Is that your final answer?

Yes. Handed it in. Good thing a million dollars isn't riding on this one!

Finished for the term, but not for the project. Sent it to my Mom, we'll see how she likes it.

Happy Thanksgiving everyone!!!!!!!!!

Words, words, words, I'm so sick of words...

Anybody get the reference?

Anywho -- worked on the screenplay all day yesterday...made some progress-- need to make oh so much more. I think I'm starting to think of these characters as real people (a little late in the game, yes, but a good improvement)...What actually makes SENSE for them, given their wants, needs and loves. Hopefully this will round out the story and make fuller characters...

Thought I had kicked my sore throat, but I can feel it coming back again! Orange Juice...?

Ready ready ready to write

This blog is short, because I am working on my screenplay.

I just mapped out each of the three main characters' arcs, so I know how they should be reacting in each scene. We'll see if that helps.

:-P

Does anyone else get REAAAAALLLY annoyed that Blogger doesn't seem to be able to tell you when you have a comment update? Am I stupid? Am I missing the "This will make your life easier" button on the site? I still don't understand why Reader in Google can't just send you an e-mail saying someone's updated their page either? My mind is scattered enough as it is...I SHOULD be able to remember to click to the Reader portion, but honestly -- I can't.

I am going to investigate the "My Account" tab more thoroughly, and probably regret posting this message.

C'est la vie.

Blargh. Blog.

Soooo. Two weeks into last week I had a terrible cold and spent most of my time sleeping or hacking up a lung. This past week I progressively got better and started picking up the pieces of my schoolwork. I have to be honest that this screenplay has fallen by the wayside these past few weeks, by no fault of its own.

I also decided to work on America's Got Talent this weekend. Again, poor screenplay.

I HAVE made some edits though, (the same ones twice because my computer decided to delete the first set :-P >:( )

I am excited to furiously attack this screenplay (in a loving, make-over kind of way) pretty much non-stop in hopes that it will come out gorgeous.

We shall see. And I really do bemoan my lack of diligence in this.

:(

Onward, ever onward.

Oh boyoboyoboyoboy.

Have not made much progress from the first draft except thinking about the characters and which scenes should be either re-worked to accomplish something or nixed completely. I have already read through the script and made my own notes for changes...the next step is to just hammer those out.

Going to be a busy week of re-writes...and a philosophy exam.

:)

T-minus...

...how many hours? Don't actually want to think about it. I am now about to attempt to put the finishing touches on my first draft -- also known as making sure it makes SOME sense and then making sure there's a nicely tied bow on it, or some brightly colored wrapping. Or something.

Anyway, still wondering if the tone of this film is even, and what I can do to raise the stakes all around for all involved, at all times.

Also hoping beyond hope that they miraculously have Screenwriter in the labs once again, although I'm doubtful (I know, what happened to the hope?). Otherwise, I will be stalking anyone who happens to have it on their laptop. You've been warned.

I hope you all have already tied up your bows and packaged your screenplays in brightly colored paper and are now resting on your laurels, having already sent your files to Matt and are smiling pityingly at my post. I do. And I hope you are dreaming sweet dreams now, too.

I'll see you tomorrow :)

Yay!

Six and half hours later...

...I am almost 30 pages from where I started earlier. Yay! Also realized something else about myself. I work so much faster if I already have it thought out by writing it out by hand first. At least for dialog. I wish I had realized this six and a half hours ago.

Good news is, I just need to wrap up the resolution and decide where our reunited couple is going to live out their happily ever after. I have ideas that they go back to Hollywood, but I think I will have to make Izzy and David have an even greater falling out than just Izzy not coming to the premiere of their film (and that she won't kiss him). And figure out how she'll still work in that town after doing something so audacious. I know this isn't very detailed, but if anyone has suggestions, do shout out.

Robert has basically just stood up to his nay-saying buddies and Izzy has asked for forgiveness and said she just wants to be with Robert regardless of where they live. A little old lady on the street just recognized Izzy, and Izzy and Robert watch the movie and Robert decides his wife really is talented and he's been trying to hold her back.

Very sappy stuff, people.

One month later...

Once again things that are "urgent" have taken precedence over things that are important. This leaves me still trying to get to the end of my first draft and also with no solid idea for senior project. At least I've learned my lesson. I hope.

Currently in my story, Izzy has started the new film with the Dreamy David Sheffield and is spending far too much time with him. Robert and Emma have appeared together in the New York society pages, and David and Izzy in the Hollywood tabloids. All seems fine and good on this front, until Robert sees the paper with David and Izzy. He will now turn up unexpectedly in Hollywood where the false climax will occur.

Tap tap-typing away.

Hope you all are far, far ahead of me.

Here's to blogs...

So that last post really helped me get over my writer's block, and seven pages later, I am keeping on at a steady rate (or so it seems). I am realizing now, that apart from driving around in a limo with Izzy - Marjorie hasn't had any play out in Hollywood. Does she need to be a part of this? How should I put her back in the story? Or should I keep on ignoring her presence?

Ack. Let's go see if Izzy will get a part in the movie.

;)

Wining and dining...

Alright, so I feel stuck. I don't know what order to have things happen once she gets to Hollywood. The first things that happen. I'm considering writing later scenes and coming back to her arrival. The main thing is -- which makes more sense: for her to sign all the contracts and then be wined and dined or vice versa? Or does it even matter? I guess not. I can always re-arrange them later for the flow of the story. Would she even be wined and dined? She's not exactly a star yet...but I feel like there would be a sense of her "succeeding" before she realizes it's all a bubble to get her to sign the papers....

At this point I'm just rambling. Please stop me with suggestions. Let's get this Hollywood machine moving.

One crank of the camera at a time.

:-P

Ever onward...

Thinking about scenes/sketching them out at the minute. Debating how Izzy should be traveling to California - train, plane or automobile? Definitley not the latter.

I am now seeing that I have to have Robert and Izzy make up at some point or else we won't have their relationship last -- maybe Robert realizes that he has to love her anyway or else lose her completely? Maybe he should say something before she goes? Because once things are good - she'll just say "I told you so" and when things go bad, she won't want to talk to him, because he'll say "I told you so" back (not in so many words, obviously). Think, think, think.

Realizing that I really don't know too much about Hollywood in the 30s...much of what I know already is from watching films. Will be doing quick Google searches as I go, methinks.

Meh.

Hope y'all are getting on better than I.

Past week...

So I turned in my first act - though I think I might have made her decision-making process too abrupt. Ah, well. Next stop - mid-point. I am currently going through my notes to remind myself what exactly that is...and which is the best route to get there.

Onward!

Choices...

So, I've written about 6 pages in Word today -- translation, like 3 or 4 in Screenwriter. Can't wait to get to a computer with Screenwriter and see the notes from Matt. Alas, right now I am trying to work on it whilst I wonder if the first 15 pages need to be completely re-written. Ack!

Realizing that there really are innumerable ways to write a scene and that's it's just who your characters are that dictate which options make sense. I still think I need to be doing more character work.

In the pages I've written so far today, there seems to be a lot of tension between Robert and Izzy -- maybe because they were the argument scenes? Haha. But really, I am finding it difficult to write scenes that have subtextual meaning/importance for the story as a whole. Which is of course, the whole point.

:-P

Working away...

Hope the rest of the class is having tons o' fun.

Posting...

Last night I was discussing the scene in my story where Robert proposes to Izzy in Central Park late at night when the stars are out. I was asking for a general consensus as to whether or not they could actually see the stars in Manhattan in 1932. Everyone agreed that it would be believable. What was not so believable to them, however was them walking through Central Park at night, because it would be dark and dangerous (and potentially illegal). Oh well.

Right now, that seems to be the least of my worries. I am currently trying to implement the changes/insertions that I spoke about in my last post. And dreading when I'll have to put all of the story back into Screenwriter from Word. :-P

I think I mainly need to fill in these guys' backstories, and things will get better from there.

Enjoy the beautiful day! Go write in the sunshine!!

Progress report...

Wrapped principal photography on production workshop!

Now to dive back into the screenplay. Went over the opening I turned in on Friday and made notes about typos, plot holes, etc. I think I need to add in more actual scenes where we learn about Robert and Izzy as individuals which will establish their characters and inform their decisions later on. I think I need to lock this couple together so we want to see them together in the end, otherwise no one will want to keep watching.

I realized I brought something up about Marjorie's sister that was never addressed later on, so I should either put that storyline in completely or pull it. I think right now I may have unwittingly written quite close to the end of the first act without setting everything up first.

Right now I am really annoyed at the typo where I wrote "you're" not "your" as it should be. :-P

Think...think...think

So how about David Sheffield and Gwen Golden? Nevermind that David Sheffield wrote The Nutty Professor II: The Klumps...

Thinking about what year to place the story in -- I was thinking 1932 which was apparently the height (or rather the lowest point) of the Great Depression - wondering how that all could factor into it - might give her more incentive to make a Hollywood deal so that it wouldn't be a struggle to support her family? That being said - how do Robert and Emma still have cash - are they just that secure?

Putting all this drama in, I'm trying to figure out how to show them actually having fun to begin with - their meet-cute and all. I find myself turning back to Dunne's story -- and am trying to spin a different direction.

Any suggestions are always greatly appreciated.

A rose by any other name...

So I just decided that the character Gwen should have a last name -- eastablishing her as a Star in the 30s in the film. Right off the top of my head I thought - Gwen Donovan - and was quite pleased with myself that it had a nice ring to it. I decided to Google the name - just in case.

Turns out, Gwen Donovan was an actress in the 1940s. Most of her roles were uncredited, but Gwen's a dicey character in my film and I don't want any libel issues, especially with the 1930s being so very close to the 40s. So I guess I'll leave dear Gwen Donovan alone.

*Puts on thinking cap*

Gwen...sadly, "Stefani" is the only other one that comes to mind...

Un question.

Does anyone know how to get comments that are posted to your blog sent directly to your e-mail?

Where, oh where has my time gone?

We are currently counting down the days to our Production Workshop shoot -- 2 to be precise. Saturday and Sunday (and also part of Friday) will find me directing actors and crew all day. I am attempting to work on my sequence, but this has proven difficult in the final days of pre-production.

All I can say is, there's going to be some great, energetic opening scenes...let's hope :)

The Ramblings of a Sleep-Walking Woman...

Thought more about my characters and developed them a bit further -- Izzy is the new Belle and Robert is the new Bob. Too many name complaints...though they are the least of my worries. Thoughts are greatly appreciated.

Enjoy!

Untitled 1930s Starlet film

Character Break-downs:

Izzy (protagonist)
There’s always been a scandal around Izzy Doyle. When she was seven, her father left their family to be a painter in Paris. She has his creative genes, but vows that once she’s married she’ll always stay true to that person, no matter what. Because of her estranged relationship with her father, she’s always felt the need to succeed in her own right, in order to be valued. She’s grown up singing in the church choirs around town and also has recently taken on Broadway. She’s always helped support the family with her wages from singing and acting, and although Robert offers her a comfortable situation, she still has to prove to herself (her dad) and everyone else that she is worth paying attention to.

An aspiring singer and actress, whose husband wants her to settle down. She is inherently sweet but her ambition for success trumps that and makes her selfish. She's been trained in music and theatre on scholarship, coming from a poor, but respected family in Pennsylvania. Despite the bad morals thought to be held by performers, Izzy is and always behaves like a true lady.

Izzy thinks she can handle what Hollywood has in store for her. She is well-versed in charm and has withstood the wiles of the world up until now. When she arrives in Hollywood, however, she is smacked in the face with the reality of the “rules of the game” on the West Coast. Still fairly naïve, always having her mother with her in the past, she is thrown off the deep end into a pool of sharks. She realizes just in the nick of time that if she isn’t smart and doesn’t stand her ground, she could lose her respectability – on the other hand, she could lose her career if she does. She walks a fine line between light and dark sides when she is introduced to David. At that point she is lonely and hasn’t felt a connection to another person like this in a while, if ever. She doesn’t give in though, and realizes that because of this she is spared a lot of unpleasant consequences.

Izzy is…determined, a perfectionist, highly moral and God-loving, self-protecting-ly selfish, loving, stubborn, charming, a purist, independent

Robert (antagonist)

A pediatrician with his own practice, Robert is as left-brained and analytical as his wife Izzy is right-brained and creative. Robert comes from New York money and expects a certain level of decorum from his wife. He feels performing is beneath her. He wants Izzy to stay home with him in New York and be the society wife everyone is expecting him to have.
When Izzy goes to Hollywood, Robert is humiliated, but doesn’t know how to make her stay. As time goes on, his “well-wishing” friends hint that he should divorce her. He starts feeling resentful that other men have their wives around and they are congratulated for it, but he is shown pity instead. He’s viewed as a man who couldn’t keep his wife at home as she’s run off to become some morally questionable woman in Hollywood. Over the course of the film, Robert becomes more of a man, willing to stand up for what he believes his life should be, not what other people think.

Once Izzy leaves, Robert tries to understand her reasoning by spending more time with Izzy’s close friend, Emma, sparking jealousy in Izzy and murmurings in the neighborhood.

Robert…goes along with the crowd, intellectual, handsome, good-natured, lacks self-confidence

Marjorie (confidant)

Izzy's mother, Marjorie chaperones her and manages her career. Although not a business woman, she just supports her daughter in what she believes to be her calling. She was excited to see her daughter get married, but still wants Izzy to pursue her dreams.

David

A Hollywood playboy of an actor who sees all of Izzy's goodness and wants her for his own. He does everything in his power to induce her into a relationship with him.

Gwen

A Hollywood starlet who is milking her looks for all they’re worth – experimenting with whatever new substance is the fad, and riding the rollercoaster of life with no seatbelt.

Emma

A good New York socialite, the all American girl-next-door (if you live in a rich neighborhood), who would make the perfect, sweet cookie-cutter wife.

First go-round.

So far, I have completed short character bios and a beatsheet. Continuing to flesh them out, but figured I'd post them in case anyone had some spectacular advice (I'm sure you all have good ideas :) ) Please tell me what you all think of the character names as well - I've not got such good feedback on Belle and Bob.


Character Break-downs:

Belle (protagonist)
An aspiring singer and actress, whose husband wants her to settle down. She is inherently sweet but her ambition for success trumps that and makes her selfish. She's been trained in music and theatre on scholarship, coming from a poor, but respected family in Pennsylvania. Despite the bad morals thought to be held by performers, Belle is and always behaves like a true lady.

Bob (antagonist)
A pediatrician with his own practice, Bob is as left-brained and analytical as his wife Belle is right-brained and creative. Bob comes from New York money and expects a certain level of decorum from his wife. He feels performing is beneath her. He wants Belle to stay home with him in New York and be the society wife everyone is expecting him to have.

Marjorie (confidant)
Belle's mother, Marjorie chaperones her and manages her career. Although not a business woman, she just supports her daughter in what she believes to be her calling. She was excited to see her daughter get married, but still wanted Belle to pursue her dreams.

David
A Hollywood playboy of an actor who sees all of Belle's goodness and wants her for his own. He does everything in his power to induce her into a relationship with him.

Beatsheet

1 - Belle comes offstage, where her mother and an older gentleman are waiting for her. Her mother reminds her they have a dinner party to get to and Belle tells the man she still won't marry him.

2 - Belle and her mother are at a good friend's dinner party. A young man, pediatrician, Robert, is introduced to Belle. They hit it off immediately.

3 - Belle, frustrated that she's still only a small part in the play.

4 - Belle and Robert in a sweet courtship.

5 - Bob proposes to Belle, on stipulating that she must leave the theatre. Belle promises that after this show, she'll give it up and marry him, becoming a full-time wife.

6 - Belle and Bob get married.

7 - Belle gets the lead in the play. She's a success.

8 - Hollywood comes knocking. Belle decides to go even though Bob doesn't want her to.

9 - Belle stars in a film and is introduced to the Hollywood scene, told she can't tell anyone she is married.

10 -Belle carries on her marriage to Bob over the telephone.

11 - Belle's film is a flop.

12 - Belle makes friends with David, a major movie star at the canteen.

13 - Belle gets cast in a major film with David, with his help. She plays a woman who has the opportunity to sell her family's estate (or something personal she'll have to decide on).

14 - Belle and David appear together in the gossip pages.

15 - Bob comes to Hollywood and tells Belle she must come back to New York - she won't.

16 - Bob goes back to New York. Belle is depressed.

17 - Belle realizes that her character in the film is doing the right thing, but Belle sees that in her own life, she needs to fight for what's most important to her - her marriage.

18- Belle goes to New York after she finishes the movie. She tells Bob she is willing to give up Hollywood and stay with him.

19 - The movie opens and an old woman sees her in the street with Bob and recognizes her, complimenting her on what a joy it is to watch her. Bob realizes the full potential of his wife's talents and gifts. He encourages her to pursue her career, but wants to be with her in Hollywood.

20- Bob and Belle both go back to Hollywood and Belle tells everyone about her marriage to Bob, which is well-received by the public. With Bob's help, she re-negotiates her contract. She tells Bob he can doctor their own children as a consolation prize to closing his practice.

Eureka! A Plot!

So, I've spent the past week brainstorming whether a fictional girl or an Irene Dunne bio-pic would be the best solution to the time constraint of this class and also what would be appropriate to pull from a real person's life.

I hope I've found that solution. I am thinking that a situational drama/comedy revolving around a woman trying to make it in Hollywood in the 1930s while carrying on a bi-coastal marriage simultaneously would make both an interesting plot and hearken back to Irene in an homage that doesn't really have anything else to do with her. Tonally, this film would be one in which Irene might have starred in her hey-day.

I have the treatment mostly, I just want to clean it up and I will post it (hopefully) early tomorrow.

The summary, however, is as follows:

The story centers on Isabelle ("Belle" for short, though her husband, Bob, calls her "Izzy"). She quits show-business in order to marry the love of her life, pediatrician Bob, but when Hollywood comes calling, she splits to the other side of the continent.

They carry on lengthy telephone conversations, but Bob really wants her at home with him in New York. As a star of the silver screen, Belle has to deal with an infatuated co-star, David, who threatens to break up the happy Belle/Bob marriage, and the craziness of keeping her marriage a secret by order of the studio.

In the end, Belle realizes that her marriage is more important to her than all Hollywood has to offer, but Bob selflessly gives up his practice to be with her in Hollywood, and she gives him the consolation that he can doctor their own children.

Good night and God Bless.

A Run to the Library...

Ran to the library this morning and picked up my second book: "Irene Dunne: First Lady of Hollywood" by Wes D. Gehring. This guy is a film professor, and it shows. So far Irene's life is all put into perspective of her filmwork, which is great, however I would like to know more about her character...unless her character really was the one she played on the screen, which is suggested by Gehring (or at least alluded to). Now the question is...in week 3...if I should continue on the bio-pic route or take a detour and instead write a period piece of a young starlet as suggested by my wise professor -- and merely use the setting as described by Eleanor Powell and the wisdom of life bequeathed to us by Ms. Dunne. Think, think, think...and write more.

Right now the summary of my story looks something like this:

A small town girl gets the opportunity of a life-time when she is cast in a broadway show after years of training in music. As her star rises, she finds true love and must decide whether her career or her marriage is more important to her. In the end, she realizes that as long as she makes up her mind what she wants, goes after it and is prepared to pay well for it, she just may be able to have both.*

* What she realizes is what her father told her on his death bed when Dunne was eleven.

This picture has the potential for melodrama, though I would much prefer it to be a screwball comedy...what is the likelihood I could pull that off -- fiction or bio-pic?

Reading

Yesterday, I picked up the first of my library books. "People Will Talk" by John Kobal, which is basically just a bunch of interviews with movie stars from the 30s and 40s. The section with Irene Dunne is disappointingly short, but insightful into her character. Since hers was such a quick section, I moved on to the section on Eleanor Powell, tap-dancer extraordinaire.

Her musings were much more in-depth and personal, and extremely helpful as to who was on the Hollywood scene at the time and how the studios worked. On that note, I learned this week that Irene Dunne was one of the first, if not the first person to challenge the studio contract system and was able to freelance and set her own terms in her contracts (she had to okay every director she worked with on a project). I also learned from Eleanor Powell's section that Powell got the William Morris Agency established on the West Coast (they were in New York before that).

All in all, I'm getting more of a sense of the atmosphere of New York and Hollywood in the time period, which will be immensely helpful when writing the script.

Here's to summer reading (and writing, obviously).

Cheers!

Books!

Found 3 books which I am taking out by inter-library loan :) Libraries do come in handy from time to time...

They seem like they have real-live interviews with Ms. Dunne! Words cannot express my excitement. For real.

INT. APARTMENT -- NIGHT

A 21 year old college student, ALEXANDRA, sits typing at her computer. A smile is spread across her face.

COMPUTER SCREEN: Interlibrary loan confirmations.

ALEXANDRA

Yay!

She signs off and shuts down her computer.

G'nite.

(Yes, I know there're issues with the formatting...)

Research Underway...

So far, I am finding out the overview of Ms. Dunne's life and mapping out a timeline. I am trying to get my hands on any in-depth biographies about her that I can pull specific scenes from. Other than that, I am whiling away time by watching videos of her singing in films or appearing on "What's My Line" on the very helpful YouTube. I am supposing these will help me write her character better.

Also, all this research (which I am hoping will be extensive by the end of my searches) will help me determine if the film should be about Irene Dunne the historical starlet figure, or merely a fictional character who goes through similar (but not mirror-image) instances.

Dunne inspires and intrigues me at the moment for her fame and her lack of infamy. I'm wondering how many Hollywood success stories are similar to this?

Looking forward to finding out more about her, and encourage you all to check her out in films and on YouTube (http://www.youtube.com/results?search_query=irene+dunne&search_type=&aq=f)