As I keep trying to figure out the new angle for the Harlem movie, I start to get a little focus on the story arc or a character's back story -- and then I start plotting out a new script entirely.
Where's the focus, David?
Is this me telling me that I should just scrap Harlem and move on? Or is it just because I'm a scatterbrained knucklehead and I just need to force myself to focus more on the one project?
When I put it up to a vote with myself, the stick-with-Harlem side usually wins by a hanging chad.
Just feels like there’s something there. Or I’m too emotionally attached to it to just drop it. Either way, I think I should keep clawing at the thing until my nails finally sink in and take hold.
It would help, then, if I would stop biting my nails.
Getting a full grasp on the whole of the new project is (to borrow a phrase my wife used in a conversation a few days ago) like nailing Jell-o to the wall.
But it feels like I need to keep trying.
Of course, that also means devoting more time to actually TRYING. Jell-o doesn’t come already nailed to the wall, after all.
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My new motto is "find the hook."
That's why I switched from my super-cool concept with tons of philosophical implications to a story about a guy and the girl he lied to. Because I could find the hook.
Maybe I'm just not ready to deal with such weighty material.
Mmmm, Jell-O.
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