Sam Bailey's Fifth
Last night I pushed through the end of the 5th draft of Sam Bailey, and sent it out to my collaborators on the project, as well as a few friends...
Things are really beginning to come together.
At this point, the scenes are collapsing around some very tight character motivations, and the script comes in at a lean 88 pages. From here, it's a process of creating economy in the plot, which gives the comedy breathing room. My mystery is constructed and laid out. Now, I've got to give Sam and Max as much room as possible to mess with one another. Even those interactions are looking pretty outstanding.
Last weekend, I ran into one of my co-producers at a concert performed by someone we both intend to cast. Standing there listening, the score of Sam Bailey began to take shape for both of us. We almost got ourselves thrown out of the club as we began swapping impressions based on her orchestration and vocal presence. Both of us saw Sam Bailey making his way through Boston to the tones of a flat-out concerto with classical orchestration, a piano, a cello, a viola or violin, woodwinds - but a concerto heavily influenced by the Jazz Era. Classical instrumentation - modern cadence.
What else could the sound of Sam Bailey be? With luck, we'll manage to get that fantastic group of musicians involved. If and when we do, we'll be sure to reveal their identity. At the very least, now we know what we're looking for.
Sometimes, a creative project becomes more inspiring and more exciting as more work is poured into it. Rather than costing me energy and resources, Sam Bailey is giving me a feeling I've wanted for a very long time, and it's bringing me closer to the performers and creators I love the most.
As I finish Sam Bailey's fifth draft, I'm beginning to hear the music.
Things are really beginning to come together.
At this point, the scenes are collapsing around some very tight character motivations, and the script comes in at a lean 88 pages. From here, it's a process of creating economy in the plot, which gives the comedy breathing room. My mystery is constructed and laid out. Now, I've got to give Sam and Max as much room as possible to mess with one another. Even those interactions are looking pretty outstanding.
Last weekend, I ran into one of my co-producers at a concert performed by someone we both intend to cast. Standing there listening, the score of Sam Bailey began to take shape for both of us. We almost got ourselves thrown out of the club as we began swapping impressions based on her orchestration and vocal presence. Both of us saw Sam Bailey making his way through Boston to the tones of a flat-out concerto with classical orchestration, a piano, a cello, a viola or violin, woodwinds - but a concerto heavily influenced by the Jazz Era. Classical instrumentation - modern cadence.
What else could the sound of Sam Bailey be? With luck, we'll manage to get that fantastic group of musicians involved. If and when we do, we'll be sure to reveal their identity. At the very least, now we know what we're looking for.
Sometimes, a creative project becomes more inspiring and more exciting as more work is poured into it. Rather than costing me energy and resources, Sam Bailey is giving me a feeling I've wanted for a very long time, and it's bringing me closer to the performers and creators I love the most.
As I finish Sam Bailey's fifth draft, I'm beginning to hear the music.
Of course, with the increasing number of aeroplanes one gains increased opportunities for shooting down one's enemies, but at the same time, the possibility of being shot down one's self increases.
Reply to this