I love it. I really do, there’s nothing like a sense of purpose and a deadline to bring out the best in me. Don’t get me wrong, I enjoy writing spec scripts, something personal, a story I want to tell; but I find it so much more enjoyable when I know there’s someone on the other end of an email waiting to read it.
Being paid helps too.
So here I am, swamped with work and loving it. The K-Films gig is being constructed as a trilogy. Each film will stand on its own, but there’s going to be an overall arc which ties them all in together. This means I have to plot out all three films before I can even begin writing the first one – I don’t have to have every detail fixed; but enough so I can begin seeding the third film in the first one. If you think it’s tricky holding all the story strands from one film in your head, try doing it with three simultaneously. Tricky, but challenging; and I do love a challenge.
Yesterday I wrote a synopsis and logline for each film, an interesting process because each subsequent film involves tweaking the synopsis of the one(s) before it – a truly organic process where everything is fluid.
After that, I wrote a promotional synopsis for one of the shorts in the horror anthology, provisionally entitled: Future Tense. Of the six short films (yes, it’s gone up – six short films in one feature now. I’m not having any more bright ideas), I’ve written detailed synopses for five of them, the sixth being the script I’ve already written which got me the job. A synopsis of that one was needed to add to the synopsis of the overall film: it’s quite weird working backwards like this – from final draft to what’s basically a prose step-outline.
From there I wrote one of the other shorts: that’s two down, four to go. Assuming anyone likes the draft I submitted.
Today I’ve done character outlines for the first of the K-Films: K-Past. It’s given me the opportunity to think about the characters in more detail and put down a provisional back story for each of them. The difficult part being, I have to consider how much information to include about their past, some of which will impact on the third film. These outlines will be used to secure actors and I don’t want too much information floating around the public domain; but at the same time, they have to be intriguing enough to attract the people we want.
Tomorrow I’ll start pinning down the scenes in the K-Past, with a view to writing up a three or four page synopsis for the investors. It doesn’t have to be horrendously detailed, but I still have to keep in mind the other two movies. It’s going to be a lot of work, but it’s going to be a lot of fun.