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Buy Making Movies by Lumet, Sidney (ISBN: 9780679756606) from Amazon’s Book Store. Everyday low prices and free delivery on eligible orders.

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The crew for the play and short film will be the same, with minor exceptions where noted.

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The cast for the audio drama, the play and short film are all the same, with minor exceptions where noted.

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Buy The Friedkin Connection Reprint by Friedkin, William (ISBN: 9780061775147) from Amazon’s Book Store. Everyday low prices and free delivery on eligible orders.

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The following are examples of the same story being adapted to multiple forms of media, and will be referenced in my writing as focal points in how different creators take the same piece of writing and display it in different forms of media.

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Sound Operation / Lights

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Love and Mercy (2014) uses a really unique method of showcasing what goes on inside someone's creative mind. Whenever the lead character, Brian, hears music or has some kind of life-changing experience, the score (composed by Atticus Ross) is comprised of these lavish, extraordinary, invasive soundscapes, compiled of samples and abstract noises from the Beach Boys' back catalogue.

I want to utilise the methods used by Ross and director Bill Pohland to showcase the character's inner headspace for five key scenes in the play. Soundscapes are being created by Guy Pollock and myself, and will be heard through the four speakers situated in the performance room during those same key scenes.

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Sound Design *play only

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Makeup / Costume

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Makeup

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Roy

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Sheena

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Denis

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Mary

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Lola

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Sally *play & drama only

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Mrs. Robinson *play & drama only

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Mr. Mustard *play and drama only

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Sister Ray *play only

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Playwright / Director

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Hold On Tight is a four-act play written by Scott Shand, premiering at The Black Box theatre within Queen Margaret University in Musselburgh, Edinburgh on January 13th 2025.

The story was written when I was fourteen, and intended as a novel. It was inspired heavily by the films Baby Driver (2017), Gregory's Girl (1980) and The Breakfast Club (1985). Baby Driver, for it's slick, music-driven plotline where songs indicate what's happening onscreen. Gregory's Girl for it's comedic, Glaswegian-based romance and humour. And The Breakfast Club, for it's dramatic approach to teenage angst and high school setting.

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Glasgow, 1988. A turning point for the city, but also in the lives of five friends ready to graduate High School. With dreams of starting a band, hitting the road and living life to the fullest, these outcasts and misfits must choose between a life of risk and excitement, and a life in the city, working for the man every night and day. Hold on tight to your dreams, it's gonna be a bumpy ride.

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The Breakfast Club - Treating teenagers with respect

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The Breakfast Club - Treating teenagers with respect

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All The Confessions | The Breakfast Club (1985) | Screen Bites

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Baby Driver - Music dictates the scene, rather than the scene dictating the music

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Baby Driver - Music dictates the scene, rather than the scene dictating the music

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Baby Driver | Baby Goes Rogue (Ansel Elgort, Jamie Foxx)

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This short film features Elsa Kerscher, who is featured in the play. A series of short, student led films are created each year for and by the QMU Acting and Performance students. The short film adaptation of Hold On Tight will be shot with this framework in mind, both as a way to showcase the use of sound design, filmmaking and stylish direction, and give the actors something to use for their portfolios.

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SNEAK PEEK!! Hold On Tight by The Real Scotia

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Enjoy This Sneak Peek of Hold On Tight, an extract from the first episode in the series. Plenty more to come and lots more to experience!

Starring:
Adam Campbell as Roy
Brogan Hale as Lola
Olivia Chapman as Sheena
Abbie Miller as Mary
Arran Hogg as Denis
Eilidh Rose as Sally

Coming Soon!

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Every song here is referenced in the play, either by the name of a character, the journey they go on, a cover by one of the characters or dialogue between them.

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Iconic first adaptation of H.G. Wells' War of The Worlds. Director Orson Welles adapted the novella to be told instead like an audio-drama told in first person accounts of the alien occupation of earth.

This is seminal in adapting pre-existing work, adding to it, and creating a new experience for the audience.

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War Of The Worlds - Original 1938 Radio Broadcasts (2011 Remastered Version)

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Superman's many adaptations, and the first one created so much!!

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Superman's many adaptations, and the first one created so much!!

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Superman's first adaptation came as a radio show debuting in 1940 and lasting eight years. As this broadcast began only two years after the Man of Steel's creation, the writers were given extensive free reign to craft new stories and elements of the character, later carried over to the comic strips and grander mythology of Superman.

The series' created Kryptonite; Superman's weakness.

"In an effort to give Bud Collyer some time off, a man much in need of a vacation, the writers of the show invented Kryptonite in 1943 in order to make Superman sick. This allowed the voice of Superman to be absent without ruining the regular broadcast schedule."

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Adventures of Superman - first Bud Collyer appearance (1940)

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One failed by Lynch.

One unreleased by Jodorowsky.

One successful by Villeneuve.

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First published in 1960.

First film-adaptation in 1962.

Adapted for the stage sixty years later in 2022.

What's different about each version? What did they change and why was it necessary?

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To Kill A Mockingbird (1962) | 60th Anniversary | Screen Bites

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A Christmas Carol is one of the most adapted pieces of writing EVER. So many versions of the story exist, but my writing will focus on the core three; audio, stage and film.

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Adaptations of A Christmas Carol - Wikipedia

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Adapting Performance Between Stage and Screen

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The book offers an introduction to adaptations between stage and screen, examining stage and screen works as texts but also as performances and cultural events. Case studies of distinct periods in British film and theatre history are used to illustrate the principle that adaptations can’t be divorced from the historica

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Writing Adaptations and Translations for the Stage is a practical guide for writing adapted works for theatrical performance.

Broadway translator and dramaturg Allison Horsley and award-winning playwright and educator Jacqueline Goldfinger take readers step-by-step through the brainstorming, writing, revision, and performance processes for translations and adaptations. The book includes lectures, case studies, writing exercises, and advice from top theater professionals on the process of creating, pitching, and producing adaptations and translations, covering a wide range of topics such as jukebox musicals, Shakespeare adaptations, plays from novels, theater for young adults, and theater in translation and using Indigenous language. Artists who share their wisdom in this book include: Des McAnuff (Tony Award), Emily Mann (Tony Award), Dominique Morisseau (Broadway Adaptor, Tony Award nominee, MacArthur Genius Fellow), Lisa Peterson (Obie Award, Lortel Award), Sarah Ruhl (Broadway Playwright, Tony Award nominee, Pulitzer Prize finalist, MacArthur Genius Fellow), and Tina Satter (Broadway Director, Obie Award, Guggenheim Fellowship). The book also features interviews with artists working both in the US and internationally, as well as guest columns from artists who work in less traditional adaptive forms including cabaret, burlesque, opera, community-engaged process, and commercial theater.

Writing Adaptations and Translations for the Stage is an essential resource for students and instructors of Dramatic Writing, Playwriting, and Creative Writing courses and for aspiring playwrights.

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Writing Adaptations and Translations for the Stage: A Guide and Workbook for New and Experienced Writers

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Writing Adaptations and Translations for the Stage: A Guide and Workbook for New and Experienced Writers : Goldfinger, Jacqueline, Horsley, Allison: Amazon.co.uk: Books

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No noticeable beats. Too much reverb, unnoticeable tempo.

long-stretched, overdubbed soundscapes.

Inspiration; A Day In The Life crescendo, The Beatles.

Inspiration; Mama's requiem, Paul Leonard Morgan, Dredd soundtrack.

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Paul Leonard-Morgan "Ma-Ma's Requiem" DREDD

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I will use a scene from the script to adapt to film, making a five-to-ten minute long short that explores the same themes, uses the same dialogue and adapts the story faithfully.

This will be the final task in showcasing the differences between the three mediums of the story's evolution.

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The preview show premiered January 9 to a crowd of 40 people. QR codes were plastered at the entrance and within the hall itself to garner feedback from members of the audience. We received ten responses, some detailed, some blunt. These will be used for the written side of the dissertation, quotes from the reviews of the play about what went wrong, what went right and what can be done for a short film.

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The most hardship received from the reviews was the flow of the dialogue; it was too fast. Too many people talking too fast and not all the words are heard. This will be taken into consideration when filming the short film. The cast will also be different, to see how different actors approach the same dialogue.

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Purchasing two books on filmmakers and stage directors, William Friedkin and Sidney Lumet, I became aware of how they adapted plays they had previously directed to the screen. Lumet adapted 12 Angry Men, first for the stage, then as a television special and finally a feature film, evolving the style of telling that story - with little change - each time. Coincidentally, Friedkin himself adapted 12 Angry Men for television in 1997 to great acclaim, too. Lumet would go on to adapt Long Day's Journey Into Night, The Offence, Deathtrap, and Stage Struck.

Lumet on stage plays becoming films;

" I don't have any particular theory on adapting stage works to film. I take them one at a time. I didn't open up Long Day's Journey Into Night (1962) at all, except for that scene on the porch, which was important, given the title. I don't believe in opening it up if you lose tension, lose characterizations, or lose the story. I opened up Deathtrap (1982) very, very little because it would have let the tension out. It's a psychological thing. Confinement can work for you. "

Friedkin began his career in documentary filmmaking and live televised broadcasting, his second feature was an adaptation of the Harold Pinter play The Birthday Party starring Robert Shaw. He followed this up with The Boys in the Band before going onto more successful work like The Exorcist and The French Connection. In 2005, after spending most of the last decade directing operas in Vienna, Friedkin returned to adapt two Tracy Letts plays to the screen; Bug and Killer Joe. The latter would prove to be his final film. He bookended his career with stage adaptations and both times, they were successful and led to critical reevaluation.

Friedkin on film and actors from stage;

"The first work of the director is to set a mood so that the actor's work can take place, so that the actor can create. And in order to do that, you have to communicate, communicate with the actors. And direction is about communication on all levels. Wether it's stage or screen, communication is boss."

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Roy

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Lola

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Sheena

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Denis