movie wankity

[rm]

I actually talked out the general gist of the short film at dinner tonight. I've been too embarassed to do that up until now, because it's my preoccupations writ large, and it's so mood driven, that it's hard to convey what's in my head (if I could draw, I'd story board), but I think I got it across and I think the enthusiasm was genuine, and probably more importantly, I think I resolved a few things that I've been hemming and hawing about in terms of how present the supporting characters need to be, which is not very, actually, because the piece is about isolation, really, and about living in your own little bubble, and that sort of surreal feeling of blinking and noticing who else is in that bubble with you, and how damn unlikely it all is -- blah, this is babbley, but it's helping me -- it's like we all live in this world with our own soundtrack and if we live somewhere like L.A. and we drive all the time, maybe we can maintain the perfection of that pretty relentlessly, but in other places, sometimes you're watching the world go by and you make eye contact with someone, and you realize, they're not in the car pulling up next to you, but across from you in the train and then all of the sounds other than the music in your head rush in, and you have to acknowledge this person even if by just looking away -- it's very much about the accelration up to that moment, and then the mirror image of it as you slide away from it, but as happens over one night, as opposed to one bit of time in the subway. So it's also about, if you do say hello in that moment, what leads you to look away in that next beat.

I was tossing numbers and logistics around in that irrational, talking out of my ass way that I do, and giving the "why it's Sydney and can't be anywhere else" speech, which up until I went through it tonight I always thought was pretty thin, but no, the sense of place is really critical to the point of the thing. Which has to do with a number of things, but particularly the weird "all things are now" factor about Sydney -- things there are clearly and specifically from particular errors, and smashed together in a way that you notice, constantly. Also the streets are wide, everything's a fucking vista. For all the photos I took, there's about three more that would help immeasureably right now (as would have being able to get some at night, but so it goes).

Went to Elmo, which is like, this place that used to be "crappy gay brunch on 7th" and is now like "wannabe hipster retro lounge with same gay brunch menu and worse art." I kinda dug it because I just didn't care.

Errrr. This is called lack of sleep = crappy directorial hand gestures.

Hey, I'm auditioning to play Jackie O. in something on Friday.

And I should really write to all the NIDA folks.

Comments

[mobobocita.livejournal.com]

I see. :) I'm amused because I have a scrip that is currently the bug up my arse...but I can't write the dialogue to save my life. Luckily one of my flist is going to help me...if I can ever get her my data (I have it all in handwritten notes...and transcirbing seems to be killing me...) and see what she can do with it.

So, how far are you?

[rm.livejournal.com]

I'm good with dialogue, which may be the problem in this case, as the piece actually doesn't have that much of it, and I can't draw, and what I want to be doing it storyboarding it, truthfully.

So basically I've been making terrible sketches and writing out long text based descriptions for key frames in terms of the story arc, then I'll go back in and write, and then I have to find someone to storyboard it with me.

I've also been spending time on the ever important "elevator pitch" both in terms of what is this film about and in terms of why anyone should give a damn.

[mobobocita.livejournal.com]

Have you considered collaging the story boards? Grab images and cut them into what you want?