In a recent discussion with Spling, screenwriter and educator David Stein opened up about his success at the WGSA Muse Awards. With two scripts recognized – the short film Words Like Weeds and the feature The Buchenwald Bear – Stein discusses the unconventional genesis of his stories, the rigorous research behind historical drama, and the vital role of the Writers Guild of South Africa.
Part 1: Words Like Weeds (Short Film)
Can you walk us through the genesis of ‘Words Like Weeds’ and what sparked the story?
It started during COVID. Like many people, I attempted to write a novel that wasn’t very good. I think I became quite reflective and introspective, looking at my own history. It was actually tattoo-inspired; I was thinking about how I have scars from certain things and tattoos on top of them. I realized that if I look at my body, it tells a story.
I developed this overly long, complicated novel about a writer who wants to publish a book about that through a university press. However, the university feels that as a modern African institution, his story lacks diversity – viewed as a product of white privilege. It’s about his struggle to express himself; while he’s fully supportive of diversity and giving voice to others, he’s also trying to find where he fits into that landscape.
You mentioned submitting a first draft, which goes against typical advice. How did that happen?
The Writers Guild Awards were coming up and I realized I had nothing to enter. I started going through my archives and found that “not very good” novel. I thought if I could condense it into a 30-page short film script, it might work better.
I reworked it very quickly to make the deadline. I’ve been confessing to everyone: it was a first draft. We always tell students never to show anyone the “vomit draft,” but I did exactly that. I reached the deadline, had one draft, and realized it was a choice between submitting that or nothing at all.
Does the title reflect the internal state of the protagonist?
The title comes from a Tennyson poem: “In words like weeds I’ll wrap me o’er,” which refers to the tattoos covering the character’s body. It also refers to a moment where he says words are like weeds – they cling, they hang on, and they resist any attempt to push them away. That’s exactly what he’s trying to do: he’s clinging to the need to get his story across.
What is the premise of the character’s journey?
He’s in an introspective state and remembers that when he was nine years old, the last time he felt truly comfortable in his own skin was in a ballet class. So he decides, “That’s it, I’m in my 40s, but I’m going back to ballet.”
This leads to a discussion about tattoos from a Jewish perspective. There’s a common misconception that you cannot be buried in a Jewish cemetery if you have tattoos. He goes to see a 90-year-old rabbi to have that conversation, which opens the door to much deeper themes.
Do you think it could work as a stage play?
It possibly could. There’s a ritualistic aspect to it; the character spends a lot of time in chairs – a barber’s chair, a tattoo artist’s chair, or the rabbi’s chair. On stage, that could be a very effective one-person character piece. I hadn’t thought about it before, but it would work well because while I find voiceover in film can be tricky, a monologue on stage has a completely different, powerful function.
Part 2: The Buchenwald Bear (Feature Film)
What is the story of ‘The Buchenwald Bear’ in a nutshell?
It came from watching the documentary Night and Fog. There was a brief mention of a zoo inside a concentration camp. I did some research into Buchenwald and discovered they actually had a zoo to amuse the SS guards and their families. They would visit on Sundays to be entertained, even though it was in the middle of a camp where such horrors were happening. When I found a photograph of a bear in that camp, I knew immediately: this is the story.
Did you write this script with a specific budget in mind?
I did the opposite of everything I teach my students! I usually tell them to keep the budget realistic if they want to get produced. Instead, I wrote a historical drama set in a foreign country with hundreds of extras, foreign accents, and an animal – everything you’re “not” supposed to do. I just wrote it as a story that needed to be told. At the time, I didn’t think anyone would ever actually produce it.
Was there a lot of research involved?
A massive amount. I found an academic book in the university library that detailed exactly how the camp ran – what time they woke up, how many guards there were, the daily rituals. I felt I couldn’t just “guess” the routines. I had to ensure every historical point was factual and based on an actual academic resource.
Part 3: WGSA Muse Awards & Industry
What is your view on the importance of the Writers Guild of South Africa (WGSA)?
The Writers Guild is doing vital work, primarily by creating a community. They bring writers together through webinars, discussions and meetings to tackle industry issues. Sharing work and ideas is incredibly powerful. We need a guild that advocates for and serves the writer now more than ever.
What is the best screenwriting advice you’ve received?
The best advice was to watch more films, but even more valuable was the advice to read more scripts. I need to do more of that myself. Before a project gets into production, you have to “hook” someone on the page.
Also, the feedback from something like the Writers Guild Awards is invaluable. Taking that judge’s perspective and seeing where things need to be reshaped is the best way to grow.