Being at Pictoplasma and seeing how much amazing stuff there is and how hard people are working sort of out the fear into me a little bit. I definitely need to up my game, and hopefully it’ll light a bit of a fire under me to actually start taking this film a bit more seriously. Not that it needs to be serious - that’s something else I’ve been thinking about.
Quick and dirty
Listening to some of the talks also reminded me about the benefits of working very quick a rough in the early stages - kind of feeling your way through a thing until it feels right. Doing that by diving straight into Moho has bee really advantageous for learning some of the basics of the program, but it means I’ve skipped a bit of a stage, and it’s a stage I kept getting tripped up by the first time around - really understanding the characters, and what the film is ACTUALLY about. Because it doesn’t feel like it’s just about the grandad in hospital any more - it’s how a family comes with this situation. It’s about getting old, and it’s about family.
Anyway I went back to the place I’m staying, picked up the fattest, dirtiest carbon stick I had and just started roughing some stuff out real quick, and I think even in the first five minutes it’s helping me get more in touch with the character, and the feel of the piece.
The other inspiring thing from a lot of the speakers, particularly the folks from MINIT and Laurie Rowan was the importance of restrictions. There are some restrictions I put in naturally, but it’s probably worth formalising them and writing them down - making kind of a manifesto for the film. I need to figure out what that is, but I think once I have the rules a bit tighter - which I think will come from drawing more, understanding what I’m trying to say more - I’ll get what I had with some elements of Herman - tighter rules f rocking more creativity.