Week 2

While time is a constant and completely predictable rhythm, the direct and undeniable correlation between what you do with it and how fast it seems to move is really amazing.

When you gotta wake up, scramble some eggs, ride the rocket (without getting coughed on), and trudge into an office for five consecutive days, time flies. At first it seems to be exactly the opposite – but when you look back at the week, it is gone in one big hazy cloud of insignificance and bagged lunches.

On Tuesday we had a long and frank story meeting for SELF HELP with our producer, and I felt that it was really productive. I think we finally became honest about the pieces that weren’t working on the page (that we’re convinced it’s fucking funny in our heads is no longer good enough), and the direction our re-write will be facing will ultimately streamline, focus, and tighten the overall pilot (all more or less the same thing - but I like the rhythm of 3’s). Which, I am learning, actually INCREASES the comedy. Go figure. All the smug people who have told this scribe, admittedly addicted to unnecessary complications, that ‘less is more’ will probably sleep a bit better tonight, without knowing why.

Other successes of the week: I followed up with the producers whom I met during the one-on-one sessions at the CFC’s conclusion, and some of them actually a) remember my name and b) seemed to have really meant it when they said they’d like to have a read.
Until now I was absolutely and unequivocally convinced that no one in the film industry had the titles of any of my projects committed to memory. Alas, for the first time this week, I was wrong. So, I sent ‘em what they wanted. More on this as is comes…

This week/weekend, I plan to expand THE SPILL from outline into some sort of ‘treatment’ shape. Not exactly sure how this will pan out, as it’s not the typical process I go through before heading to draft – but I think due to working in a genre that I’m not familiar with, it’s good to get everything mapped as best I can before I set Movie Magic on fire with my snazzy dialogue.

Project number 2 is to draft a beat sheet for a 1hr. dramatic series I’m working on. There are few things as aptly named as a ‘beat sheet’ - because you have to beat yourself over the head to get one that makes sense. It’s just so much more fun to go straight to draft…I mean, who cares about things like logic and structure and conflict…it’s all bikinis and convertibles and Ugg boots, anyway.

I am proud to say that I met up with some of my fellow writer alums (and one director, ‘cause he laughs funny and always smells like proscuitto) for some drinks on Friday night. I am thrilled that we’ve not all become too cool or competitive or self-conscious or self-destructive to get together and share stories and cheap beer. Numbers are bound to whittle as time passes, but I hope the good guys stick around.

A question regarding prioritizing your projects: Is it ‘better’ (for lack of a more precise word) to have 6 decent first drafts, or 3 tight screenplays? I’m talkin’ when you’re just startin’ out and tryin’ to get some fundin’. Does it make more sense to pump out a draft and then move on to another story, to have as many completed screenplays as possible? Or are you better served to work on polishing (let’s say three passes) before moving on? Is there any truth to collecting/compiling drafts and then pursuing someone to actually PAY you to polish it? I’m lookin’ at you, KW, for some answers…

Until the weekend, everyone go and vote. Since you can’t vote for Kobe, do me a favor and don’t make it Harper.