I refer, of course, to the director I’m still working with, and what kind of reception he’s going to get if and when he breaks into the industry.

So we met today to discuss the script.  I went in thinking that he was going to try combining his version and mine.

Not necessarily.  He took my 2nd draft and made notes.  Some of them were valid, but it took quite an effort on my part to not let my eyes roll completely out of their sockets on some others.

I can understand the need to spice up some of the characters’ dialogue, and the need for an extra scene at the end to wrap things.

But…

Having characters react by doing something does not constitute an ‘action film.’

It is possible to try and jam too much symbolism into a movie.

You don’t tell the writer to ‘come up with a catchphrase’ so people remember the movie.  And you especially don’t say you want one so it will help with ‘getting the word out’ about it.

If a certain phrase reminds you of Mission Impossible 3, you really need to see more movies.

Unless your movie is about something scientific, the scientific community is NOT going to thoroughly analyze it.  And if something was done a certain way in a certain megahit (I’m looking at you, INCEPTION), you DO NOT base parts of your story on that.

I’m skeptical about the claim that people always associate the hero of the story with a prop or action.  The latter is part of the former.  Luke is more than his lightsaber.

Your audience is smarter than you think.  Don’t feel like you have to explain everything to them.  They don’t like it.  Making them think is a GOOD thing.

If an actor can’t read the script and figure out why their character is supposed to be upset, either the writing is really bad or they’re a bad actor.  I like to think my writing is pretty good.

That’s all I can suggest for now.  In the meantime, I’m approaching this (final) rewrite as a good exercise.  How can I improve on it?  Not only do I want it to meet my standards, I want this director to ‘get it.’  I want the writing to show what he wants to say.  We’ll see.

I forgot to mention that I’m getting the exorbitant salary of $20 to do all of this.  As K said to me, “What’s that work out to?  About 50 cents an hour?”

Yeah, something like that.  But my mantra throughout all of this has been “you’ll have a finished film with your name on it.”  That’s the important part.

Another packed day, another collapsing with exhaustion at the end.

I got an email from the director. His computer’s busted, so he’s writing out his draft by hand. And since I’m seeing him tomorrow, that’s when I get his version. I really have no idea what to expect.

Once again, not much writing accomplished today. However, V fell asleep during her reading homework, and an early evening nap usually means a later bedtime. And that ain’t good for me or K. Fortunately, she got her work done, albeit at a truly glacial pace.

I foresee one of our many projects during this school year.

With K’s almost-monthly trips to Belgium, she’s started bringing home Tintin books for V. They’re fun and oh-so charming. The deal is that V reads what she’s supposed to, then I read a portion of the Tintin story at bedtime. Hers. Not mine.

But tonight’s story involved a ‘haunted’ mummy coming to life. Despite our efforts, she was confident he was hiding in her room. Even though I explained that this was probably the same setup as a Scooby Doo villain (“it’s old man Johnson!”), she was still scared.

Dad to the rescue!

To ease her fears, I sat next to her bed while she got to sleep and worked on one of my next scripts. I looked over my notes, which could be over a year old. At least.

I gotta say, there was some good stuff in there. It inspired me to try and think of other scene ideas and potential plot points. I’d even go as far as to say there might even be more chances for comedy than I originally thought.

It does a body good to make that kind of discovery. The funny thing is I’m still undecided whether to work on this script or the Monster Hunter one when BABY LIKES JAZZ is done for good.

So we’ll see.

For now, I just want this short project to be done so I can dive back in to BABY. Someday I will finish that.

I just want it to be good.

The director has his hands on what is, technically, his script.  I’m just the guy trying to put his words on paper.

He once again sent a list of what he’d like to accomplish, visual-wise.  My problem is that everything he wants seems to be more “hey look! artsy stuff!,” rather than “let me show you a story”.

I tried to check out the 2-minute short he’s basing this 10-minute project on, but YouTube just didn’t want to cooperate.  I’ll try it again later.

I also had the opportunity to watch a short he worked on in what I think is supposed to be a comedy.  But I didn’t think it was that funny.  And the ‘plot’ was a little muddled.

I certainly don’t want to come across as mean or snobbish, but it’s hard for me to look at some of these projects and not be critical, at least from a writer’s point of view.

I’m meeting with the director on Thursday to discuss the script.  I really have no idea what to expect.  Based on the draft he originally sent me, I worry he’s going to put a lot of ‘unfilmables’ in it.  Stuff you just can’t show.  I would think a director would know NOT to do that.

He says I’ll get a copy of the finished film, complete with my name in the credits.  “Written By,” I assume.  Based on his assumed timeline, that may be in December.

Even better, at our first meeting, he added that he was also a club DJ, so there’ll be a big party when the whole thing’s done, and I’d be invited. K laughed when I told her that.  Can’t you picture it?  The 40-year-old writer hanging out with the late 20’s film students?  Just gimme my gin & tonic, kid. Grumble, grumble.

-After much confusion, the writing group is still meeting next week.  The woman who organizes it thought it was tonight, but then realized it IS next week.  Nevertheless, I sent everybody the first act of BABY LIKES JAZZ.  I’m very intrigued to get their feedback on that.

-I think I’ve already mentioned this, but I’m doing the midday shift all this week.  That’s usually a very productive time for me, writing-wise.  But the traffic has been frustratingly busy the past few days, so my writing has been non-existent.  Tomorrow, I will do my best to at least work on…something.

No movie tonight, but I did watch the latest episode of ENTOURAGE.  I’m not sure how I feel about this season.  The whole Vince-downward spiral seems like they’re trying to give him some kind of personality; don’t like it.  Drama’s whole “I’m an ACTOR!” thing is getting annoying.  Turtle’s tequila thing – ehh.  Once again, E’s story is the most interesting.  It also seems like Ari is being pushed into the foreground.  The whole Ari-Lloyd thing, which was one of the best parts, has disappeared.  Things need to change.

So I bust my ass trying to get the second draft of the outline done.  I took my pen and notebook to V’s hockey practice both Saturday and Sunday.  I worked on it before going to bed.  There were spurts of creativity, interspersed with dry spells.  Par for the course, but it was really important I get this done ahead of schedule.

I managed to get it to a point where I liked it, and hoped the director would too.  K takes V and a friend to the movies while I stay home to crank out script pages.  I get about halfway there before I have to pick them up from the movies.  We get home; K has to run and grab herself some lunch while V and friend entertain themselves in her room.  I sit down to finish.

That’s when I see I have a voicemail.  K and I inadvertently had each other’s phones while they were at the movies.  The message had come in almost 45 minutes earlier.

It was the morning shift guy, calling to say his relief had never showed and could I do some emergency fill-in for the rest of the afternoon.  This sort of last-minute request is not uncommon with me.  It happens a lot.

I clear it with K and I’m there in 25 minutes, and on the air within 3.

Part of my getting-ready process was to pack the laptop and notebook.  between reports, I finish the script (which has also happened before).

I send it out after getting home.  And wait.

The morning passes with nary a word.  What on earth is he waiting for?  I need to know if he likes, hates it or likes at least part of it.

Finally, he sends me a note.  He likes it, but now HE wants to take a crack at it.

Oh good lord, no.  That’s the last thing he should do.

But this guy is so set on getting what he wants, it’s not worth my time to argue or at least try to dissuade him.

We’re supposed to meet Thursday.  I can’t wait to see how THAT goes.

No movie tonight.  I worked morning drive, the midday, went for a run in GG Park, picked up V from the first day of 2nd grade and just finished a late dinner.

I’m exhausted.  But I managed to stay conscious long enough to hammer out this post, so good night…