Filtering by Tag: script

Agalmatophilia: The Script

Once again, I’m here to talk about Agalmatophilia, the feature film I’m currently working on. This time, I’d like to write, briefly, about the script.

I think I’ve already mentioned that I started working on Agalmatophilia a few years ago. I had just graduated from college, and I thought it was time for me to work on my first feature.

At first, I wanted to write something more or less accessible to everyone, a script that I could sell, metaphorically and literally. It seemed the best thing to do because, simply, I wanted someone to produce it.

(Having a producer means that you’re free to think, exclusively, about the artistic side of the project)

I started writing a (kind of) realistic story with surreal elements: the realistic (and slightly social) side of it would be appealing to the producers I would send it to, while the surreal one would satisfy my artistic hunger. 

After several months, I had a script, and it was a terrible one. The visionary portion of the story wasn’t enough for me, and the rest of the screenplay was, simply put, shit.

It was so frustrating: I had worked so much on it! I really didn’t know what to do... I asked myself: ‘Should I write something else? Should I concentrate on a completely different project?’. 

Eventually, I decided to write the entire script again, and I’m glad I did that. The script itself couldn’t be fixed but, at the same time, there were many good ideas I had hidden under the aforementioned... shit... Probably, I felt compelled to save them from their ignoble destiny.

Surprisingly (or not), it didn’t take me too long to write what was basically a new script. I was so frustrated by the previous one that I decided to think exclusively about the artistic side of the new one, which was, after all, the only thing I really cared about.

Now, I’ve never been very good at creating sellable works of art, although I would love the situation to be different. Commercial doesn’t necessarily mean bad (although I have to say that it’s particularly easy to find terrible art that sells well...), and some of my favourite artists were/are very good at creating successful books/albums/films (think of Fellini’s La Dolce Vita and David Lynch’s Twin Peaks!). But... What can I do? As an artist, I feel my main goal is to absorb the reality that surrounds me and show the others what can’t, normally, be seen. I’ve trained my eyes, my ears, my nose, my tongue, my skin and, in general, my mind for years in order to do that, and I keep doing it. I can’t write down a story only because it’s beautiful: my inspiration would do anything to destroy it because it’s not true (one day I’ll write about this: works of art that are as beautiful as they are untrue). That’s what happened with the first draft of the script!

When I finished Agalmatophilia, I started to think about the actual production of the film. I realised that I had just written something that, probably, nobody would be willing to produce.

Next week, I’ll write about this.

 

Thanks for reading!

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Random Thoughts On Introducing Lilith #02

If you’re asking yourself why I’m writing a series of posts on a pretty simple 2-minute short film, well, that’s easy: it’s part of a much more complex world I’m currently working on. I’m basically getting ready to introduce it.

Let’s talk about the script.  

The screenplay of Introducing Lilith is, simply put, an excerpt from a much bigger piece of writing, Agalmatophilia. It used to be, actually: Agalmatophilia is now something different, and what happens in the short film is not there anymore.

As I already wrote in the last post, Introducing Lilith was supposed to be a sort of promo, an introduction to the feature film I want (I need... I have...) to make. When I changed the main script, I was a bit afraid I wouldn’t be able to use Introducing Lilith anymore, and the problem wasn’t the fact that the scene had changed... The problem was that the character itself had changed!

Lilith, the Lilith of the short film, is someone who, in a certain way, rules the visionary world she is part of. She’s not afraid of it because she knows it. That’s not the case anymore, but it’s too early to talk about that. 

I decided to release Introducing Lilith anyway. Why? Because I thought it would be interesting to show two different versions of the same character. In a way, it’s like exposing one of the most hidden sides (secrets?) of storytelling.

Yeah, well, actually...  I thought it would be interesting to show FIVE different versions of the character: we’re going to see (at least) four different people called Lilith in the feature film, so...

I’m a storyteller, and I tell the others what I see/hear/feel in general. If I see three, four, five, six different characters who are supposed to be the same person, I’m not going to choose only one. How could I? It wouldn’t be the truth. And why should I? My film wouldn’t be produced by a film production company anyway.

(A message from the deepest part of my heart: fuck the screenwriting rules)

 

Thanks for reading! 

 

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