Philip Ridley

Philip Ridley is a contemporary British author, storyteller, screenwriter and playwright, a poet, photographer, and performance artist. His plays are often set in a dystopian world, and can leave you feeling unsettled but intrigued. He works in a wide range of artistic media. In the visual arts he has been cited as a contemporary to the ‘Young British Artists’, and had his artwork exhibited internationally.

When it comes down to TV and film he’s best known for his award-winning screenplay for the 1990 film The Krays. I have watched it a few times now and I have to say it did go into depth about the two brothers, giving an interesting story line and amazing acting from Gary Kemp as Ronnie Kray and Martin Kemp as Reggie Kray who are in fact if you couldn’t tell already are brothers in real life. There are so many iconic lines from that movie that are featured throughout my day to day life when I am with friends. We will out of the blue just express a quote from a movie, play, TV series and see if the others can either get where it came from right, or carry the phrase on by saying the line that comes directly after it.

Ridley is also known for his series of horror movies:

•  The Reflecting Skin (1990)
•  The Passion of Darkly Noon (1995)
•  Heartless (2009)

Part of the In-Yer-Face Theatre group. His debut play The Pitchfork Disney (1991) considered by many to be a seminal work in the development of the style, with one critic even dubbing it “the key play” of the 1990s.

The Beast Will Rise!

Is a series of short to long monologues ranging from around 4 to 19 minutes, where different people with different scenario express openly what they feel and think about their experiences. Some way darker then others!

I loved Origami, the fact that the girl’s mother was severely ill hit a nerve straight away. I feel angry at the father for seeing other women behind his wife’s back, yet at the same time I almost feel sorry for him. There’s bound to be grief, pain, suffering among his stupid mistakes, yet I still can’t help but hate him, especially because he used his own daughter to get out the house and away from his own wife. If he really did care though he wouldn’t do such things; he sounds like a control freak as well by the way his daughter couldn’t fight back and refused to speak up. She’s scared it will break her mum, even more so then she already was. Life is not fair and, “Origami,” shows the full front of what it can lead to.

Also I see the origami as a coping mechanism for the daughter as well as a sign for the audience. I believe the message behind it is that you can mold, and shape your own destiny and shouldn’t allow others to do it for you. You have a choice, the easiest option not necessarily the right option.

In “Chihuahua,” the way the actor gets right up in the camera immediately caused a disturbing uncomfortable vibe that got my heart going and made it clench, squeezing tightly as the tension grew and grew with each passing sentence. He spoke slow, already I didn’t like how he spoke, yet I loved it at the same time from how proud of himself he was for finally getting revenge on his dad as well as his girlfriend who from the start you could tell he did not like.

The line that pulled me in the most was when he was talking about the dog watching his every move, “It’s tail wagging and wagging and wagging.” It’s the way his eyes move from side to side with that sick twisted smile on his face showing how he wasn’t ok. What kind of person do you have to be to hurt a creature who had no idea what it was doing wrong. He never specifies if the dog it angry or just happy and that’s what makes it even worse. Yes it was barking but why was it barking?

What are the actors doing that engages the audience – remember they have been written to be filmed rather than stage – what are the different acting techniques required here?

• Always stay within the camera’s view (Or move the camera with you)
• When filming you don’t have to be as over exaggerated like when on stage, you can make more serious scenes for example smaller but still bring the same affect across.
• Need to be flexible.
• Be prepared to get filmed and not hesitate while also getting ready for changes in the schedule and last minute out the blue changes.
• You can do many more retakes when it comes down to filming, when performing on stage to an audience you cannot.
• The best way to understand the camera is to treat it like a magnet, it captures your every move, how you feel, your internal conflicts and your physical impulses. What I love about the idea of filming is, how you can express so much emotion through the eyes alone. Many actors I love do their eyes justice, they don’t even have to speak, just look into or towards the camera and its amazing! Its like yo can see into the character’s soul!
• Emotional investment! Saying lines isn’t enough, treat every moment like it is a line, every moment and beat needs to be considered! What is happening, who is talking to you and how is that affecting you physically, mentally and internally.
• By treating the pauses and silences in the script as lines themselves, imbued with intention and thought, you will find a greater depth to your performance and connection with the other characters in the scene.
• Do not perform for a non existent audience, only portray yourself in the moment as the character in fictional realms of the narrative.
• Be versed in the technical language of the film set. Know who does what job and how everything operates.

The actors eyes, you could see all the emotion behind them, the true ones, the ones they were trying to hide and the the raw obvious ones whether that be happiness, perseverance, fear, worry, concern, etc. They didn’t have to move around the space in order for the audience to understand what was going on, it was all expressed through their voices and facial expressions alone.