Bits and Bobs

THE BITS:
I finished my rewrite/polish of ‘TIL DEATH PARTS US, but I’m going to give it one more gander before I call it done. But that’ll have to wait ’til I’m done with my current task, which is a mad dash to make some pretty significant but entirely necessary changes to MONSIEUR VALENTINE in the next 20 days.  I received my BlueCat feedback earlier than expected, which means I have the opportunity to resubmit (which is great) by April 1 (which sort of makes me want to tear my hair out).

This is my Jenga script, meaning I change one thing & it all comes tumbling down, so I’m a little stressed by the short timeline, but I’m convinced I’ll find a way to manage. Sometimes this sort of crazy timeline is the kick in the arse I need to do my best work.

THE BOBS:
The ball is now officially rolling on my next short film, known for now as THE HUMAN STATUE.  I’m super excited to be working with my official director of photography, the ridiculously talented Amy Elrod.  You can see some of her work here.  She’s got the perfect mix of photojournalistic realism and artistic hyper-realism that I want for my film, and we seemed to be right in line creatively speaking during our first meeting.  Plus she’s just a really cool girl, so I’m very much looking forward to collaborating with her.

I’ve also cast my all-important main Human Statue.  Technically, he hasn’t said for sure he’s committed, so I may be jumping the gun just a little, but I’m about 87 percent sure he’s in.  So that’s pretty cool, too.  The DP and the main Human Statue are the two most important pieces of the puzzle, so getting those locked in lets me start focusing on details — and believe me, there are plenty.

I’ve got a first draft of the script done, and I’ll be tweaking and finessing it between now and the shoot in June.  I’ll be starting the storyboard process as soon as I have a spare moment.  This time I’m coercing my sister Kate the Artiste with the promise of gelato to help out with storyboards since the film will rely so heavily on visual imagery that stick figure storyboards won’t really cut it.  Hopefully getting into that process will help me settle on costume design, too.

I’ve also got to start doing producery-type things, like scouting the location, setting a budget, finding a make-up artist, and thinking about permits and craft service and how to recruit a few boatloads of extras for one scene.  Lots to do, but I’m still in the phase where it all sounds very exciting rather than incredibly exhausting.

So, that’s me for now. Have a good weekend, and feel free to send me some caffeinated and/or creative-mojo-filled vibes, k? Ta.

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