Quick – Blox

Quick – Adaptation

This part of the film I would want to be the most visually stimulating. As Krevolin notes, when a novelist writes dialogue he uses it to advance the story – we must be able to transfer this to the visual. I think that the sequence of events that branches off in Fey’s life during and after her stay at the Second City would be the most visually stimulating.

It is during this time that Tina’s character fully becomes developed. She is getting used to her own style of comedy and is trying to fit in with her group of oddball peers. At the same time, she faces small struggles like being a minority as a female and struggling to afford her improv classes. I imagine this part of the film to be all about the laughs she shares with her friends and the performances they put on.

I expect that at this point in the film I would have to adopt Krevolin’s motto of “you owe nothing to the source material.” It would be necessary to fill up this space with fictitious performances and relationships and travel. However, it would help progress the story forward into Tina’s next stepping stone at SNL. Although the small anecdotes are good, I would have the burden of making the story better. I imagine that this part of the film would be chronological and would be composed of a lot of quick cuts to convey the feeling of story advancement.

Quick – Experience

Oh, Festina Lente (Hurry Slowly) – I think that this phrase will be burned into my brain forever since I’ve been over this concept of Quickness so many times. Calvino described quickness in writing that has speed, not haste. I am reminded of the man on horse who told the story so badly he was cut off mid-sentence!

I think I chose the perfect book for the quality of Quickness because comedians make the best storytellers! I definitely felt that Tina Fey exhibited this quality when she relayed her experience of working with the Second City improvisational group. During this experience, Tina Fey and her improv group, BlueCo, drove for days on end just to perform in front of audiences for very low pay. But they loved it! From the book, it sounds like they were able to express themselves by throwing out the “best of” sketches that they were supposed to perform and instead made up new sketches where they could play the parts they wanted. I think it is here that Tiney Fey learned some of the best storytelling abilities. In improv, you need to be able to think quickly. But not only that, you need to be able to do it in a way that is interesting or funny, or else you will lose the attention of your audience. Fey mentions that one of the rules of improv is that you need to be apart of the solution. You should follow the “YES, AND” rule:

If I start a scene with “I can’t believe it’s so hot in here,” and you just say, “Yeah…” we’re kind of at a stand-still. But if I say, ” I can’t believe it’s so hot in here,” and you say, “What did you expect? We’re in hell,” now we’re getting somewhere.