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A monologue from the play by Shawn Nacol
BARBARA (thirties)
Barbara is speaking to Dex, a coworker for whom she is developing strong feelings and with whom she’s locked together in the offices of the animation studio where they both work.
In this moment, Barbara reveals her ambitions and a plan to save their studio’s next big family film by rendering a difficult sequence of their main character crying.
I have a Masters in product design from Pratt where I discovered my aesthetic was inappropriate for adults.
Toys taught me to abandon my scruples. I spent my first six months here sculpting maquettes.
Then I got to render clothing and foliage in crowd scenes and the tail movements of a minor character:
an amusing scorpion featured in the preview for seven-tenths of a second and mentioned favorably in the trades.
I spent eight months learning the Tank’s software package so that Spence would review my portfolio again and move me out of Character Modeling to Segments.
And now while the trees are frozen and everyone is gone and I have the run of a supercomputer that can animate individual snowflakes in a blizzard,
I have an opportunity to personally execute a three-second sequence that will change the impact,
no, the import of this very major three-hundred-million-dollar motion picture enterprise, and if I have to camp in my cubicle and live on crystals,
I am going to make this the most sensational, significant, cinematic droplet of liquid in the history of the silver screen.
I am (what was your word?) imagineering my future. You are a witness. My tear.
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