I've always loved the rerite process. It's when an average film can transform into something good; when the film you had pictured in your head during all those weeks/months of planning finally arrive on paper and you can at least be partially satisified with what you're writting. When I rewrite, I like to obsess about the smallest of details, and that's what rewriting really is about; becoming overly obsessive of your script that you know these characters' lives inside and out, and you can move away from crappy 2D characters into more 3D land. And only then does the film have a possibility of being picked up and made.
My latest script "Aftermaths" is no exception. As I've already noted earlier in the week, draft one of the script is now complete. On Friday 8th September, I moved onto working on the second draft - and already it feels a million times better.
What I didn't like about my original "Aftermaths" script was how gloomy it felt. Sure, the thing may be about a murdered teenager, but too much gloom is always a bad thing. Not only does it put audience's off re-watching a film (who wants to be so depressed that they kill themselves?) but it would no doubt be less fun for a film crew to make. So, the second draft has seen a complete facelife to certain areas of the script, and has had a humour transplant. I'm telling you, if done right (I'm talking a very Tarrintino-esque humour here) then the film will still succeed every bit as much as I planned, and more.
Bad news though. With every redraft, certain elements of the last script are always lost. Well, I'm here to report that the words "ready brek" have been lost from the new script (and to make matters worse, I'm not saying why!). So far, the words "love heart shaped" survive, but in a world of redrafts nothing is every safe...
The film moves one step forth in its attempt to get made in more ways than one. Not only are the redrafts continuing, but the crew team are currently being assembled. We now have a director, a Production Manager (slash Co-director), and at least two or three other interested parties that want a role in the making of the film. Oh, and we've got a writer too.
But we'll ignore him, and let him get on with the redrafts, shall we?