Rustic.

...operated through the creative instinct—that restless or peaceful feeling the writer gets in their gut. It's interesting looking back at oneself and seeing one's own building blocks.

I realize, in retrospect, that the purpose of some of these works was to help me identify what bad writing is so that the sensibility can point itself towards good craft. Over time, the creative intelligence builds the knowledge of good and bad principles into a navigation system...

...its style and tone have a typical-ness that I never liked right from when I first penned it. The rest are bad in the sense that they are the products of a raw mind making the turbulent transition from an instinctive relationship with writing to a conscious and deliberate control of craft.

The only work here that's legitimately good is a short play from 2013 titled "Remembrance". Also in here is the very first work I ever wrote, a play titled "Sleep Sef Na Wahala". It's an average work at best, with its one redeemable quality being comedy that holds up, but...

For any African literature heads, the second play there is an English language adaptation of Ferdinand Oyono's classic HOUSEBOY.

Made my day!

The fourth play here, THE CELL by Harold Kimmel, is what I directed for my final year theatre directing practicals. It's an electric two-hander about South African prisoners in Cape Town entangled in a psychosocial war of the minds—and bunk beds.

Cat-vengers assemble.

Two of my all-time favourite performances, Renée Zellweger and Catherine Zeta-Jones in CHICAGO, are volcanic blasts of extroverted intensity. (The whole cast of CHICAGO is flawless.)

Choi Min-sik is an extroverted master who can power a city with the intensity he generates.

Phillip Seymour Hoffman and Laurie Metcalf are two powerhouses I find similar in the sense that I consider them both extroverted types, yet they also have a very high current of introverted intensity parallel to the extroverted.

For the alternate, the legendary Morgan Freeman and Zhao Tao are examples of masters of introverted intensity.

Denzel Washington and Al Pacino (my top 2 favourite actors of all time) are examples of masters of extroverted intensity. Sarah Lancashire is another extroverted type I find inspiring.

This means that actors can play in either of the types; they just have a natural affinity for one.

Interestingly, though an actor's intensity is mostly felt, you can see its manifestation in the eyes—and it is the same light, regardless of the type favoured by the actor.

Though they are energy flows in different directions, they both generate from the same source and are concerned with the same controlled combustive projection of a performer's aura. Thus, they are opposites but not opposing physicalizations.

Do you ever just leap-of-faith it? With film scripts, if I have enough clarity to start with, I could just jump in if it's not a research heavy thing. I pretty much always just jump in with plays.

90-120 mins. Longer would need an extra month or two. Making sure the rhythmic structure is mapped out right is a big part of the added time for 120+ mins.