Judge A Book By Its Cover

When I was living in London, I used to catch the Tube to work. Everyone did, and often I’d bump into my work colleagues either on the train or as we got off at the station and walked to the office together. There was an editor who worked in our office for a few months and I remember once he came up to me as I was eating my lunch and started chatting. I was a bit perplexed as to why – we rarely spoke during work as he was hidden away in his edit suite and we’d exchanged polite small talk on the way in from the station that morning.

After a little awkward small talk, he segued into the real purpose of the conversation.

“So when I’m on the Tube, I play this game,” he says. “I look at people’s shoes and I try to figure out what their personality traits are from their shoes.” Bit of an interesting conversation topic, right? But I was kind of intrigued by this – as I do like making up people’s life stories as I watch them walking past or wonder where they’re going when they’re on the train.

“This morning, I was looking at this pair of shoes,” says he. “And I looked up and realised they were yours.”

“Oh really?” says I, even more interested now. “What did you figure out about me from my shoes?”

But he just shook his head mutely and drifted back into his edit suite.


To this day, I have no idea what he ‘surmised’ about me from my shoes. I figure his judgements were wrong or wildly off the mark as he was too afraid to tell me and I’m guessing the fact that he admitted the game to me was his way of some sort of an apology. I think about the shoes that I was wearing and I can perhaps guess what the outsider might judge about my appearance, but it does make me think about how you can build your characters in your story.

How do they dress? As my old workmate showed, how your character dresses immediately tells us things about them. Are they dressed in Armani? Are they dressed in worn out clothes? Are they dressed provocatively? Are they dressed for the gym? Do they take pride in their appearance? Or do they not really care? Everything is important, from the accessories in their hair to the socks they wear. Honestly. Have you ever heard the story that businessmen often wear brightly coloured socks as it’s the only thing that is rarely seen to the public? It’s true – I used to look for the different kinds of socks when I was on the train. I think my favourite pair was a Star Wars pair that were bright red sporting Han Solo and Princess Leia.

Is how they dress a true reflection of the character? Someone may dress incredibly conservatively, but be a real wild child. A sloppy businessman could actually be a CEO of a company. In the same way that the editor’s judgments on me were (possibly) wrong, what are some ways that you can create a conflicting audience view of your character through the way they portray themselves?

How do they act? What will your audience gather from how your character acts? Are they blunt? Rude? Friendly? Warm? Generous? Stressed? Are they predictable or do they make you play a guessing game with what they’re really thinking?

And, to be honest, one of the best things you can do to help you build characters in your story is to play this game with real people. Sit in a busy place and watch people come and go. Focus on someone and see what the way they dress tells you about them. About where they’re going. What does jeans and a t-shirt say that a business suit doesn’t? Are they wearing a big winter jacket in the sunshine? What about shorts and a singlet in the rain?

The snap judgments you make on other people will be similar to the judgments your audience will make on your character. So check that the signs you’re selling to your audience are the ones that you want your audience to be aware of.

Check out my script-reading services if you want a second opinion on where to take your script next!

What I’ve Been Watching: Sense8

Sense8 – A Netflix original series

Thanks to the advent of Netflix in Australia (finally), I can once again legally watch all of the television shows and movies I want. Having Netflix whilst I was living in the UK, then moving back to Australia and surviving without it for the last two years, it now makes me appreciate it even more. One of the trends developing out of the streaming model is Netflix generated content – of which more and more are popping up in the Netflix library.

Sense8 is one of these (don’t worry, there’s no spoilers). It’s got really strong credentials – it comes from the Wachowski brothers who directed a small series of films called The Matrix Trilogy, as well as J. Michael Straczynski who developed the story of Thor and World War Z. The cast – although not really high-profile yet – are incredibly strong and they work really well, considering how difficult it would’ve been to shoot a show like this (eight main cast, nine different countries – I feel for the ADs). It’s actually just been renewed for a second season, so this is a very timely blog post.

Sense8 is about eight strangers across the world, dealing with their own lives and problems, realise that there are other people in their heads that they are connected to. They can step from their own point of view (say, in London) into the ‘sensate’ they’re speaking to (say, in Chicago). They can touch and feel each other – even take over their bodies and use skills that they have that the other sensate might not.

Considering all these story elements, it would be very easy for it to get unwieldy and hard to keep track of. I mean, when I watch Game of Thrones with my mum (yeah, yeah), we have to pause the episode at the head of every scene and recap where we last saw them and who they belong to (‘This is Reek, who was Theon Greyjoy, who was best mates with Rob Stark – he’s the one who’s the eldest son of Sean Bean – you know, the one who was in Lord of the Rings?’). It’s easy for a big story with lots of elements to lose its way.

Sense8 counters this by taking advantage of the fact that 61% of Netflix users binge watch their television shows (i.e. watch five or six episodes in one sitting). A 12 episode series gives the audience more than enough time to spend with each character, learn their worlds, their friends, their enemies. If anything, it spends a little too long keeping everyone separate – half of the conceit of the show is how these eight characters learn about each other’s existences and how they’re going to come together to survive. I wanted more overlapping action between everyone earlier – using each other to explore new worlds, test new skills, figure out what this connection to each other meant.

Sense8 – Eight main characters in the ensemble cast

That being said, the characters are easily the best thing about this show. When the plot flagged a little in the middle and I got a bit restless with no massive, cheeky interaction between the characters (I would’ve loved to have seen Wolfgang causing a bit of havoc in Will’s life when he was bored), it was the strong connection between Wolfgang and Kala, Will and Riley that kept me hooked. Everyone is so completely different and there are so many different types of representation here – it’s unlike any other show on television.

Nomi is transgender, living with her black girlfriend Amanita; Lito is a gay Mexican actor; Will is a bi-curious cop from Chicago; Riley is an Icelandic DJ living in London; Wolfgang is a safe-cracker in Berlin; Capheus is the happiest bus driver you’ll meet in Nairobi; Kala is a pharmaceutical scientist in Mumbai and Sun is the brains behind her family’s big business in Seoul.

Seriously, you would never find this cast on network television.

This diversity is what helps to make the episodes that aren’t as pacy still interesting to watch. Never underestimate the power of a character exploring a completely new world for the audience. Each world is completely unique to the character and each character would respond entirely differently to each situation. As long as your audience can empathise with your character – that they make your audience feel something (love, hate, admiration, loathing – it doesn’t always have to be a positive emotion) – that’s the key. I’m not a gay Mexican movie star, but I know how it feels to have to hide your true self. I’m not a safe-cracker in Berlin, but I know what it’s like to be under enormous amounts of pressure with a ticking clock.

Find the universality in your character and then draw it out to make your audience connect with and feel something. The emotional journey will always help carry the audience through if the plot has flabby, slower moments.

That being said, don’t foresake plot for character! It’s a fine balance, but when it’s done right, it’s amazing.


Kill Your Babies

The phrase ‘kill your babies’ is one that often gets thrown around in writing and filmmaking. It basically means that you shouldn’t get too attached to your ideas because every once in awhile, you’ll have the best idea you’ve ever had in your life – your career, even – and you’ll want to keep it. But it doesn’t work for the story. And so, you’ll need to let it go, even though you’ll never come up with an idea that’s better.

That’s the theory anyway. Some people take it in different ways – some people say that once you’ve finished the first draft of your script your should go back and cut your best scene out entirely. Or cut your best idea. Your best line of dialogue. I never really understood that way of thinking – surely you would keep developing your ideas so that they matched your very best one, not cut your best one to match the calibre of the rest? But everyone writes differently, so if that’s what works for you as a writer, then knock yourself out.

I’m working on a sitcom at the moment with my partner in crime, Anton. We’re developing the plotline of the episode that we’ll end up writing as our pilot. We spent weeks putting all the storylines into context of the first series, making sure all the characters had arcs and often throwing old ideas out because we’d discover something even better that was borne out of story and character in the context of the episode instead of spontaneous inspiration. We’d slaved over this one particular episode and had some really strong ideas for it, we knew what needed to happen but it wasn’t coming together. There was something that wasn’t flowing naturally and neither of us wanted to try to force the episode into a shape it wasn’t going to fit into.

So we took a breather to try and figure it out and I suggested throwing everything out and figuring out what the function of the episode needed to be at its very core. Not surprisingly, Anton was slightly skeptical of doing that, considering how hard we’d been working on it. I probably would’ve reacted the same way if he’d suggested it to me. But, as I explained to him, we were just going to use it as an exercise to see if we could find what wasn’t working. It didn’t mean that we were binning everything to never look at it again. It was just about getting back to the core of the episode to see what we were trying to do and if there were better ways of doing it than what we were working with.

We did that. We got it back to the core function of story and character. We straightened out the kinks in the skeleton, laid all the groundwork properly, then went back and talked about the best possible way to hit all the beats and make the characters do exactly what they needed to do for the episode. And we came up with some amazing new ideas  out of that (some of which have been overtaken already by others).

But we also realised that the main idea we were working with for the episode still worked. Really really well. We weren’t so stubborn that we’d ‘killed’ it, then refused to bring it back into the story because it was too much of a good idea. What was the point of that if the idea was still working? We brought it back in, surrounded by other, newer ideas which were stronger and better (and funnier) and the whole episode sprung into new life.

That’s why I don’t really agree with the term ‘kill your babies’. In my eyes, it’s kind of like shooting yourself in the foot. If it’s not working with the rest of the story, then yes, you should probably put it aside and save it for something else. But if it still can play a strong enough role in terms of story and character in your script, I don’t see why you shouldn’t be able to revive that baby and bring it back to life.

So maybe the phrase should be ‘Knock Your Babies Out With A Sedative Until You Can Figure Out If They’re Working Or Not’?

Too long? Yeah, I think so too. I’ll work on it.

Tell You What I Want?

I’m not ashamed – I’m going to go right out there and say it.

I watched three movies this weekend.


Sure, the sun was out. Yeah, I probably had housework to do. But I swung by my local Blockbuster and got a bunch of DVDs to watch instead.

You might say lazy. I say research.

And I don’t say that lightly. I genuinely learnt a lot from watching all three movies. They were all a range of genres – romantic comedy, drama, comedy; they all had different kinds of lead characters; they were all captivating for different reasons.

But there was one thing that failed in two of them. Right at the beginning. And it was really frustrating to watch the rest of the film because I knew what I was supposed to be feeling, wanted to be feeling it but wasn’t. At all.

It was because I didn’t like the protagonist and didn’t understand why they were doing what they were trying to do.

This isn’t to say that your protagonist always has to be nice and friendly and happy. I mean, some of the most loved characters in film (and literature) are people who have skewed moralities. Severus Snape from Harry Potter is a perfect example of this. And (I’m being deliberately vague, although I’m not sure if there’s such things as spoilers for Harry Potter any more) he’s not a nice guy. He bullies his students, he’s mean, he’s got an agenda against Harry – but people love him. Absolutely adore him. There have been polls and polls and polls on the most popular character in Harry Potter and Snape almost always comes first or second. I’m sure that there would be millions of people who would pay money to watch or read more stories about Snape.

It’s about giving your protagonist a moment in the beginning that allows the audience to get on their side. It’s a ‘save the cat’ (terminology courtesy of Blake Snyder). If your protagonist is an arrogant, womanising, highly successful man whose world starts to fall apart at the inciting incident – we need to like him. We want to sympathise with him, not enjoy watching his downfall. We’re going on this journey WITH him, we’re going to need to find something in this guy we’re spending 90-120 minutes with that we understand and like.

We always want to invest in the characters we’re watching on screen.

It’s the same with on screen relationships. If you’re putting them together to tear them apart, make sure we want them to get together. We need to invest it this. We see that they complete each other, we think it’s agony when they’re apart. We probably know they’re going to get together in the end – but it looks so difficult so how on Earth can they possibly do it? Sometimes they do. Sometimes they don’t. But make us WANT it.

We WANT the protagonist to succeed. We WANT the protagonist to achieve their goal and live happily ever after.

So make sure that’s what we want to do.

As if they’d do that!

One key thing that can often throw a reader out of a script is characters acting…well…out of character.

Imagine if you knew someone who was a bouncer at a night club. It’s a Saturday night. 4am. A bunch of drunk revellers stumble out and suddenly there’s a full scale brawl happening in front of your friend’s eyes. But he ignores it. He’s checking Facebook on his phone. Maybe he frowns disapprovingly at them but does nothing to try and stop it. That’s not like him. The function of having him there, his job, is to keep the peace. If he doesn’t, he needs to have a very good reason he’s not intervening or he’s fired.

This same logic applies to the actions that your characters take in your script. Each character has a purpose (or their ‘job’ in the story, if you like). The leader, the mentor, the joker – there are several roles that characters often fulfil in a script. But if their role is to be the comic relief but at the first sign of trouble, they start screaming at everyone, they’re not being consistent with their character. That’s not to say that comedic characters can’t be angry – but they need to be pushed to act out of character. If nothing pushes them and they don’t act as they should, then something’s not working in your script.

Think about the ways that your characters deal with conflict. Perhaps they’re a pretty cool, collected character. Maybe you throw something at them and they shrug it off and get on with it. You throw something else at them, they still get on with it. You then give them one tiny last straw and they snap. It’s tense. The stakes are raised. If you throw them the first thing and they snap, it’s not in keeping with their character. They’re cool and collected. They’ll be able to deal with little bits and pieces that get thrown at them. People do deal with things if they’re a one off. That’s why lots of things happen to characters that make it more and more difficult for them to get on with it. It’s that pressure of circumstance that makes characters really interesting to watch. So make sure you keep the pressure on them.

Remember how you set your characters up. If they’re a musical genius, they’ll know how to play a little bit of every instrument. But if they can’t play the drums, make sure the audience knows that’s their weakness and use that weakness as part of your story. Don’t just bring up the fact that they can’t play the drums randomly. Plant the seed in your story. It doesn’t need to be explicit, you don’t need to have a scene where they discuss that they can’t play the drums. Perhaps they have an intense dislike of percussion in their music. Maybe they get given a snare drum as a birthday present by someone who doesn’t know them very well. Perhaps the antagonist in their story is also a drummer.

Show the gap in their lives and then challenge it. But don’t challenge it before the audience knows there’s a gap there. Otherwise it doesn’t feel right or true to the characters and it brings the audience out of your story. And that’s the last thing you want your audience to do.

There’s No Place Like Home

Sorry for the blog silence over the past few weeks. I’ve been in the process of moving my life from London back to Australia which has been a rather massive undertaking. I am now, however, back in my home town of Melbourne, Australia, trying to figure out how to start again.

It’s been a really interesting week and a half. I understood almost instantly why there are so many stories about a protagonist who returns to their home town to accomplish something. It’s a fascinating way to learn about yourself as a person and see how much you’ve changed whilst other things remain the same. The first few days I was back, the most frequent words out of my mouth were ‘That’s new!’ This was accompanied by my family trying to remember how long I’d been away for: ‘I don’t think this was here when you left’, ‘Didn’t we have all the Foxtel channels when you went away?’, ‘Oh, yeah, I guess we started having pizza on Tuesday instead of Thursday whilst you were gone.’

Another thing I’ve found is that I’m resisting changing back into the person I was before I left. Before I left, I wasn’t disciplined with my writing. I wasn’t constantly working on something, I just kind of ambled and meandered. I didn’t explore the world around me, it was easier to stay in one place and watch telly all evening or waste all my time on Facebook instead of doing something productive with my time.

Since I’ve been away, I’ve written more than I ever wrote in my life. I’ve been running the blog for a year and a half, started my script reading services, still in the process of finishing ‘With A Little Help From Our Friends’, in the middle of a pile of projects – all of which are really exciting to be working on. I need to stay that productive whilst I’m here because now that I have faith in my writing, I know that I can find the contacts to do something with my work on a much more professional level. It’s about keeping that drive and ambition alive to really chase what I want.

And the best thing about being back in Australia, regardless of friends or family, is that I’m suddenly seeing a world I’m incredibly familiar with through shiny new eyes.

Spending two years in the UK means that I have become slightly British. If I’m honest, I love it. But it means that I’m wearing UK-tinted glasses as I look at the culture I’ve grown up with. All the things I’d forgotten about in the past two years are suddenly glaringly obvious. It’s mostly small things – the driving is better in the UK, the different words Australians and Brits use, the fact that I know understand why everyone thinks Australians are so friendly (although compared to London, anywhere in the world is friendly). But it means that I can see really clearly into the culture clashes and channel them into my writing.

This is a really exciting and wonderful thing as two projects I’m working on at the moment have clashes between cultures. It’s helping me to pinpoint the humour and conflict in cultures that I can then stick in between characters to create really strong tension on multiple levels. It’s something I’d never really thought about before but it’s something that will hopefully enrich my stories.

So look around you and see what there is that really sticks out as something characteristic of your culture. It could be something as simple as drinking tea versus drinking coffee. It could be something bigger – the way your characters get to work. Taxi (New York City)? Tube (London)? Traffic Jam (Melbourne)? Think of how your characters do things that could be reflected culturally. It adds another layer to your writing and becomes an instant point of relatability for your audience – whether they recognise it as something they themselves have experienced or whether they recognise it as something typical of another culture.

After all, we learn everything about other cultures from the movies, right?

A Whole New World

I recently put the call out on Twitter to see if there we any requests for topics (if you have any of your own, feel free to add them into the Comments) and a post on world building was asked for.

The world is the place where your characters are interacting. They can vary from modern day to period to sci fi to pretty much any where you can put them. Every world has slightly differing rules, which vary from story to story. It is essential that you set up the rules of your world early so that the audience understands what is going on and why your protagonist can’t achieve their goal instantly. Boy meets Girl – why can’t they be together straight away? Oh, because she’s actually dating his brother. Or they can date straight away, so what is going to be the thing that tears them apart?

For me and how I write, world is entirely based on character.

The temptation for some writers is to establish the rules through dialogue and exposition. I think that in this case ‘show, don’t tell’ can be a really strong story telling tool.

I recently watched ‘Lars And The Real Girl’ again. A really fantastic film which I would encourage all of you to watch. The basics of the world are set up in the first shot. Lars is alone, looking out the window. Someone comes out of the main house – he hides from view – but she doesn’t hesitate and eventually he opens the door. He’s awkward and shy but that doesn’t deter her – she invites him over for breakfast. He reluctantly agrees, she’s surprised that he has and she goes back into the house.

Everything that happens in the rest of the film runs alongside all the character traits and tone set up here.

Lars is often alone and quiet – sometimes in crowded rooms. He’s excruciatingly shy, even around people who are friendly and warm. Karin is his biggest supporter who is with him every step of the way – but in a sisterly way, not a romantic way. The fact she’s surprised he agrees means that she is always trying to get through to him – the fact he agrees means that he wants to connect with people. But he doesn’t walk her back to the house, he maintains his own space as he watches her go inside.

In that scene is set up not only the rules of the world and character, it also establishes the most important relationship in the film in the first minute.

Each scene after that needs to reinforce and follow those rules. If the next scene in breakfast and Lars is there, loud, swearing, flirting with Karin, it doesn’t ring true with the scene before it. You need to keep consistency in your characters for your worlds to make sense. Consistency sells stories. If stories aren’t consistent, that’s when you throw your arms up at the screen and yell ‘As if you would do that!’ And not in a ‘Oh My God I Can’t Believe You Just Did That This Story Is So Compelling’ way, in a ‘This Story Makes No Sense At All’ way.

Look at the rules you set up at the beginning of your script and make sure that they’re the same rules all the way through. Or they change as they’re supposed to and not because you can’t figure out how to take your characters on a proper arc throughout the story.

It’s Not Easy Being a Fictional Character

And nor should it be.

A film should be about the most important moment in your characters lives. If it’s not, they why aren’t you writing about that instead?

If it’s the most important moment of their lives, it means that there’s a lot at stake. And I don’t mean a lot, I mean A LOT. Their entire future depends on this turning out the way they want it to to hit their ideal life. Whether that’s getting together with the love of their life, getting revenge on the person who killed their family or averting the end of the world, they will fight with everything that they are to get it.

So don’t GIVE it to them.

Make them work for it.

Perhaps it sounds harsh. But movies and films are about watching people in conflict. It could be physical or internal conflict; dramatic or comedic conflict – as long as there is something that is preventing the protagonist from getting what they want handed to them on a silver platter.

I saw ‘Cabin In The Woods’ on the weekend and it definitely had moments where things were too easy. I won’t spoil it for you, but there were characters who got very badly injured by were fine by the next scene. There was a scene where there was a very conveniently abandoned place for the main characters to shelter when it should’ve been populated. There was a scene where a character was told to kill someone and the someone they were supposed to kill turned around and handed them the gun – but not as a self sacrificial act. Just to hand them the gun.

Don’t be afraid to make it hard for them. You injure your characters? Let them be injured. They don’t have to be The Hulk or Thor, they’re human. How would they manage if they twisted their ankle or broke their arm running away from the bad guys? Would they use the injury to their advantage – play dead until the bad guys are coming over to inspect their prize and then the protagonist wakes up and punch them in the face? Or is that the end of them and do they completely give up, sobbing their eyes out? Or does someone else sweep in at the last second to help?

Don’t be afraid to have them be ignorant. The signs are all there that your protag’s other half got drunk and slept with your protagonist’s best friend the night before. Don’t feel like your protagonist has to see through it straight away. Let them lie in delusion for a little. Let the audience feel for them and relate to them as they know what’s going on and the protagonist doesn’t. Being ignorant doesn’t make them stupid characters. It makes them flawed. Character flaws are fodder for fantastic stories.

Don’t be afraid to put them in positions that reveal their weaknesses and vulnerabilities. This stuff here is what reveals character. These are the moments that people really connect with. It doesn’t matter how invincible Indiana Jones is, as soon as he shirks at the sight of a snake, we laugh because we know what that feels like to be afraid of something so silly – especially when he’s gone through so much and dealt with much bigger things. Weaknesses and vulnerabilities can be internal or external – they don’t always have to be tangible. A character trait – perhaps your protagonist can’t let other people into their life. Other characters can be physical weaknesses – family, friends, animals are often kidnapped or threatened too.

Put them in a position where they have to give absolutely everything to get what they want. Then make sure they have to give absolutely everything to get it. Don’t tie them up with rope and leave the knife in their hands. Place it on the other side of the room, hanging in the top corner with a ladder that’s wonky and slightly too short and only one cushion there to place in case they fall off the ladder on their first attempt.

Maybe not literally, but leave the silver platter at the door. Make their battle interesting.

Crafting Characters

I was asked by an old friend of mine, Lori, the other day how I created characters. This was a bit of a weird question to answer for me, because I really had to figure out what I did. Stories and characters come very naturally to me and I can safely say that I don’t have a set way of developing a story every single time. Sometimes I see a scene, sometimes a character, other times I get asked to write something with certain criteria in mind. The latter usually helps a lot – I find it’s always easier to write to a concept than it is to write to nothing.

Usually I don’t write down a whole bunch of things that a character does, fill in questionnaires in character, figure out every single thing about them – from their favourite colour nail polish to the birthday of their Great Aunt Mildred. What I do know or can work out quite early on, is what they will and won’t do in certain situations.

And this, I think is key.

Action informs character, not the other way around.

They say that actions speak louder than words and I think that this is especially true in films. But the key thing to figure out about your characters first is how they react to things.

There’s a really simple writing exercise that I think can help if you want to get to know your characters a little bit. It might be a good idea to try this anyway, to check that you’ve got a good handle on characters you’ve already developed too.

But imagine they’re waiting in line at the cinema and have been waiting for twenty minutes, there’s one person at the counter and the line is a mile long. They’re two people from the front of the line and someone cuts in front of them. How do they react to that?

Depending on your film and your character, the location could change (the post office/pub/garage/toilet), but the essence of the scene is there. Really think about it. I’m not even going to throw out examples of what they could do because it needs to come from your head. Chances are there are things that will feel instinctively right and others that don’t. Follow your gut and figure your characters out – give them a chance to do their thing. Because when you’re writing, their voices will really come through in your work. And sometimes they can completely surprise you.

Try it. See how you go.


Sorry for the radio silence over the past two weeks, but I’m back and ready to go!

A quick update on where we’re at with the film:

We’ve had to shift the shoot date by two weeks, due to a couple of little things popping up, so we are now not shooting until November. This is both a good thing and a bad thing – I’d love to get the shoot over and done with already but an extra two weeks in pre-production probably won’t hurt. The danger with having a long pre-production is that you lose enthusiasm because it feels like nothing is getting done. I definitely don’t want to shift the shoot dates again, so cross your fingers that it all comes off all right.

Our first rehearsal is coming up next Sunday which should be exciting because the cast get to meet each other for the first time and we can have a serious play around with the script and see if we can make it even stronger. It’ll also be really interesting to workshop the characters with the actors as well as see how they all bounce off each other to test the chemistry between them all. I’m looking forward to getting all our creative heads into the one room and seeing what we come up with together.

We’re also looking into potentially crowd-funding a portion of the budget to help us get it over the line. The film is a pretty cheap short film as it stands and a little extra money would be great (as always), so that’s an avenue that we’re thinking about exploring as well.

We also need to consider where we can access lights fairly inexpensively and am starting to think about post-production too (yes, it’s always better to consider everything, including post, during pre-production).

I’m off to enjoy my Sunday, but I’ll continue with the Audition Saga this week and round that off, just in time to start talking about rehearsals! Yay!