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You will be redirected back to your article in seconds. Powered by WordPress. Close the menu. Film Expand the sub-menu. TV Expand the sub-menu. Awardsline Expand the sub-menu. Box Office Expand the sub-menu. Business Expand the sub-menu. Hero Nation Expand the sub-menu. So I spent a lot of time trying to be my version of a young Tom Hanks laughs , my version of a young Danzel Washington, with not a whole lot of success.
Audience and WM laugh. There was just a lot of stuff that I had to say no to because I was worried about being typecast. WM: One of two. H: One or two…. WM: Yes. H: Not too shabby. H: Did that specifically, did getting that nomination open up any new doors for you that you can tell that that was the direct connection?
WM: Right. H: How did this come to be? For me it felt pretty organic. WM: …and then suddenly this door opened and on the other side of that was a potential career as a writer, and I enjoyed myself so much writing that first screenplay. WM: I would describe my script as maybe Gothic as opposed to baroque, if that makes sense. H: So, when you… how long ago did you write that script? WM: That was , maybe. H: Was that the first one you had written? H: Why? Why, what made you, did you… just because… you felt like it was something…. But I wanted to play a bad guy. WM: Well, I wrote a prequel.
H: I mean, would you want to have any more of creative control and something like that? H: But, you know, in this world where there are so many franchises and sequels and remakes and reboots…. WM: Sure. H: So, do you feel, like, any sort of personal attachment that you would want to help guide it through? So I decided to choose the first. And what I respect about feature films in their attempt to, kind of, create these franchises is that they are actually, from a certain perspective, following a TV model, which is allowing the audience to spend more time with these characters and invest in these stories in a different way.
TV allows you to go deeper as far as emotionality and character than your average two-hour movie ever could.
So, the movie becomes about, maybe, plot first, characterization and emotionality second whereas TV, it has the time and the leisure to serve these things up. H: I find it kind of troubling now that cinema had started to adopt this TV model. Do you have any things that you do, do you make a lookbook or, you know, do you do anything to help inspire you?
H: Speaking of which, I applaud you for what you did with the St. What has come out since then, like, for you, like, have there been any opportunities, whether they be just activist opportunities, speaking opportunities, things of that nature? H: Beautifully put. I think at this point we can open it up to the audience for some questions.
And if we have any other microphones about… yes, we do. So, yeah…. H: Yes, we can barely see you. Any hands in the air? I see one over here. H: Next question. H: Did you figure it out? WM: Do we have a microphone? Girl: Hi, Wentworth.
WM: Hi. Girl: Laughs.
Girl: … in Krakow. How do you, kind of, reconcile that as far as what you want to do next? WM: You know, they both have creative challenges and drawbacks and things that are issues for me in terms of control and surrendering creative control and being okay with the process. What I learned about myself as a writer is that I need people.
Girl: Yes. H: Got it. Girl: Hi. Girl: … and that also will be a thriller, from what I heard. Girl: Is that your favourite genre? WM: Hm. Girl: Thank you. Could you tease a little bit about what people are in store for it?
H: Sounds good. Any more questions for Wentworth? Can we get a microphone? Third row centre. Yell out next time.