Oh, right, my weird process: I'm basically ripping off Thom Yorke's method for writing the lyrics to Kid A. He was having difficulty approaching it head on, so he cut up scraps of lyrics, put them in a hat, and drew them at semi-random. Given that Lookin' SHARK was born from the ashes of probably about six different
At this exact cosmic moment, I have 62 separate scenes of wildly-varying length. Some are several pages, while some are scrawled on scraps of paper; there are probably over a hundred tiny mini-scenes that I'll wedge into the shooting order. And while I'm massively getting ahead of myself, I can also fuck with everything in the edit. (Here's hoping that LS isn't my first film that takes a billion years to edit based on some misguided idea to shoot shoot shoot; I put together the picture locks for Transmissions and Arc in about a month each.)
And here's something that I've been developing the last few days: I'm hoping to shoot the film in late November through December, and since it probably won't take more than a dozen or so shooting days, I'm going to shoot the film three times in its entirety; the second session is penciled in for late January and early February, and I want to shoot the last session in early spring. It definitely plays into the plot (and possibly foreshadows a shitty editing experience that I'm entirely at fault for if I'm not careful), and the real benefit is that I can see what works and what doesn't when sifting through all the footage for Trial 1. I'll probably even have a decent assembly going, and while, in theory, I could certainly put together the full thing with one run-through, I'm sure that I'll see scenes that I could do better or rejigger. Probably will also write in a bunch of what I'm calling "CT scenes," short for "connective tissue scenes." So if I need some more exposition or more goofs in a certain spot, I can do it on Trial 2 or Trial 3. There are some character differences in 2 or 3, but I'll leave that mystery for the final cut. It's a bit more involved than simply getting a haircut and swapping outfits.
Oh right, forgot to mention (or did I?) that I'm pulling a Transmissions and doing every single thing for this film myself. So that's all crew duties, plus one human role and at least three separate voices for AIs. (This sounds super controlling of me, but while Transmission had some other humans do voices, I want LS to be 100% me. For Transmissions I did every single shot, though, and for LS I'll probably need someone to simply guard the camera for the superwide shots where the camera is over 100 feet away from me as I, for example, run through the park in a gorilla suit.) For the two Brother/Steve And Derek Show fans still reading, I'm reprising the characters of Steve and Derek, so expect at least one inside joke about that. And while Transmissions was, honestly, extremely difficult and exhausting to helm solo (my best guess of the number of times I wanted to quit is close to the number of electrons in the known universe), I obviously learned what is and isn't more difficult with a one-man film crew compared to a traditional setup. It will be far more difficult logistically, but I don't need as much tight control as I did for Transmissions, so everything will be a little looser and mentally easier.
I'm also going to - and I know this sounds crazy - try to have some fun when I make this. Transmissions was pretty much a toil all the way through for a variety of reasons, and I only had a laugh when happy accidents improved a take. Arc was fun in spots (definitely not during the winter exteriors), but I was ultimately overwhelmed with keeping the entire thing running while juggling far too many roles, like being my own assistant director.
So back to writing some CT scenes, scribbling some random goofs, and actually writing up a budget. It's basically the cost for a new tripod, an editing hard drive, and a new tie. I'm probably not even going to bother with festivals for this, since it's basically an exercise to get back into filmmaking to prep for an ensemble cast that does not feature me for a more-ambitious Film 4. It's about as ridiculous as the manic Schizopolis, which bombed at Cannes, and I need to get this goofiness out of my system before returning to hopefully-less-confusing superserious stuff. I also won't have to waste all that money for festival programmers to yawn through this film before rejecting it. So yeah, this will probably live and die on YouTube, lest it turns out superawesome and Netflix comes with an offer.