Our next show, The Creative Process, opens tonight at Theater Pub! We took a moment to chat with Colin Johnson, the playwright, about the show, making theater, and looking like a chump.
No, but really, who are you? 100 words or less.
I am Colin. I make theatre and movies and write and produce and act and sell books. I enjoy hiking and chronicling human misfortune in both comedic and horrific ways. I’ve been around the Bay since 2008 and have dabbled in every form of art and storytelling i could possibly taint. I’m currently involved with SF Playground, SF Shotz and SF Olympians, along with co-running my own small production venture, Battle Stache Studios.
And what is this show about? Like really about?
The show is about all the internal and external bullshit that goes into creating anything. The insecurity, the masking of insecurity, the spontaneous inspiration, the yelling, the overwhelming compulsion to be the center of attention and to be validated, the willingness (or refusal) to sell out, the desperation, etc.
We, of course, will wrap these themes into a ridiculous and entertaining format of three short plays, all loosely tied together through character and content. We will also include a live band in our attempt to shove as much art as possible into the experience.
Yeah, but why should I come see it?
First of all, the environment. Pianofight. Where else will you be able to drink, eat, see outrageous comedy and listen to a live band all on the same cabaret stage? Also, anyone who has ever created or produced art will identify with the scenarios we’re exploiting, and will hopefully enjoy the absurd lengths we go to in sketching out the eternal struggle of the artist.
Tell me about your creative process- how do you come up with ideas?
I have trained myself to pull ideas out of any and everything, often to the detriment of my social and romantic life. After conception, my process usually revolves around slight reorganization of my environment, pre-production (I’m big on pen-and-paper prep), and ruthless, energetic optimism. As someone who does a lot of film and theatre production and who recognizes the differences the two formats require, I relish the fact that every project requires a different approach and a different style. Whatever works. Creation isn’t a set menu, it’s a buffet.
And then what?
And then the key is making sure everyone you bring on board is just that: on board. If you surround yourself with amazing people who have faith in the product, the finish line will appear out of even the darkest moments.
What’s your favorite part of the creative process?
Collaboration. I love getting friends and colleagues in the same room and jamming. Creating the perfect creative environment where everyone feels free to experiment and express themselves is the best workplace I could imagine.
What’s the part that makes you want to tear your eyes out?
That’s a multi-tiered answer with a nifty little twist. The final run-up. In independent production, you can be damn sure that Murphy’s Law will rear its ugly head sooner or later. And those obstacles usually show up at the WORST POSSIBLE TIME. Also the occasional bad attitude that sneaks into projects. There’s nothing worse than a morale vaccuum roaming free on set or in rehearsal. Thirdly, the maddening lack of funds and/or production assistance the average independent project has to deal with. These days, there are so many odds stacked against you when you launch a project or a show. The culture is saturated. However, I see this problem as an exciting challenge and an opportunity to forge ahead with new ideas and new presentations. If stress is a motivator for you, if you thrive under the gun, look nowhere else to get your kicks.
How do you know when something is a bust and just isn’t going to happen?
For me, as someone who is enticed by even the smallest projects and has a hard time saying “no”, the realization that something will bust comes early in the process. If the energy isn’t there, if the core idea takes more than 3 minutes to describe, if you find that people in creative roles aren’t condusive to your own process, or, as I’ve just begun to learn, if there’s nothing in it for me, ideally in terms of compensation but more realistically in networking, If I know I’ll not be able to give it all my energy and won’t take something new and valuable from the experience, I’ll move on.Once that perpetual snowball starts rolling, though, I will finish. Even if it becomes something it was never intended to become, even if cast members drop out or the venue catches on fire, once I have concrete work done and have decided to finish something, I will finish it.
How do you know when something is finished?
When I’m content enough to walk away with a modicum of satisfaction. Nothing will ever be perfect or exactly the way you envisioned. The trick is letting it go and moving on. There’s always another opportunity to screw everything up.
Who are the artists who you respect the most and what about their process do you identify with?
I have major respect for artists who can swing back and forth between multiple formats and styles. I’ve been waiting to see what lands on top, theatre or film, for 10 years now and it’s turned into a constant back and forth. My immediate interests at the moment are finding ways to combine the two in organic, innovative ways and enhance certain types of stories. People like Martin McDonaugh, Clive Barker, Tracy Letts, Bob Odenkirk, Orson Welles, just to name a few, all move seamlessly between multiple forms of expression, from film to theatre to music to books to radio to painting to everything in between. I guess basically I’m trying to say that someday I hope to EGOT. A fella can dream.
Don’t miss The Creative Process, starting tonight at PianoFight at 8