Filmhuset, 2024-07-05
It is the same ink
Screenwriter, playwright and poet. Meron Mangasha’s writing ranges from musical poetry like “Blue Blood” to theater and drama, most recently with the show “Between Two Floors”. We asked him to talk about his upcoming projects, the mechanics of the script versus the romance of poetry, and competing in silence.
What’s the situation and what are you working on right now?
– Good, thanks. Right now I’m working on a last-ish version of a short film script that I’m helping a friend write. Also writing my feature film project and a poetry collection.
You recently graduated from the Alma Screenwriting Program. What drew you to screenwriting in particular? Has your relationship with writing changed?
– I guess I have some kind of need to tell things. The whole process has changed. It’s not as romantic as poetry, more mechanical but fun.
You have explored several different mediums in the context of your writing: through music, theater productions and film, to name a few. What is it that determines the final form your texts take?
– Just think it a different tentacle but same ink as well. It falls naturally, in which universe your idea should move in. Mostly the format has been decided before.
In the interview with our Resident Sara Soltani Boljak, she highlighted the importance of reading other people’s texts to write. What do you read to write?
– I am trying to get better at reading in general. Read scripts sometimes, some fiction, but also books about writing. I was recommended A Swim in a Pond in the Rain by George Saunders.
Your writing feels unique in the way you have the ability to evoke clear images with language. But you also often use visual elements to complement your texts, such as the formats you post on Instagram where you superimpose short excerpts of your texts over photographs. What is the role of images in your writing?
– It gave me a reason to connect certain lyrics with pop culture references that I love. Then, quite honestly, it takes the edge off a bit. Especially if you’re going to be as gloomy as I am many times. Text against a black or white background on Instagram feels so dramatic – a testimony or statement.
Since 2011, when you wrote and performed the epilogue to Ison & Fille’s album ‘Forever’, you have had creator Senay Berhe by your side. Most recently with the theater show “Between two floors”, which you wrote and Senay directed. Can you tell us a bit about your long collaboration and attraction to each other?
– Both me and Senay are really comfortable with silence. Senay could certainly compete in silence. I think we find trust in that silence – you always trust the other’s ability and vision. We give each other space and it’s always loud. For me, working with Senay has always been easy and very rewarding. Looking forward to the next thing, whatever it may be.
There are many projects to look back on. Do you have any completed projects that you would like to build on?
– Not really. They are as you say, finalized. Feel more for the projects that are in blocks or in documents or in the skull.
Are there any local filmmakers you think are worth keeping an eye on right now?
– I have very little knowledge of local filmmakers so I asked some friends. One name that came up and felt familiar was Amiin Madar. Will be interesting to follow that journey.
How has it been working from the Film House?
– Perfect I would say. A grateful place where I get things done. I usually sit in the quiet room and write or read. If you need to take a break, there is a large green area just outside. And don’t forget that you can actually watch a movie in the house. Ten points.