskarel' script is completely done, but I have no other commitments except for day job. Sapna and Diana, your first monologues will be based on what follows:

Indigo
Daddy was the most ambitious Milazzo since Flavia Milazzo made the family fortune.  He was a butcher and a rancher; and he opened Flavia, Nebraska’s first supermarket, Blue Girl’s, on my tenth birthday.
Early that morning, hours before the opening day ceremonies, I woke up under the frilly white canopy over my bed and saw Daddy grinning.  He pointed to a ruffled, lacy blue organdy dress and blue patent leather slippers that lay on the end of my bed.  And then he placed a crown of artificial columbines on my head. her father makes her take baths in milk to lighten her skin
Blackie
  Happy birthday, Princess.
I felt as magically beautiful as Flavia Milazzo in the painting at City Hall.  I didn’t mind the stiff fabric scratching my skin.  I was so excited I could scarcely wait to get dressed and go into town.  But my mother came into my room wearing a narrow, lavender linen shift.  Her crazy black curls were pulled into a thick pony tail that stretched her white face across thin, flat cheekbones and slanted her eyes.
Violet
  Are you helping her get dressed, Blackie?
Indigo
  Mommy!  Mommy!  I look just like Flavia Milazzo.
Violet
  Are you?
Blackie
  It’s her birthday.
Indigo
Mommy!  Daddy says I’m a princess.
Violet
Don’t you think she’s old enough to dress herself?
Blackie
Jealous of your own daughter?  Or me?
Violet
She’s old enough to dress herself.
And then Mommy smelled Daddy’s fingers; and Daddy shook his head.  But Mommy got hysterical anyway.  She always got hysterical if Daddy and I were alone.  It took her an hour to calm down before we could leave the house.
The opening day ceremonies for Blue Girl’s market began at noon with parade down the main and only paved street in town all the way to the new store, which stood on the most official block in Flavia, Nebraska between City Hall and Flavia Milazzo’s house.  My father and I waved to the crowd from the back seat of a red Mustang convertible.  I got to cut the shiny, blue eight-inch ribbon tied on the steel and glass doors of the most modern structure that ever had been built in Flavia, Nebraska.  The crowd sang me ‘Happy Birthday.’
I was quite pleased with the progress of my tenth birthday party as I greeted the crowd and handed out pieces of the five by five foot sheet cake that had been shipped all the way from a bakery in Lincoln.  Daddy stood under a tree smoking cigars with the mayor.  My mother sat near me on the lawn in front of the store, eating her cake.  She glared at me over her plate.
Violet
You’re cutting those pieces too big, Miss Priss.
Blackie
She’s having fun, Violet.
Violet
She’s too young, Blackie!
Blackie
Did you want to cut the ribbon, Violet?
Violet
You’re going to be sorry you spoiled this child.
Blackie
She’s a beautiful girl, Violet.  Men will always spoil Indigo.
Violet
Yes, Blackie, she is beautiful.  But she’s strange.  Men don’t like strangeness in women.
I had the feeling she was about to get hysterical again.  I told my parents I had to go to the bathroom.  But I didn’t go to the bathroom.  I sneaked next door into Flavia Milazzo’s house.  It was the first time I was here by myself.  This tiny house--as frail and thin-skinned as the old matriarch herself must have been when she died at 109. 
I forgot my mother had the floors redone.  The stink of varnish pierced my nostrils.   She ruined the floors!  How could she make them shiny?  Those spindly legged tables and chairs weren’t shiny.  Those bald Persian rugs with ragged fringe weren’t shiny.  It smelled so bad in the house; I thought I might be able to throw up--the varnish fumes mixed with the smell of roasting meat.  I heard men yelling at each other about spitting the pig.
I'd never seen a pig spit before.  Smoke rose from a pit which had been dug in the middle of the store’s gravel parking lot.  Several men stood around the pit, positioning a pale, stiff pig with a heavy stick running from its mouth in front through its asshole.
My mother was such a weakling.  She was so squeamish that she never touched raw meat without wearing rubber gloves.  She wouldn’t even let me come into the kitchen while she cooked.  This was the first time I’d ever seen raw meat.  I wanted to see more!  I ran outside.
Indigo
  Daddy!  Daddy!  I saw the pig!
That was the day I decided to become a butcher.  I wasn’t afraid of meat--I was a Milazzo.
Daddy never let me butcher anything larger than a goose until my fifteenth birthday.  That’s when he let dress the star of my birthday barbecue, a young boar.  Butchering the pig created a weird mixture of feelings in me--the thrill of carving an animal as large as I was, the horror of feeling its warmth and fleshiness; and the uneasiness of dissecting what seemed too familiar to kill.
That night, I woke up from dreaming that I was a pig, and that somebody tried to slice open my abdomen.  I had a searing pain in my crotch, and I felt something warm and wet on the inside of my thighs.
Indigo
  Blood!  AAAAAAAAAAAH!
My parents ran into my room, their gaping eyes and mouths mirroring my own terror.  I told them about my dream.
Violet
  No more knives!
Blackie

  Don’t get hysterical, Violet.  We just won’t be cutting any more pigs, that’s all.
Indigo
  I don’t want to butcher anything small!
Blackie
  No cattle, young lady.
Indigo
  If you won’t give me anything larger that a suckling, I just can’t be a butcher.
It’s just as well that I decided not to be a butcher anymore--as soon as I started menstruating, boys followed me around. 


Thanks, ladies.

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This video is a study in layering related events to explore how suspense, paranoia and unanswered questions create different layers of emotional response, any and all of which can compel action. This video is one of a series in my development of the visual concept for Indigo Lady, the story of a female serial killer in rural Nebraska. I was limited by a fever while working on this and used my malaise to shoot with the mindset of one who's cooped up in an environment dominated by a malfunctioning TV that's somewhat anthropomorphized.