‘Everything is the story,’ says screenwriter Sarah Phelps. That’s why the stage directions in her scripts are so finely detailed. ‘The story isn’t just what comes out of people’s mouths, the story is what’s in the room.’
‘How high are the ceilings? Are the windows large or small? What does the air smell of? Is it cold? Is everything always slightly damp? Is there enough food on the table? Is there a fly buzzing somewhere? What can you see out of the window? Can you hear traffic? Can you hear your next-door neighbours? Is there a dog that barks incessantly?’
Without that detail, Phelps tells Den of Geek, she’d just be putting dialogue into a vacuum. Mood, weather, smell, hair, costume… it all forms the fabric of a script. But there’s more. All five of her BBC One Agatha Christie dramas are also connected through symbolic details.
‘How high are the ceilings? Are the windows large or small? What does the air smell of? Is it cold? Is everything always slightly damp? Is there enough food on the table? Is there a fly buzzing somewhere? What can you see out of the window? Can you hear traffic? Can you hear your next-door neighbours? Is there a dog that barks incessantly?’
Without that detail, Phelps tells Den of Geek, she’d just be putting dialogue into a vacuum. Mood, weather, smell, hair, costume… it all forms the fabric of a script. But there’s more. All five of her BBC One Agatha Christie dramas are also connected through symbolic details.
- 7/14/2020
- by Louisa Mellor
- Den of Geek
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