/ Don't hate the media, become the media.Jello Biafra

What has the experience for you been directing A Paper Orchestra?

 

Cynthia: It was great to start with just the staged readings, because we could focus on bringing the words to life with his voice. Michael was able to hear the audiences response and that gave him more confidence to keep performing.

 

We also took a year to record the audiobook. The audiobook is very different from performing in a theatre, in that he is performing for 1 person. It’s intimate. This gave him another way to connect to the stories.

 

When Michael embarked on memorising the show, he had to start learning the craft of acting with his whole body. He wasn’t just a talking head anymore. Allowing the text to hit him physically was accessing another part of his talent he didn’t even know he had. 

 

Actors have a very specific language, no matter the training. But Michael isn’t a trained actor, so I learned very quickly that I needed to find a new way of communicating with him to get the performance we needed. It was also tricky because he would have his writer’s hat on and want to say the words the way he heard them in his head. But as an actor, being in your head is not where the magic is… so I had to “break” him of his patterns and help him find that authentic expression coming from his heart. Honestly, it’s been a huge joy for me to help Michael bring his work to this level. And it’s fantastic to see him expand his talent to these new areas. 

 

How much has your background as an actor helped prepare you for directing Michael and does he take notes well?

 

Cynthia: My background is in theatre and TV sitcoms. I love the give and take an actor gets from being in front of an audience. Even though it’s a solo show, Michael isn’t alone. The audience is his scene partner, responding by laughing, crying, clapping, and even their silence. There is a dialogue happening all the time. I believe the key for an actor is in focusing the attention away from themself. That allows them to let their guard down and be seen, felt, and heard in a way that an audience can resonate with. The blocking also needed to be organic. I trained professionally as a dancer and to me, movement is just as important to paint a vivid picture for the audience as the words are. I had to make sure the movement felt natural to Michael, but also very grounded, specific, clean and precise. Michael would constantly edit his stories, making sure that every word had a reason to be there. I feel the same way about the movement and the blocking. Is it moving the story forward or taking away from the story? As an actor, honouring the text is the most important thing, and I feel the same way as a director. 

 

Does Michael take notes well?

 

Cynthia: Actors are very vulnerable, especially during the rehearsal process, and at times we get resistant to being pushed into new areas emotionally. I totally understand that and Michael had those moments. It’s actually how I knew I was on the right track. If I hadn’t been an actor first, I might have not understood how to work around that. I gave the notes anyway, told him that he can totally do what I’m asking, and to trust the process. The more he trusted that he was on the right track after taking the notes, the easier it was for both of us. Now he expects the notes and understands that there is ALWAYS something to be working on. There is always a deeper level of understanding as the show evolves. 

 

How important has the creative collaboration between you both been on this show?

 

Michael: Cynthia was the only person who gave me notes on the early drafts of my book. I learned to trust her instincts very quickly. She’s been involved with A Paper Orchestra from the very beginning. This project has been a dream of mine, and she helped me realise it. 

 

Cynthia: When I first read Michael’s work, I looked at him and said, “Who are you?” We had been married 20 years by that point. His writing was so revealing, poetic and moving on so many levels, I saw him in an entirely different light. I couldn’t wait to work with Michael on A Paper Orchestra because I knew we already had a deep respect for supporting each other’s dreams.  

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What have been the biggest challenges you face bringing a show like A Paper Orchestra to the festival?

 

Michael: I think the biggest challenge with any new show is convincing people that it’s worth seeing. Then, if it’s special, word of mouth will hopefully take over. Over a year ago, in preparation for the launch of the book, I started posting daily screenwriting tips on social media. I built a pretty massive audience sharing my experiences under the handle @MichaelJaminWriter. So fortunately, these are the people who come see me. Even still, selling tickets is hard no matter who you are.

 

Where did the title for A Paper Orchestra come from, I am curious to know its meaning?

 

Michael: There are 17 stories in my book, and each story hits a different note. All the notes compose a life. So I called it A Paper Orchestra.

 

How did you get into writing for TV, what was your first writes room like?

 

Michael: “Jailbreak,” one of the stories in my book, recounts this. Ever since I was a teenager, it was my dream to be a comedy writer. After college, I moved from New York to Los Angeles to pursue it. I struggled for several years, but eventually was lucky enough to be asked to join the writing staff of a new show called Just Shoot Me. The senior writers on that show were so talented and I was incredibly intimidated. I couldn’t understand how they were so good at their job. I learned so much about writing just from sitting at their feet. 

 

Of all the series you’ve written for (Just Shoot Me a personal favourite) did you have a series/episode that’s especially special to you?

 

Michael: My writing partner and I wrote a lot of episodes for the character of Nina. She was strong, talented and beautiful, but also incredibly vulnerable. This contradiction made her especially fun to write for. But I met Cynthia when she was cast in an episode called, “Lemon Wacky Hello” so that’s my favourite.

 

Back in 2002 your episode of King of the Hill “Bobby Goes Nuts” was nominated for a Primetime Emmy, that must have been really exciting for you. What are you thoughts on the reboot? 

 

Michael: Yes, I remember working on that episode and laughing my ass off at every pitch. It was a brilliant idea for a show, which I believe came from J.B. Cook, and was extremely well executed by Norm Hiscock. Over the years, there’s been several dozen writers for King of the Hill, but only one of the original writers is involved in the reboot. I wish them all luck!