Len and I finished spotting Dismal last night, and he’s plugging away at the rest of the score. Thankfully, he had done a lot of great work on the rough cut (most of which we were able to keep or just tweak a little) so it’s not a total do-over.
Also plugging away are our fine sound editors, Larry and Cret. We’re planning to do a review of the mix (with music) on April 1st (and that’s no joke). Then little fixes and problem-solving as needed, and we’re off by the second week of April.
And the update on D Line: tonight I start a (restructure) rewrite. It’s a complex story, with multiple characters, and it jumps around a lot. Which was intentional, because I wanted it to have a jazzy feel, as it’s a piece in which jazz plays a central role… but I have to take into account that jazz structures (musically or story-wise) are hard to swallow by non-jazz fans, so I think I need to take it (a tad) more toward the traditional.
Not entirely so, but making it a little cleaner, in a classic story sense. It still has to maintain some of its jazzy qualities, though, or it just won’t (work).
So here I go.
(Which means, Greg, if you haven’t started reading that draft I sent you –- and with your wife in town and your remarkably busy work schedule I imagine you haven’t –- then don’t. Wait for the new one.)
(Oh, and also, Ryan, I got your script and promise to get back to you soon…)
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1 comment:
Awww .... thanks. And any drafts you feel inclined to slide my way will always be excitedly welcomed with little school-girl giggles.
Restructuring always makes me feel really productive and cool, but I tend to think of it like pulling at a thread on your sweater: change one tiny little thing, and you now have to change eight other things.
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