Over the birthday of an actor who is to be the lead in a feature I cancelled in 2017, I did another scroll through the draft and also went through the simplified alternate draft I wrote that year to generate a 2020 output of it. You never know whether a script will ever only be a script. I had done some similar cherry picking for the novelization, which is now being copy edited or proof read, with the same concern that it may be the final product that conveys my vision. But I still had to go back and pick through the screenplay itself in case opportunity opens up again to shoot it. At least that aspect – the script – can be in a state of readiness.
In practical terms, this has meant introducing a trio of supporting characters earlier and letting us be invested in them so that they are more than an idea and we feel their absence in other scenes and appreciate their return. That was the biggest adjustment. The Devil is in the details as they say. If someone were to make everything more colloquial and shoot it handheld, the unreality of this universe would be undermined as there are runs of dialogue that must be a unit and the subject matter was chosen for its visual potential and my own preference for a cartoonish formality. If something sticks out as not being the right fit, I have to refine it. I have a sense of relief again that now I can hand someone this draft and say I absolutely intend to shoot this. It is not an idea or a stem cell; form follows function and it knows what it is. Ready to print. Ready to shoot.
The downside could arguably be that the more specific and clear your screenplay, the more resistant you will be to variations offered by others. But that may be the trade-off. I know I will not be vindicated as a writer unless I have followed my own writing, for good or ill. If someone likes it, they like my writing. If I were to trade it out for improvisation or someone else’s rewrite (either more chaotic or more sanitized), even if it finds an audience and is popular it will not feel like my own work. So as this final draft is presented to potential collaborators, it all still comes back to making sure they want to make the same movie. The script will decide which actors are appropriate, not the other way around.
Some people thrive on chaos and I don’t. Had I shot the 2017 draft that represents most of the novelization, it would have been true to my intentions. The current version also is, with the benefit of three more years of distance and contemplation. It might be a good idea to scare off anyone who doesn’t want to commit to reading and learning the script at this point. The story – as I often say – is just a container for the stuff I care about, specific dialogue and specific shots in my directorial plan. If that sounds like tunnel vision, consider this: The main character first appeared in a 2007 short, and was a name on a piece of paper since the early Nineties. In 2008, I cobbled together what might have been called the first draft, and then on the advice of a prospective producer spent a year submitting possible outlines I would be willing to expand. After settling on the final premise, many drafts lived their lives as submissions to the Canadian Film Center, and table readings and CineCoup. There were many opportunities over more than a decade where drafts or corrected outputs would be sent around for feedback. I went through the process of simplifying stages of the ending and “killing my darlings” that might have been amusing bits which had no function or detracted from the big picture. There is a point where it has to become a closed system, as John Cleese would say. Now it is a matter of getting competent and committed production infrastructure.
I have been told it might be too logistically complex for a first feature. It won’t be my first feature by the time it is shot. It is actually also fairly contained. There are a couple of scenes that do involve a number of people but much of it is manageable. Safety has always been a concern and more so in the current climate. But watching the movie will not be a “safe space” which seems to be something that chokes out and smothers anything with the reckless charm of an Eighties movie or a Chappelle monologue. It will be fun and also frankly may have something to offend everybody. It may offend or trigger the extreme right or extreme left, both of which are fair targets of ridicule.
A writer can only have faith that there will be a percentage of the creative community and potential audience that will share the same sense of mischief or sensitivity and edge and might appreciate a movie that represents an uncompromising blah bity blah, blah. I don’t feel comfortable saying “vision,” because it sounds pompous and in fact writing or directing are more a risk and a state of vulnerability than a god-like power position. I have gone through several stages of imperfection, so it does not arrive full blown but is fuzzy and has become more clear as placeholders and distractions have been improved and thumbnail sketches have been redrawn. The only thing you can count on is honoring your own impulses and your gut as to what seems to spice and season a script and get it all effectively across. Wish me luck.