OnboardingTom & LarsNorth
OnboardingTom
Hey Lars, I’ve been watching antique pocket watches lately, and their precise ticking made me think of how we structure rehearsals. Do you ever find your own schedule as tight as a clock?
LarsNorth
Yes, every rehearsal runs like a pocket watch. I set the time for every cue, every pause, and I never allow a stray second. If a scene is misaligned, I adjust it back to the exact beat, just as a watchkeeper would reset a winding. It keeps everything precise and predictable.
OnboardingTom
That’s the sort of rhythm we need, Lars. Just be careful not to turn the whole stage into a clockwork factory – sometimes a little wobble keeps the audience engaged.
LarsNorth
I prefer the scene to run exactly, but a very small, controlled wobble can keep the audience from feeling like they’re watching a machine. I’ll keep the core structure tight and only let the edges shift a touch.
OnboardingTom
Sounds like a perfect balance, Lars—tight core, just enough wiggle at the edges to keep the audience from feeling like they’re in a spreadsheet. Keep an eye on the timing, but let that subtle shift breathe.
LarsNorth
I’ll keep the core tight and let the edges wiggle just enough to let the audience breathe, like a watch that’s wound down a tick. Timing will stay precise, but the subtle shift will stay in the margin.
OnboardingTom
Nice, Lars. Think of it as a pocket watch that’s been tuned for a second – just enough to keep the gears turning smoothly, but not so much that the whole thing rattles. Keep it tight, keep it breathing.