A rough cut of a new short is done, but needs some work. It needs a new style that I’m not capable of delivering, so I’ll be looking for another editor on that. Someone with the newer cutting style. Luckily, I saw some work from the latest Columbus 48 Hour Film Project from editors that would be perfect. Here’s where an event like that benefits people. The display of style creates a forum for people to work together.
I’m also knee deep on the feature length script. We did the table read. This is the 2nd table read of the script, and I recorded audio both times. I think the script is much stronger now. It’s not 100% there, but we’re in the 90 percentile. Listening to the words out loud changes everything. No matter how it’s being performed, hearing dialogue spoken gives you an entirely different perspective to just reading it silently to yourself on a page.
Getting opinions on a script is always a sensitive area, but I’ve tried to be more calloused. Since I’ve been working on this with many other writers, like George Caleodis, Chris Gavaler, and now Alex Newman, I can be less personal about criticism. Even though the beat for beat story arc is 100% mine, somehow it’s still less personal when it comes to critiques and suggestions.
I want this script to be 100% with no compromise. What I learned most from HORRORS OF WAR was to make sure the script is as close to perfection as you can get BEFORE shooting the movie. Having the freedom of time without a lot of pressure to make the movie on a schedule means I can wait to try to shoot until the script is the absolute BEST it can be.
Apparently, via the private messages and emails my last blog inspired, people are unhappy that I am viewing this as my “last chance”. I guess I can clarify, although I don’t usually feel compelled to explain myself as often as I used to. I am giving up the idea of being a feature film director as a career. I won’t stop making movies, I may not even stop making feature films; the only change is that I won’t delude myself into thinking THAT will be my career or key to job security.
With that, people are trying to tell me it’s bad that I am applying allegedly undue pressure on myself by thinking this is my last chance, (sorry KC, you’re finally getting mentioned in one of my blogs!), but I respectfully disagree. I think constantly being on guard and adding stress to myself to make this the best movie possible can only result in making a BETTER movie. I want to be constantly striving to make this the best, to always be pushing myself and everyone else to make not just a good movie, but a GREAT film. I cite the behind the scenes footage of the great Francis Ford Coppola while working on THE GODFATHER. He was the most passionate and motivating director I’ve ever seen on a set, in rehearsals, in the edit, and even talking on the phone to whoever was listening. If I’m not pouring every ounce of my soul into the movie, I’m not doing it right.
I’m not quitting film. I’m just going to shift some priorities to getting a nice house, health insurance, being able to afford vacations, and even retirement at some point in my life. Ironically, these are things that most filmmakers I know is already have those as higher priorities.
It’s not as dramatic as it reads in a blog.
Peace out homies.