Speaking about different treatments for Red Riding Hood in class made me think about our script in another way.
I realised that it was not necessarily important to find a text that fit within our time limit and other restrictions, but instead to find a text that had something intrinsically strong within the story itself, that we could mould into our own. With a seemingly infinite number of treatments done on Red Riding Hood, it’s easy to see why so many old stories get reworked into films these days.
However, with one of the other members of my group keen to write a script, I – hesitantly – let them take the reins and oversee that side of things. In the meantime, I began to think about how much work we had ahead of us and particularly how difficult it will be to balance this with other subjects. The Schedule section of Celtx came in really handy in getting this all down in a visual way.
Once I’d got the pre-production section down, I sent off the Celtx file to the rest of my group. I think this had the desired effect of putting everything into perspective a little better. The next time we met up, everyone seemed a lot more focused and keen to get things moving forward.
Not only that, but we had a script! It reminded me of something I would have written as an angsty teenager (which wasn’t that long ago… sort of), and it was still very workable for our project: minimal characters and locations, with no exploding buildings, naked blue Gods, or any other special effects.
I suggested we condense the total number of characters from 5 to 3, to simplify things even further and then sent out an advertisement to NIDA, via a friend, to try my luck at getting some proper aspiring actors.
I’m not holding my breath for this, seeing as we have nothing to offer these actors, but warm hugs, so we’re already lining up friends that are stupid nice enough to get in front of the camera.