Not enough hours in the day.
Things have been insane lately, but in a good way.
A new project on the front burner with the dial turned up to 10 to distract me as I await whatever fate befalls my beloved psychological horror project. And another rather interesting diversion that I'll write about at a later date if and when something pans out.
It's not exactly screenwriting, but screenwriting related, and it could be a great opportunity to simultaneously dabble in two mediums that I've always loved, comics and video games.
On a related note, I think I finally found my threshold. A few weeks ago I waxed idiotic about my writing routine, and I talked about the dreaded 12 hour day.
Well that has nothing on the 31 hour day.
Yeah, you read that right.
But first, the backstory.
A good friend of mine that I've known since college called me up from his temporary production office in Bucharest, Romania for a modest sized indy film of his that's in pre-production. He wrote the screenplay to direct as an attempt to break out of shooting commercials and music videos over in Europe. Somehow he was able to sell the idea to investors using a trailer he shot, and next thing he knows he's got a start date for filming. The only problem?
His script sucked.
And I mean sucked.
He knew this. It was one of the first words out of his mouth when he sent it to me. It was one of the first words out of my mouth when I read it. It was clearly one of those thinly masked autobiographies first time writers are notorious for spewing out. Plus it was a shooting script, so it was much more focused on camera tricks. The story had no set ups, it just launched right into the second act, and the dialogue, while witty, was hard to follow. So, we rolled up our sleeves, and dug in.
Now when you stripped away 95% of the shit, there was actually a beautiful story in there. Almost a modern day Zorba the Greek. It was one of those heartfelt coming of age movies that was just so fucking honest it made me get all misty. And I'm usually allergic to those types of films.
So this was his problem. Essentially, it was a first draft, albeit a good idea inside a crappy first draft--but he'd anticipated having more time to rewrite it in preproduction. Instead his directorial responsibilities took front seat, as well as all the diplomatic wheels that need to be *ahem* "greased" over in Bucharest. Unfortunately, as the dreaded start date grew closer, the script didn't get better with age.
He begged me to help him rewrite it. And when I mean rewrite it, I mean a page one rewrite. New characters, new plot, all building upon the foundation we agreed worked. But we had to thread this entirely new idea through the scenes he'd filmed for the trailer, some of which, in both our opinion, were straight out of a bad Lifetime TV Movie.
Needless to say, it was chaotic. But now imagine doing this with six thousand miles between us because the cost of flying me out there and putting me up would've cost them a day of shooting. Since we're both at about the same career point [and I'm not in the WGA], I was able to convince my reps that it would be a good idea to accept a job that pays peanuts and ties me up for at least two weeks.
Now we're both rabid Mac fans, so through the wonders of iSight and iChat we were able to bridge the distance relatively painlessly. I've owned one of these beautiful gadgets for almost two years, but in that entire time I've used it for probably ten hours total. Like the George Foreman Grill, the iSight was one of those things I needed to have but ended out rarely using.
Ironically, he was given one for Christmas but hadn't broken the plastic on it. It was time to put our geek, and the Romanian broadband, to the test.
An occasional dropped connection aside, we were able to work together in real time while he balanced a dozen different tasks, the occasional buxom assistant bringing him espresso and the constant background chatter of a foreign language [he speaks two, I speak zero]. Unfortunately, we never could get Final Draft to let us CollaboWrite so we ended out having to mash two files together every couple of hours. Still, it was the most impressive use of this technology I've been a part of so far. In some respects, we really are living in a Jetson World.
I quickly learned that since I was working for him, I needed to work at his pace. And his pace was insane. How he operates with absolute clarity on four hours of sleep, I have no idea.
So...in ten days, including the aforementioned 31 hour stretch, we wrote three drafts. One first draft and two heavy rewrites. We averaged about thirty pages a day. I consumed more Redbull, Rock*Star, and espresso than I've ever drank over a month, and at one point I actually needed a Xanax to take the edge off the wretched caffeine high I'd induced.
I absolutely do not recommend this routine to anyone.
I felt like Dirk Diggler during his descent into drug addiction in Boogie Nights. After the initial massive brain storm, I was so behind on my sleep that even seven hours felt like five minutes. My thought process became a scattered mine field, and I honestly felt the fingers of insanity reaching into my brain. I am now convinced that sleep is the brains way of mentally defragmenting your thoughts and memories for more efficient usage.
*Mental Note: when you giggle at something that's clearly not funny, and your girlfriend repeatedly asks: "Are you sure you're okay?", it's probably best to put on the strapped jacket for a little bit of down time.
When it was all said and done, we finished that twisted stretch with what we both believe to be not just a good script, but a great movie. The experience was the truest feeling of collaboration I've ever had. After the learning curve of how he operates, and how I operate, it was like we mind-melded. In the past, working with others, I've often had to explain things [never a good sign], but 4 out of 5 times, he just got it. After we went our separate ways, I literally slept through the daylight hours this Tuesday, and when I woke up shortly before it became Wednesday, I found myself a bit sad that the job was done.
For now.
Would I do it again?
Not for a million dollars.





8 Comments:
Welcome back HH! I missed you...
That was a pretty crazy schedule you had there. Hope you get caught up on your sleep (though I hear that's not actually possible).
Welcome back, brother! Wondered where you were - look forwarding to hearing about your horror script as well -
Welcome back, brother! Wondered where you were - look forwarding to hearing about your horror script as well -
I think you're spot on with the defragmenting the brain theory. I don't need much sleep but I gotta have it or I'm a useless as a deflated dodgeball.
Ten days, three drafts, I'm impressed. And here I am trying to go from idea to first draft in eight weeks. Feel like a slacker.
And Macs are wonderful. Never tried the iChat but I've felt like a cool kid cause it existed. "Yeah but look at what this can do," type thing. Of course, if I tried to actually display it's power I'd end up pulling a belly flop and looking like the decidely uncool man I am. "Wait, see somethings happening." "Yeah you just turned on the computer dude," type thing.
Can you please explain what you mean by "The story had no set ups, it just launched right into the second act"
Do you mean setting up characters? or set ups which would pay off later? Can you give examples?
Thanks very much.
Hi-
Can you please explain: "The story had no set ups, it just launched right into the second act"
What do you mean by set up? Can you give some examples?
Thanks
Anonymous, Standard Me,
"The story had no set ups, it just launched right into the second act."
What do you mean by set up?
A 'Set Up', as far as I'm concerned, is planting the seed for something that will be later revealed, so that it doesn't seem like it comes out of left field. It's usually something subtle, although it can be blatantly obvious as well.
Can you give some examples?
Sure, I'll rattle a few off the top of my head.
*spoilers ensue*...
In The Sixth Sense it's "set up" that the kid can see dead people who "don't know that they're dead." This crucial little bit of information is one of the many keys this movie gives you that allows you to unlock the ending. In my opinion, it works perfectly. It ties into the opening, where Bruce Willis is killed. It ties into why the kid is so spooked to see him waiting for him on the bench. It ties into why his wife and he have been "unable to communicate". Were we not given that little snippet of dialogue, or shown the opening, then the ending would feel, in my opinion, thrown in at the last second. It wouldn't feel like it had been there beneath my nose the whole time, which is why I personally enjoy M. Night movies.
Another example that I enjoyed, although it may have been more of a stylistic decision, was Gladiator. Through out the movie, you see this little glimpses of a world beyond. The golden fields of Elysium. Moments before charging into battle Maximus even tells his men, something to the effect of: "If you find yourselves walking in fields with the golden sun on your face, do not worry, for you're in Elysium, and you're already dead!" It could be argued that the ending would work on a spiritual level without setting up the idea of heaven, but since we've caught glimpses of it through out the movie, when it's finally revealed that what he's been seeing is a world beyond, well...let's just say it worked on me.
I don't think there's any one way that a set up needs to be done, just as long as it works. If it's too obvious, then it's blatantly telegraphed and it'll stick out. If it's too subtle, maybe it'll be forgotten completely by the time it's "paid off", meaning: revealed.
A set up could be something as simple as Kyser Sose's gold lighter in The Usual Suspects, or Indy's remark that "I hate snakes" in Raiders of the Lost Ark or something as big as Andy Dufrane's former occupation in The Shawshank Redemption and how it allowed him to get revenge. Heck, in my opinion, it could even be the theme: hope survives. It's verbalized at the end of the second act and only twenty minutes later it's paid off when Red reads Andy's letter in the field. "Hope IS a good thing, probably the best thing."
In my buddies case, his script was loosely based off his immigration experience and subsequent stint at reform school in the states. But a good chunk of the characters and the scenes felt like a hodge podge of loose vignettes because there was no direct correlation between them. They existed on their own, and it felt like the characters always had a convinient solution to get out of whatever problem they'd put themselves in. One of the things I did was set some of these talents up. There was a kid with a big mouth that could bullshit his way out of trouble whenever he needed. It seemed way to easy for him to just 'be like that' for the sake of the story. So we created a backstory, about how his dad was a confidence man, and he learned everything about how to lie and how to stretch the truth from observing him. It was a thirty second conversation that 'set up' the fact that he learned a bit of his fathers skills and they would come to use later.
I'm sure there's a million examples to counter what I've just thrown out there. Heck, I'd be so bold as to say that one of the greatest reveals of all time was not as well set up as it could've been. Did it still work? You bet.
"Luke, I am Your Father!"
On an unrelated note, what internet browser are you using Standard Me / Anonymous?
I'm noticing some discrepancies between Safari and Firefox that I'm gonna have to roll up my sleeve and fix.
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