For me, film writing is a natural extension of play writing.
My plays often have a cinematic quality of sharp scene cutting, and I think of story in one sweep, not two acts with a sleep zone intermission.
My first adaptation is Getting Out Alive, a film script adapted from my novel Getting Out Alive which in turn is adapted from my play Steel Kiss.
But only Mouth (not my play by that name), which was inspired by a short, incomprehensible family scene called Couch Enigma (1988, Rhubarb Festival) has been produced.
In 1993, Cube director Vincenzo Natali shot Mouth. Because of last minute money problems he had to cut out all my brilliant dialogue, leaving him to work with sound overs only. It did, however, remain the vessel of bad manners and exotic quirks that I envisioned.
What can be said about a dysfunctional family in the degradation of a complete societal breakdown, the inner raw emotions spewing to the surface in a gruesome yet touching manner? What can be said about Son who is chained to the toxic tv? How can he escape the clutches of monster father and lavish mom? Mouth is ironic and iconoclastic; it is infected with horror movie sensibility, absurd philosophic connections, and tainted beautifully with symbols of putridity. I assure it is saying something powerful about both the nuclear family and the bigger family of humanity. One day I will try and verbalize it for you. In the meantime check out some of it and make up your own mind.
3 minutes and 58 seconds of Mouth. Speakers ON?