Howdy howdy!
Don't know what you've been up to but I sure do know what I have!
After promptly getting rid of anything remotely close to a steady sleeping schedule I have managed to keep on a steady diet of a chapter a day for my comics script.
Yesterday I went to bed at 11pm and promptly woke up at 2am. After a couple of hours of fiddling about I eventually started typing script 18.
Which I finished at 10 something am...
Scripts are a funny thing. I always think that, because of the formatting I've written loads (after 6 hours quite solidly on it...) but the 19 pages that I added didn't seem to amount to the quantity I felt I'd written...
In any case the story is progressing. I think tonight I'll do the same as yesterday. Go to bed early and wake up whenever my mind and body prompt me...
Chapter 19 is called Dreams Of Destruction and starts accelerating towards the big finale, still a few issues ahead.
The big things in this issue are the confrontation between Roanoke and the Bureau top dog as well as Roanoke's insight towards the strange crimes being committed...
And, to be quite honest, I'm also curious about some of the stuff that's supposed to happen in this issue... I guess I'll find out in a few hours...
peace!
Showing posts with label scriptfrenzy. Show all posts
Showing posts with label scriptfrenzy. Show all posts
Tuesday, 13 April 2010
Friday, 9 April 2010
Script Frenzy Day 09
Yes, well, I know I haven't written anything about the 8 days gone but... this is better than nothing!
This year I decided to write a whole comics series some 300 to 400 pages in length. I already had some 60 pages of script when I started so I don't feel that I'm cheating that much... I'm on page 200 and something right now and it feels more or less half way there.
It's called THE BLIND (previously known as RIGOR MORTIS, which is a title that I might go back to... I'm still not entirely sure on either of them...)
It chronicles the investigation over one Aldous Roanoke, a eccentric young man that is going around Unistat (borrowed from RAW, a version of the USA) visiting imprisoned serial killers and the like.
I'm half way through Issue 14.
They're supposed to have 24 pages each (though I'm writing in a meticulous enough way to page and label everything properly. I'm just focussing on getting all the dialogue done and some brief scene descriptions with the odd panel or page idea laid out)
In a total of 24 issues.
And I think I'm more or less on track.
I think I'll probably have a few scenes that I'll have to leave out but that's not a problem because I can then insert them on the revision phase - probably by chucking out those that are redundant or that don't work well anymore. But that's a phase I'm yet to reach and it will be some time before I get there.
Even though I want to have this ready by the end of the month, I want to leave it to settle for a while before I pick it up again. Exception might be to rework the first chapter and send it to a couple of people to see what they think.
maybe...
the good thing is that the story' pace has naturally increased and the tension and the drama are building up. Yesterday (actually today, at 7am... I still hadn't gone to bed...) I had an important piece of plot fall into place and this story is feeling more and more right the closer I get to the end. I love this feeling. The feeling that your idea has taken a life of its own and that now you've stepped from the role of narrator to the role of spectator. For me it's the best part of writing, is to simply see and experience what's happening, rather than directly and tiresomely building it.
That's the beginning. When you're building the momentum and defining the rules. Either intuitively or with story-logic at work.
This is the downhill phase, so to speak. In the sense that you just need to let yourself go and the story go and watch the landscape just flash by you at an incredible but clear speed.
Guess what I'm gonna do right now?!
That's it!
See you in the funny pages!
peace
This year I decided to write a whole comics series some 300 to 400 pages in length. I already had some 60 pages of script when I started so I don't feel that I'm cheating that much... I'm on page 200 and something right now and it feels more or less half way there.
It's called THE BLIND (previously known as RIGOR MORTIS, which is a title that I might go back to... I'm still not entirely sure on either of them...)
It chronicles the investigation over one Aldous Roanoke, a eccentric young man that is going around Unistat (borrowed from RAW, a version of the USA) visiting imprisoned serial killers and the like.
I'm half way through Issue 14.
They're supposed to have 24 pages each (though I'm writing in a meticulous enough way to page and label everything properly. I'm just focussing on getting all the dialogue done and some brief scene descriptions with the odd panel or page idea laid out)
In a total of 24 issues.
And I think I'm more or less on track.
I think I'll probably have a few scenes that I'll have to leave out but that's not a problem because I can then insert them on the revision phase - probably by chucking out those that are redundant or that don't work well anymore. But that's a phase I'm yet to reach and it will be some time before I get there.
Even though I want to have this ready by the end of the month, I want to leave it to settle for a while before I pick it up again. Exception might be to rework the first chapter and send it to a couple of people to see what they think.
maybe...
the good thing is that the story' pace has naturally increased and the tension and the drama are building up. Yesterday (actually today, at 7am... I still hadn't gone to bed...) I had an important piece of plot fall into place and this story is feeling more and more right the closer I get to the end. I love this feeling. The feeling that your idea has taken a life of its own and that now you've stepped from the role of narrator to the role of spectator. For me it's the best part of writing, is to simply see and experience what's happening, rather than directly and tiresomely building it.
That's the beginning. When you're building the momentum and defining the rules. Either intuitively or with story-logic at work.
This is the downhill phase, so to speak. In the sense that you just need to let yourself go and the story go and watch the landscape just flash by you at an incredible but clear speed.
Guess what I'm gonna do right now?!
That's it!
See you in the funny pages!
peace
Thursday, 7 May 2009
Script Frenzy WrapUp
Hi.
I know it's been a while.
April was a bit of a hectic month, not only because the frenzy was happening but also because I was organizing some events for Lambeth's Readers And Writers Festival.
Happening in May.
Namely one event with Brendan McCarthy (the psychedelic GOD that he is) at Minet Library on the 16th, 2.30pm.
And another with Pat Mills (2000AD, Slaine, Charlie's War and, a personal favourite, Marshall Law, among many others, of course) and Ilya (the editor of The Mammoth Book Of Best New Manga and the one behind the about-to-come-out adaptation of Shakespeare's King Lear). This will happen in Streatham Library on the 23rd of May. A Saturday, from 7.30pm onwards.
If you want more info, simply drop me a line at pgalvao@lambeth.gov.uk
(and I'll be able to add you to the Graphic Novels Reading Group mailing list too, if you want)
or go to
http://community.livejournal.com/lambeth_comics
There are quite a few posts about it (so you'll have to scroll down and search for them) and I'll probably be posting a refresher in the next couple of days.
You can also book yourself (and friends!) for any of the events on:
readersandwriters@lambeth.gov.uk
But back to the frenzy...
Well, I did manage to finish it. Wrote just over 100 pages for INTIMACY and about 160 for T.A.F.
And, funnily enough, the whole month went opposite to what I had anticipated.
I started the month really wanting to get my hands on the comedy and a bit afraid of what I was going to do with a massive drama...
Knowing this I tried to spend as much time as possible with INTIMACY and really getting worked up with a lot of internal debate, visualising the scenes over and over again until something made sense, clicked or the two characters simply started ranting at one another.
To tell you the truth, at some point the whole thing felt like it was going to quietly explode and Micah and Danielle (the couple) were simply going to get out of that place never wanting to see each other again.
But I wanted for there to be some light at the end of the tunnel and, since it made sense within the story, there is some light at the end of the tunnel.
Actually I think that the light at the end of the tunnel simply reveals a landscape similar to the one left behind (at the beginning of the tunnel...). The difference is that there is a sense of things being broader and more easily dealt with.
To me it's not so much the "happily ever after" but rather the realization that they want to be together, despite the past, ready to face the changes time will bring, one after the other.
Even though the first draft is quite rough - the scenes aren't in order and definitely need to be revised - at least I think I managed to achieve what I feared I could very much fail when I started the script. Being deep and analytical though not overly. Create something that was intense emotionally but that grabbed rather than push away. Allow the characters to breather and their play of tensions both pull them together and apart.
At least I believe that all these elements are there and ready to be worked into something that will appeal and make you wonder. And feel. And identify to some extent.
With TAF the scenario was much different.
When I had the idea I just kept laughing because I just had in a rush a bunch of crazy ideas and I could see them all playing in my head and they were funny, and the idea made sense and I wanted to write them.
But then the blank screen stared back and, after contemplating the same gag for 20 times or more, it starts losing its brilliance. And when you sit down to writing it you begin to wonder if it's actually that funny.
And when you begin to describe it you feel that this description of it isn't really that funny. and that you can't really translate the images in your head (that have all this sound and colour and energy) into the paper.
I found myself not wanting to write any of the scenes that I had wanted so much to write in the beginning.
Solution?
I started writing the story in chronological order.
And I tried not to think if I was being funny or not.
You see, what I realized (and it's always the same lesson, I know...) was that the thing that stood more in the way were my expectations. I had in my head a film that was meant to be gag after gag and totally crazy.
But, when I sat down to write it, I had to do it in an organized manner, in a not so crazy way (even though I did have my moments...).
What I kept reminding myself is that the objective is that the end result to be funny. I cannot expect to get it right the first time around.
So I did my best to stop worrying and got the story down.
Because for me this film was also about the story. And more and more as I kept on writing it. I mean, initially Lester's son was just a kid that sometimes showed up and with whom Lester could do crazy stuff. But then I started realizing the potential of having there someone sharing those experiences but with a totally different perspective. So the film stopped being so centralized on Lester and became more of a duet.
As it stands now it kind of moves halfway through from Lester to Joey. Lester is always the main character and the story is about him and his accident, but Joey becomes increasingly important. And the theme of love we launch in the beginning keeps being transmuted in different ways throughout the story.
It is a feel good film. But even in this there is a difference. Initially it was simply a comedy. A bunch of gags and a crazy guy doing weird stuff and having weird stuff happening to him. But as Lester started interacting and I consequently became more aware of the dynamics and kept some level of realism going in order for some measure of bird's eye view to be experienced by the viewer at the end, I realized that the story had changed, that it now had different needs and that it wanted to cause more than just laughs.
I think it's a better story and a better film for it.
In any case, on the 30th of April I posted my results at about 10pm, cycled back home and, surprisingly, whilst expecting to just get home and switch off by watching a film or something, I started tinkering about with RIGOR MORTIS and came up with a few more ideas and actually spent a couple of hours jamming some stuff onto paper...
But more on that on the next post!
Hope you are all well!
Peace.
I know it's been a while.
April was a bit of a hectic month, not only because the frenzy was happening but also because I was organizing some events for Lambeth's Readers And Writers Festival.
Happening in May.
Namely one event with Brendan McCarthy (the psychedelic GOD that he is) at Minet Library on the 16th, 2.30pm.
And another with Pat Mills (2000AD, Slaine, Charlie's War and, a personal favourite, Marshall Law, among many others, of course) and Ilya (the editor of The Mammoth Book Of Best New Manga and the one behind the about-to-come-out adaptation of Shakespeare's King Lear). This will happen in Streatham Library on the 23rd of May. A Saturday, from 7.30pm onwards.
If you want more info, simply drop me a line at pgalvao@lambeth.gov.uk
(and I'll be able to add you to the Graphic Novels Reading Group mailing list too, if you want)
or go to
http://community.livejournal.com/lambeth_comics
There are quite a few posts about it (so you'll have to scroll down and search for them) and I'll probably be posting a refresher in the next couple of days.
You can also book yourself (and friends!) for any of the events on:
readersandwriters@lambeth.gov.uk
But back to the frenzy...
Well, I did manage to finish it. Wrote just over 100 pages for INTIMACY and about 160 for T.A.F.
And, funnily enough, the whole month went opposite to what I had anticipated.
I started the month really wanting to get my hands on the comedy and a bit afraid of what I was going to do with a massive drama...
Knowing this I tried to spend as much time as possible with INTIMACY and really getting worked up with a lot of internal debate, visualising the scenes over and over again until something made sense, clicked or the two characters simply started ranting at one another.
To tell you the truth, at some point the whole thing felt like it was going to quietly explode and Micah and Danielle (the couple) were simply going to get out of that place never wanting to see each other again.
But I wanted for there to be some light at the end of the tunnel and, since it made sense within the story, there is some light at the end of the tunnel.
Actually I think that the light at the end of the tunnel simply reveals a landscape similar to the one left behind (at the beginning of the tunnel...). The difference is that there is a sense of things being broader and more easily dealt with.
To me it's not so much the "happily ever after" but rather the realization that they want to be together, despite the past, ready to face the changes time will bring, one after the other.
Even though the first draft is quite rough - the scenes aren't in order and definitely need to be revised - at least I think I managed to achieve what I feared I could very much fail when I started the script. Being deep and analytical though not overly. Create something that was intense emotionally but that grabbed rather than push away. Allow the characters to breather and their play of tensions both pull them together and apart.
At least I believe that all these elements are there and ready to be worked into something that will appeal and make you wonder. And feel. And identify to some extent.
With TAF the scenario was much different.
When I had the idea I just kept laughing because I just had in a rush a bunch of crazy ideas and I could see them all playing in my head and they were funny, and the idea made sense and I wanted to write them.
But then the blank screen stared back and, after contemplating the same gag for 20 times or more, it starts losing its brilliance. And when you sit down to writing it you begin to wonder if it's actually that funny.
And when you begin to describe it you feel that this description of it isn't really that funny. and that you can't really translate the images in your head (that have all this sound and colour and energy) into the paper.
I found myself not wanting to write any of the scenes that I had wanted so much to write in the beginning.
Solution?
I started writing the story in chronological order.
And I tried not to think if I was being funny or not.
You see, what I realized (and it's always the same lesson, I know...) was that the thing that stood more in the way were my expectations. I had in my head a film that was meant to be gag after gag and totally crazy.
But, when I sat down to write it, I had to do it in an organized manner, in a not so crazy way (even though I did have my moments...).
What I kept reminding myself is that the objective is that the end result to be funny. I cannot expect to get it right the first time around.
So I did my best to stop worrying and got the story down.
Because for me this film was also about the story. And more and more as I kept on writing it. I mean, initially Lester's son was just a kid that sometimes showed up and with whom Lester could do crazy stuff. But then I started realizing the potential of having there someone sharing those experiences but with a totally different perspective. So the film stopped being so centralized on Lester and became more of a duet.
As it stands now it kind of moves halfway through from Lester to Joey. Lester is always the main character and the story is about him and his accident, but Joey becomes increasingly important. And the theme of love we launch in the beginning keeps being transmuted in different ways throughout the story.
It is a feel good film. But even in this there is a difference. Initially it was simply a comedy. A bunch of gags and a crazy guy doing weird stuff and having weird stuff happening to him. But as Lester started interacting and I consequently became more aware of the dynamics and kept some level of realism going in order for some measure of bird's eye view to be experienced by the viewer at the end, I realized that the story had changed, that it now had different needs and that it wanted to cause more than just laughs.
I think it's a better story and a better film for it.
In any case, on the 30th of April I posted my results at about 10pm, cycled back home and, surprisingly, whilst expecting to just get home and switch off by watching a film or something, I started tinkering about with RIGOR MORTIS and came up with a few more ideas and actually spent a couple of hours jamming some stuff onto paper...
But more on that on the next post!
Hope you are all well!
Peace.
Thursday, 16 April 2009
Intimacy/TAF Update
Well, this one is more or less wrapped up.
I was home Sunday, Monday and Tuesday and managed to more or less finish off this script.
It was a tortuous one, I tell you. I wanted to create a kind of Bergman feel to it. Really dense in psychological arguing but also with some hope, with some light at the end of the tunnel.
To be quite honest, half way through I didn't really know how it was going to turn out because there was just so much bile going on that I was feeling that these characters never wanted to see each other again.
But I hope that they touched rock bottom.
That's what I wanted to show.
That sometimes you need to say all the wrong things, share all the truths you've kept hidden - however ridiculous and childish they may seem - in order to come back.
I think Micah and Danielle do this in the film. I think they are honest to one another to an extent they never really managed to before. Perhaps even to themselves.
Maybe there are things left unsaid that are still relevant but, if there are, there are still further drafts and polishing up for them to surface. In any case, there's just so much that you can say with words and perhaps that's something that comes clear in the script. We cannot always fully satisfy each others need for a total explanation of things.
There were a few moments that writing seemed to be going downhill, almost out of control. I could see them clearly in my head and hear the dialogue. Almost as if it were a part of me. Something I had seen at some stage in my life. A recollection feel and at the same time the knowing that this is the first time I'm seeing these things.
I was quite surprised with this script because I knew quite clearly the starting point and the end point. It was the middle, two people locked up in a house for weeks, trying to sort their lives out, that was going to be the though thing. No (hu)Man's Land...
There were several aspects to solving this.
First I knew I wanted a Ingmar Bergman feel to the whole thing. I wanted it to be deep and troublesome. I wanted to be rational but also emotional. I wanted the script to be able to point out problems clearly but also provide answers. On a direct way but also on a more subtle level.
I even considered watching a couple of Bergman's films but since I wanted his black and white period, his early days, and I didn't have any around me, I kind of put it aside.
The second thing was a talk I had with a friend. We had just seen THE FOUNTAIN and we started chatting about it.
She didn't think much of the film. I loved it.
But she raised a very important point. The characters - Isabel and Tomas - in the film aren't really explored. Their love, which is the central thing, isn't really explored. Darren Aronofsky is more concerned in telling us the plot than in talking about the characters personal history. For instance, if he had showed us a bit more of the Izzy/Thomas - in present day - relationship we would've felt a lot more for Thomas' loss, thus making the whole bigger than life journey trying to defeat death for the love of his life so much more powerful.
To me this aspect didn't affect me so much because I had read the comic and, in the comic, the rules of storytelling absorption are somewhat different. For instance, Kent Williams sketchy drawings actually pull the characters closer to you. The fact that you can't see much about their faces and you only a perception of mood more than anything else, makes you instinctively fill in the blanks. The writing works better in the comic as well.
(And there were a few lines in the film that I didn't really buy to be honest...)
But that got me thinking about characters really seriously.
I kept telling her that I didn't know what to write next.
And then I started talking about Micah and suddenly he became more fully alive. I told her the back history of that story (which I'm not going to share here, sorry) and what were the elements that I wanted to integrate and why.
By the time I finished (I must've talked for at least half an hour) I had already a few scenes to write for the next day.
And that's what I did.
I started writing them longhand because it felt more natural. And lo and behold: the pages started to pile up.
And this was the third thing that I picked up. That I really like to write scripts the best in long hand. I know it's a pain typing it all back and, in a way, a waste of time. But the fact is that I write more if I do it in this way. And I'm already revising the text when typing it back. Sometimes efficiency is not just using a computer. Efficiency is knowing how you work best and hone yourself in the process.
In any case, I have also found that if I'm writing a short story or ideas for a script I prefer to use the computer... If it's just text, typing on a keyboard seems to be the preferred medium...
Sometimes not even I understand myself...
So, on Monday and Tuesday I more or less wrote the remaining 40 or 50 pages of the script. I wrapped it all up and typed the final words on Wednesday morning and finished with 106 pages of script.
Done.
Well... not quite. I still need to do at least a scene or two more. I need a scene with their kids. A scene that will show the audience how their life together was before they got there. In order to make it all more believable. I need a scene that will establish their ongoing conflict, but also their love of their kids, the pressure that this creates on their kids, their decision that they need to sort themselves out.
And quite possibly another scene - even if it's a couple of shots with voice over - of their early days together. The happy days that now seem gone without a trace.
Hopefully inspiration will come before the month is over and I'll write these two scenes, add them to the script, organise it a bit and leave it at that before I revise it at some point.
And that's all I have to say about INTIMACY.
Now about TAF...
Yesterday I got home late, watched a couple of episodes of AVATAR: THE LAST AIRBENDER (I'm hooked on it you know...) and proceeded to read and map out what I had done so far with TAF.
Not much it seems. Even though I already had about 40 pages of script... this one is going to be a lot longer than INTIMACY.
But it doesn't really matter. Since this is a comedy, it's better that I have more scenes than needed so that I can then choose the best ones and compress it all a bit.
My initial plan was easy. Show this crazy physical ed teacher's week. We start on the Sunday and we end on the Saturday so that we establish his routine very well.
Then on the Saturday "the event" occurs...
And everything changes and that's when the comedy side of it really kicks in.
I was on Tuesday and already on page 30...
So yesterday I started long handing it and, early this morning - I think with 12 more long hand pages - I got to Friday night. So, I'm hoping that by page 50 I'll be on the "Saturday event"...
After this it should be fairly simple because I already have a whole heap of scenes that I want to do. And these will be a one minute or two minute gags. Again, I want to have quite a number of them so that I can choose from them afterwards.
What I'm going to do today is type up the longhand pages and add them to the rest of the script. Then I'm going to write on a list all the other gag scenes. And a couple more that I've thought off in the meantime.
Then I'm going to organize them in chronological order (kind of...)
and start writing them, longhand.
Hopefully it will all work out in the end.
And soon!
Peace!
I was home Sunday, Monday and Tuesday and managed to more or less finish off this script.
It was a tortuous one, I tell you. I wanted to create a kind of Bergman feel to it. Really dense in psychological arguing but also with some hope, with some light at the end of the tunnel.
To be quite honest, half way through I didn't really know how it was going to turn out because there was just so much bile going on that I was feeling that these characters never wanted to see each other again.
But I hope that they touched rock bottom.
That's what I wanted to show.
That sometimes you need to say all the wrong things, share all the truths you've kept hidden - however ridiculous and childish they may seem - in order to come back.
I think Micah and Danielle do this in the film. I think they are honest to one another to an extent they never really managed to before. Perhaps even to themselves.
Maybe there are things left unsaid that are still relevant but, if there are, there are still further drafts and polishing up for them to surface. In any case, there's just so much that you can say with words and perhaps that's something that comes clear in the script. We cannot always fully satisfy each others need for a total explanation of things.
There were a few moments that writing seemed to be going downhill, almost out of control. I could see them clearly in my head and hear the dialogue. Almost as if it were a part of me. Something I had seen at some stage in my life. A recollection feel and at the same time the knowing that this is the first time I'm seeing these things.
I was quite surprised with this script because I knew quite clearly the starting point and the end point. It was the middle, two people locked up in a house for weeks, trying to sort their lives out, that was going to be the though thing. No (hu)Man's Land...
There were several aspects to solving this.
First I knew I wanted a Ingmar Bergman feel to the whole thing. I wanted it to be deep and troublesome. I wanted to be rational but also emotional. I wanted the script to be able to point out problems clearly but also provide answers. On a direct way but also on a more subtle level.
I even considered watching a couple of Bergman's films but since I wanted his black and white period, his early days, and I didn't have any around me, I kind of put it aside.
The second thing was a talk I had with a friend. We had just seen THE FOUNTAIN and we started chatting about it.
She didn't think much of the film. I loved it.
But she raised a very important point. The characters - Isabel and Tomas - in the film aren't really explored. Their love, which is the central thing, isn't really explored. Darren Aronofsky is more concerned in telling us the plot than in talking about the characters personal history. For instance, if he had showed us a bit more of the Izzy/Thomas - in present day - relationship we would've felt a lot more for Thomas' loss, thus making the whole bigger than life journey trying to defeat death for the love of his life so much more powerful.
To me this aspect didn't affect me so much because I had read the comic and, in the comic, the rules of storytelling absorption are somewhat different. For instance, Kent Williams sketchy drawings actually pull the characters closer to you. The fact that you can't see much about their faces and you only a perception of mood more than anything else, makes you instinctively fill in the blanks. The writing works better in the comic as well.
(And there were a few lines in the film that I didn't really buy to be honest...)
But that got me thinking about characters really seriously.
I kept telling her that I didn't know what to write next.
And then I started talking about Micah and suddenly he became more fully alive. I told her the back history of that story (which I'm not going to share here, sorry) and what were the elements that I wanted to integrate and why.
By the time I finished (I must've talked for at least half an hour) I had already a few scenes to write for the next day.
And that's what I did.
I started writing them longhand because it felt more natural. And lo and behold: the pages started to pile up.
And this was the third thing that I picked up. That I really like to write scripts the best in long hand. I know it's a pain typing it all back and, in a way, a waste of time. But the fact is that I write more if I do it in this way. And I'm already revising the text when typing it back. Sometimes efficiency is not just using a computer. Efficiency is knowing how you work best and hone yourself in the process.
In any case, I have also found that if I'm writing a short story or ideas for a script I prefer to use the computer... If it's just text, typing on a keyboard seems to be the preferred medium...
Sometimes not even I understand myself...
So, on Monday and Tuesday I more or less wrote the remaining 40 or 50 pages of the script. I wrapped it all up and typed the final words on Wednesday morning and finished with 106 pages of script.
Done.
Well... not quite. I still need to do at least a scene or two more. I need a scene with their kids. A scene that will show the audience how their life together was before they got there. In order to make it all more believable. I need a scene that will establish their ongoing conflict, but also their love of their kids, the pressure that this creates on their kids, their decision that they need to sort themselves out.
And quite possibly another scene - even if it's a couple of shots with voice over - of their early days together. The happy days that now seem gone without a trace.
Hopefully inspiration will come before the month is over and I'll write these two scenes, add them to the script, organise it a bit and leave it at that before I revise it at some point.
And that's all I have to say about INTIMACY.
Now about TAF...
Yesterday I got home late, watched a couple of episodes of AVATAR: THE LAST AIRBENDER (I'm hooked on it you know...) and proceeded to read and map out what I had done so far with TAF.
Not much it seems. Even though I already had about 40 pages of script... this one is going to be a lot longer than INTIMACY.
But it doesn't really matter. Since this is a comedy, it's better that I have more scenes than needed so that I can then choose the best ones and compress it all a bit.
My initial plan was easy. Show this crazy physical ed teacher's week. We start on the Sunday and we end on the Saturday so that we establish his routine very well.
Then on the Saturday "the event" occurs...
And everything changes and that's when the comedy side of it really kicks in.
I was on Tuesday and already on page 30...
So yesterday I started long handing it and, early this morning - I think with 12 more long hand pages - I got to Friday night. So, I'm hoping that by page 50 I'll be on the "Saturday event"...
After this it should be fairly simple because I already have a whole heap of scenes that I want to do. And these will be a one minute or two minute gags. Again, I want to have quite a number of them so that I can choose from them afterwards.
What I'm going to do today is type up the longhand pages and add them to the rest of the script. Then I'm going to write on a list all the other gag scenes. And a couple more that I've thought off in the meantime.
Then I'm going to organize them in chronological order (kind of...)
and start writing them, longhand.
Hopefully it will all work out in the end.
And soon!
Peace!
Friday, 3 April 2009
Frenzy!
The Frenzy has started!
And yet the world seems to go about unchanged...
Strange?
Not really. I mean we're talking about the ScriptFrenzy here, where over 10,000 people world wide take their swing at writing scripts...
We remain ignored for the most part - but alive and kicking!
I have two projects this month.
One is a comedy.
The other a drama.
One is for teens with some cheekiness.
The other is for adults with some explicit scenes.
One is live action.
The other an anime.
One is called T.A.F. (or NON-STOP, I still haven't decided...)
And the other is called INTIMACY.
One I know exactly how it's going to end.
The other I don't have a clue.
For both I already have a few scenes in mind.
And I love both of the ideas.
What can go wrong?!!
I've written 20 pages to INTIMACY but only 9 for TAF.
My aim this month is to juggle three things. These two babies and the comics epic that's been around these posts for months now...
I feel like that old man in Hemingway's The Old Man And The Sea. Catching the fish of a lifetime and struggling against everything to conquer it. Even bringing it to shore for the whole world to see kind of loses some of its meaning.
I just want to have it ready.
That's it.
Simple.
(upwards and onwards...)
peace.
And yet the world seems to go about unchanged...
Strange?
Not really. I mean we're talking about the ScriptFrenzy here, where over 10,000 people world wide take their swing at writing scripts...
We remain ignored for the most part - but alive and kicking!
I have two projects this month.
One is a comedy.
The other a drama.
One is for teens with some cheekiness.
The other is for adults with some explicit scenes.
One is live action.
The other an anime.
One is called T.A.F. (or NON-STOP, I still haven't decided...)
And the other is called INTIMACY.
One I know exactly how it's going to end.
The other I don't have a clue.
For both I already have a few scenes in mind.
And I love both of the ideas.
What can go wrong?!!
I've written 20 pages to INTIMACY but only 9 for TAF.
My aim this month is to juggle three things. These two babies and the comics epic that's been around these posts for months now...
I feel like that old man in Hemingway's The Old Man And The Sea. Catching the fish of a lifetime and struggling against everything to conquer it. Even bringing it to shore for the whole world to see kind of loses some of its meaning.
I just want to have it ready.
That's it.
Simple.
(upwards and onwards...)
peace.
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