Producing, scripting, storyboarding, waterboarding?

At times the lack of action on a project can seem like torture. Not that I thought this was going to be anything like plain sailing or quick, but I think finding “the one” producer is going to prove somewhat elusive (I can’t imagine why – could it be the words “low-budget” and “producing” I use in the same sentence?). After a couple of days I’ve had some dialogue with a few people about producing. They (generally) fall into one of the following categories:

  1. Experienced, but sadly too busy to take on a project of this size right now.
  2. Say they are interested, but don’t bother to get back in contact. Really interested then!
  3. Enthusiastic but inexperienced/lacking business skills. At least this group seems fired up and might be able to offer something to the production.

The Storyboard artist search has fared little better. I contacted one chap out of the blue, he was rather good but sadly he seems too busy right now (if I am still looking after Summer he will be available). Well, never say never… I think my next plan of attack might be to contact some of the local art-colleges in the hope something might crop up.

I have however had several offers from people associated with other aspects such as make-up, acting and editing. Of course I’ve squirreled these names away for a later point, but my experience seems to suggest that it is much easier to attract the “Production crew” than the “Pre-production” crew. For the short-term, I might take over some a couple of the producer responsibilities just to keep things ticking along whilst trying to locate someone who feels brave enough to collaborate on this project (and hopefully future projects too). Meanwhile there are more than enough other things to keep me out of mischief and take my mind off things.

Stuff like a light bit of research!


That pile doesn’t even include the two screenplay drafts. I finally read Simon’s draft and have been contemplating it beside Bruce’s draft. I’ve drawn the following conclusions (please don’t take offence chaps – this isn’t intended as a screen-writer stand-off, I dearly appreciate both of your work):

I think Simon’s story structure generally flows better as a film. It builds up dramatically in the right places (there are a few too many “sobbing” scenes, but I’ll review this later – these ladies are strong). This said, I have to say that I prefer the way Bruce handled the dialogue of the characters.

The differences in the two drafts were nowhere near as radical as I was initially expecting. This (hopefully) tells me something about how strong the basic story structure is. I believe that between the two drafts there is a gem. We just need to sit down and polish it in the right places.

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