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Things have been a bit hectic lately. Not only do we have The Boys in post production, but We Want Our Dealer Back in development and heading toward pre production at an alarming rate (!) On top of this, I’m also working full time with John L. Simpson of Titan View … My head is swirling and I just hope I don’t end up mixing up jobs… dogs, drugs and teenagers don’t really go with Kent Street.

However, I’m a little lighter tonight.

Josh Groom has returned from South Africa (he was at the World Cup the lucky bugger!) and tonight I popped around to Post Box to drop off a hard drive for The Boys. It has been over 6 weeks since we shot, so there has been a small hiatus. I reviewed all the footage, and did fresh conti sheets and a marked up script before I handed it over to him. It took me close to two days to do, but it was a great way to really focus on everything we shot…

…and how pretty it all looks!

x — C

I’m mid way into the third draft of Dealer, and – as I’m sure many people do – have had an epiphany. In screenwriting circles it’s a “Go to Gaol Card”. I confess, I am guilty. I have been cutting corners and trying short cuts on for size.

As Dealer is an adaptation, most of the back story and characterisation has been beautifully realised in the short story (which isn’t so short, its 10,000 words). Most authorities on screenwriting come with a formula for features, so the rules of adaptation and short films tend to be excused. However there is one hard and fast rule for adaptations that the experts will tell you: Yes, you are doing an adaptation, yes the world has been realised previously by an author, and NO, this doesn’t mean you can skip all the background work. TREAT IT LIKE IT IS AN ORIGINAL AND START FROM SCRATCH!

All those hours of writing treatments and character breakdowns are really important, even when you think the complete world is sitting there right in front of you. This process is harped on and on about when you do an adaptation. Nevertheless, I made excuses. And I thought mine was pretty good. The story is so fantastic, the characters and their world so easily transferable to screen, I may have got away with it.

So, now I’m back to square one almost, researching genre conventions, creating backstory and brainstorming around the meet-cute (which, by the way is SO much harder than writing the climax!). I think in the back of my mind I always thought I would have to do it, but I just dove straight in. I am that sort of person, recklessly impatient.

There is one thing I will say about this process. I don’t feel as though I have lost time. I know the story better, my characters and plot better, and I am bringing an original insight to the research for knowing my story. I have learnt – Adaptations are BLOODY hard work. Even harder than original screenplays, because when you scrap characters, you only have yourself to mourn their loss. When you scrap characters in adaptations you need to hold a funeral with, not only the producer, but their creator – the author – at the pub. Everyone else who works on this film, will know that they once existed, and I am the person who decided to ruthlessly axe them.

xx Happy adaptation writing
Claire

Sorry for the lag in posts, but I’m caught somewhere between a rock and a hard place. I’m caught in the Step Outline for We Want Our Dealer Back.

This is by far the most complicated story I have ever written. I’m not even sure if it’s possible at this stage, to fit so much plot into a short film, and make it seem effortless, and free flowing. It’s such an amazing story, and it absolutely breaks my heart every time I have to axe a character, a sub plot, a backstory. Film is such a cruel medium!

xx Claire

Kudos to Grant for not being afraid to slap around young Lachlan!

Shooting the fight sequence was challenging, particularly as I couldn’t follow the action due to shadows and such nonsense. Have a feeling Grant and Lachlan enjoyed this scene way too much!

Oliver Leimbach and Brady Kitchingham inspect the street light.

I don’t know about yours, but my 3am on Thursday morning looked something like this: James’ eyes red with exhaustation, crew crashing from their 1am sugar high, and Josh, Erin and I frantically reviewing our decimated shot list as we wrapped shooting for The Boys. It was a hyper-real moment. Months of preparation, lots of money and tons of sweat, blood and tears from cast, crew, and supporters, has finally resulted in something which looks like a great 9 minute film.

Yesterday afternoon, Cassie, Erin and myself had the opportunity to review the rushes. They are absolutely beautiful! Prior to the shoot, we were a little concerned about working with the Red as it was so dark, but it was definately the right choice. Erin has shot it beautifully – gotta love her work.

The highlight for me was definately the performance by our amazing cast. We haven’t yet synched sound, yet you can virtually feel the energy from the screen!

Josh Groom, our editor, is currently in South Africa for the World Cup (lucky bastard!), so I have about 5 weeks to play around with a rough assembly prior to getting into the guts of it! Yay!

I am both a very happy writer and a very happy director.

xx Claire

Today we finished rehearsals for The Boys. I haven’t held intense, lengthy rehearsals. I’m trying to keep everything as fresh and as un-staged as possible. Yesterday we did a three hour session, and today we blocked the fight sequence. I hadn’t directed a fight sequence previously to The Boys, and hot diggity is it exciting! The next film I do will have car chases and explosions!

The blocking of the fight sequence was incredibly collaborative. We started from the beginning of the sequence, blocking through with Allan (Stunt Choreographer), Erin (DOP), Josh (1st AD) and our terrific cast, Grant (the Man), Lachlan (Jake) and James (Tom). Building the scene together gave the actors a great opportunity to work their characters personalities into the fight sequence. Although, after today I am worried about what Erin has been doing. She knew a little bit too much about throwing punches and grabbing hair. Hmmmm…

My favourite part of the sequence was realised when Grant suggested his character would slap Jake around the face, rather than punch him. It was a good suggestion, and added a great dynamic to the sequence. As with all great blocking, the solidity of the suggestion was realised with it’s affect on Lachlan’s character.

I’ve nearly signed off on the shot list. The end is nigh!

xxx Claire

The Boys costume design by Anika Herbert.
L to R Tom, Ben, Zac and Jake