This most recent period has involved doing work towards logistical concerns and screenplay revisions.
In addition to meeting with advisors, individually and as a team, I also had several meetings with others about project logistics. These included a meeting with working film director regarding the strategy of having on the one hand, one refined proof of concept film, reflecting 7 to 12 minutes or so of refined work, which is also color corrected, audio refinements completed, etc., versus having on the other hand, a longer work (more of rough cut) to share with potential investors. He advised that Proof of concept could be very sensible route and that is what he did with what later became his first studio production. I also met with the author of the book to give him an update, as well as give him a general sense of some of the major changes, in a general sense, that I am making in the work. I also met with a friend of a friend who has working relationships with folks currently or previously involved with the ministry of culture and who used to oversee the country’s film fund. He suggested there may be some funding opportunities as the work is being filmed in large part here in Country. In a second meeting, I was given a series of local potential production contacts.
On the assembling crew front, I also went to a co-working space that my friend had referred me to in a vibrant artistic, design community district of the city, with hopes of making contact with individuals who could assist in production. There was almost no one there, but I was fortunate enough to be introduced to a small team, a woman and man, with it seems a good deal of experience creating promotional films and videos who are eager to be involved in a narrative film project. They also have access or own a black magic camera, the same type which I had been intending to purchase for the project.
On an unrelated project, I was asked to provide some insight to the local Colegio Americano about their branding and web marketing campaign. Through that I met a media team who has promised to connect me with a host of folks who could help in production. I have not yet been able to reconnect with the main individual who said he would help me make connections. I have seen him as recently as a few days ago and he said that he would be in touch soon. I will need to follow-up with him soon.
On the casting front, my central actress has had some major surgery which will have her on bed rest for a while but she hopes to be available for meetings beginning next week. She also has family members who apparently are experience actors here locally cool I am hoping to arrange casting meeting with soon to gauge their possible appropriateness for necessary roles.
I also contacted someone I met several weeks ago who mentioned they had a friend who was a producer in Berlin, to get her contact info to invite to Proof of concept session.
Re general production process/logistical concerns.I have also continued my reading of DOV Simens’ ‘Reel to Deal’
The other central concern during this period has been revisions to the screenplay. I have completed a second completed revision draft of screenplay. In addition, I have gone through all of my existing ‘film form’ collections both physical and digitally and organize those for my review into one physical folder.
Towards this end, I have continued my reading of Three Stages of Screenwriting’, also completed workshop of Chris Vogler and Michael Hague on ‘Heroes two journeys’. In addition I've completed Syd Field screenwriting workshop. Also completed ‘Selling your screenplay’ webinar.
In this revision I am principally concerned with stylistic approaches, including how can I bring in certain feelings of a ‘Transmedia–inspired approach and also thinking a good deal about how to best structure the ending sequence.