Rewrite, rewrite, rewrite.........

Well that aspect of writing never really appealed to me. Come to think of it I don't know many writers who enjoy the process either. But whatever way you cut it, rewrite is one of those necessary stages that we must all go through to ensure our prized creations really bite! And as far as "Hard Shoulder" is concerned, boy does this one kick arse! I'm like a kid in a sweet shop at the moment, all hyped up like I've been chewing on sugar all day every day for the past week. I'm excited by this story. I think it has all the ingredients for an absolute guaranteed success. It won't find its way into cinemas I doubt, not with a £50k budget behind it (though stranger things have happened) but I'm confident audiences for DVD will rent and talk about it long into the night. It you get the deeper meaning, if my job has been done well, you'll find layer upon layer of other stuff to go searching for. Motifs, subtexts, subliminal elements that neither strike you nor, even at second viewing, necessarily mean anything to you. Until that is you think about the movie as a whole. Then the penny will drop.

I'm busy packaging this baby up as we speak - unusually. I wouldn't ordinarily go out to seek market interest with a 1st draft, but this primer is good - even for me it's a blinding first draft. And I already have finance interest lined up and this interest should hold together because the stroy is a good one. All the right beats in all the right places, A story, B story, bad ass characters, a hero who arcs (though in an unexpected way which is the twist), a little stuff for the girls, a little for the guys, action, violence, oppressive scenes, light relief. It has it all. And I'm as pleased as the proverbial moggy who got the cream.

Which brings me to my debt of thanks. some people have followed the Vicki King "21 Days to a Script" which is one hell of a book. Personally, and especially this time around, my thanks go to Blake Snyder and his "Save The Cat" which left me with a huge dose of structural enthusiasm to try something different to the Vogler, Field, McKee, and Seger structures that I normally follow.
What I have, in 28 days, is a non-linear psychological thriller, that ticks all the boxes. So not only have I stepped out of the genre comfort zone of horror (although a close cousin), I have also tried a new method of writing. And blow me if in a month I haven't manage to pull something special out of the bag.

If all goes well, and progress continues at the same healthy rate we'll have this story financed and under way before you can blink. And added to that is the self belief that I can get Ray Winstone to read it, if not commit himself to playing a substantial role. A film starring the might Win? Now that would be an awesome achievement.

So watch this space.....................................

Nick

Stage One: Script

From the seeds of idea a great oak will one day stand - I hope.

Well the germination process has kicked in and here we are, three weeks later, with a full feature script - 80 or 100 pages depending on 'squeeze' and 'spacings'.

I'm very proud of it, and although this is but the first stage and the draft is pretty rough, to say the least, the framework of what I was aiming for is clearly there. I'm excited by the twists and turns, the sense of 'twilight zone' about the subplots interweaving with the main narrative, and the diversity of the main character, Carl. All in all its very trippy.

I'm going ot put it down now for a few days and revel in the completion of my eighth feature script before coming back to it with a creative vengeance. I know this will be a tough ask - I'm keener than mustard to get to grips with it for the next draft.

It does seem to have 'grown' slightly since the beat outline, both in terms of scale, location, and thus budget, but not so as to preclude it from the predicted production cost of £40k. And to think I was hoping to get this bad boy done on deferral for £6k at one time.

I think I must have been dreaming that one!