Deadlines and a newfound muse

I made it to the third and last step in the admission for the scriptwriting course for next year. It's an interview on the third of June.

Meanwhile, we're getting closer to the deadline for our short film "Vargens timma" and we've got a lot to do yet before it's even closed to finished, so I'm guessing we'll be working around the clock for the rest of the week. Although I have a couple of other things that I need to do as well, for one I still need to find a job. Also, I want to apply for a summer course in norm-criticizing theater performance at the theater school, and that deadline is the first of June. I have the interview that I mentioned. I need to work out a solution to my short/novella script and to do that I need to visit a funeral company and do some research.

Plus, I just had an idea for a really short short film that I need to write down as soon as possible so that I can get some feedback from my teachers before this course is over - I think this will be a perfect project to start with, because it's simple and short, it's got two characters and it's just one scene - I need to make a few shorter film projects that are cheap to get done, that I can show when I apply for funding for my larger projects down the line. And I usually have a really hard time thinking of shorter story ideas, all my ideas tend to involve complicated relationships and long character developments and stretch out to feature length, so I was really surprised when this idea came to me, practically finished, just like that, from a clear sky. It was like I'd been struck by a bolt of inspiration from a muse, and that never happens to me, ever! 

Right now, I'm waiting for Anja to get to school so that we can start working. She's already found one job and has been working three hours in the morning every day this week and I've been doing other stuff, and then we've worked on the short film in the afternoon and into the evening. And today she had a meeting as well, so it's going to be a late night tonight. But that's the business we're getting into and I'm not complaining! At least I'm not starving anymore!

Jam jars!

Growing out of my skin. The future is a kaleidoscope of confusing thoughts and maybe-options. Dreams. Realities. Not really terrifying, at least not today. Possibilities. Hope. Self-confidence.

I just compiled an application package for scriptwriting course on distance (is that what you call it, I don't think so... I don't know what you call it. But you work from home, you don't go to a school every day, you only meet up about three times per term, the rest of the time you keep in contact with mentors and course mates via internet and work on your own projects and give each other feedback. I thought that would be a great option, because then you can work at the same time and earn your rent, plus work on your film projects on the side as well, if you have time.) and mailed it. I also mailed a letter to Mexico.

In a bit, Anja and I are meeting up with a photographer we hope will want to shoot our short. After that we have a script meeting with out teacher Maria. After that we're going to look at a flat we'll hopefully be allowed to shoot in.

The date of our first day of filming is getting closer. Both Anja and I are rather stressed out. But we also had a meeting with the photo professor at the school yesterday and told him about the script and what we wanted to do (show the world as the main character sees it when she's experiencing anxiety with distorted perspective, tunnel vision, shadows moving around her, and then as it gets really bad, we want to embody Anxiety itself as this shadow creature watching her from the background and slowly moving closer to her) and he gave us loads of inspiring and creative tips and ideas, like us, he's all for old school tricks as opposed to the newest, most expensive technique, and that was a relief to hear. For example, instead of a 35 mm adapter and different lenses to achieve these effects like distorted perception of the room, he said he used film through different see-through objects like jam jars and the glass part of a paraffin lamp. And he also said that he filmed in a studio once and they literally made the room bigger and smaller by moving the walls, and said that would be a really effective way to make the walls close in on the character... but we're filming on location, so the walls are immovable, but then I thought of a way to achieve that same effect, if you go in for closer shots so that you don't see the whole rooms or more than one wall, you can move a piece of furniture closer, or move the actor (that would be me...) closer to the wall! So yes, we're stressed out, but we're also really excited now, thanks to the inspiration of this teacher! Old school tricks seem to be one.) more effective and creative, and two.) way more fun!

Well, I should get going. Just wanted to check in.
Peace, love and respect