There comes a point in the process of writing a script when one realises that though so much onus is placed on making the script “perfect” the reality is that film is a visual medium and much of what you have written will be changed or ignored when it comes to shooting. We were therefore encouraged this week to think of ways in which to install the visual in to our work. This can sometimes be hard, as directors do not like it when screenwriters indicate camera moves etc. So we had to find a language that could suggest how movement and dynamism could be inserted into a scene. We watched scenes from Kurosawa films. Every frame is filled with motion, from wind, from rain, from fire. Not only does it look beautiful but it also heightens the drama of the scene, often reflecting the protagonists psyche. We then took a scene from our own film and tried to rewrite it, making movement the prime focus. I chose a scene in which my protagonist, Grace, is performing in a club and then sees the man who she can’t resist, despite him being bad for her. I altered the scene so that the the thronging crowd became the focus, they are her obstacle to reaching this man. She has to squeeze through them, they turn her around to speak to her, they block her. When she does finally reach him, these two people, who are unsure of their position towards each other, dance around one and other. She sits up on a table, he sits down, then gets up. They move back to the bar, drink, edge around each other as they edge around their emotions. Suddenly the scene became much more alive and their power dynamics were playing out through action and movement rather than just dialogue.