Monsters of Pretension and Payrolls: So-Called Challenges with Time Travel

Slowly, steadily, Nightfall Dawning is being made. With the help of God and a few strong policemen, a workable draft will be finished by New Year’s Eve, and a finished draft arriving the second week of January. Not looking for perfection, rather strong elements that form a cohesive story. I’ve come to accept that my narrative style involves grandiose ideas and themes (what has been described as a “cinematic” voice). My greatest fear is coming off as pretentious, which is why I haven’t been giving this script everything. I don’t want it to have an over-inflated ego, but I also don’t want it to be shallow either. A few revisions between now and mid-January and I’ll probably feel fine about the script. This, unlikeTrepidation, I want to enter in national and international film festivals beyond the Machinima Expo. The question that I’m facing with this project: do we primarily create for ourselves or what will earn consideration for jury nomination placement?

That said, this project holds a lot of exciting prospects. Learning how to use a new animation platform is not one of them. I love the look of DAZ, but the learning curve is something I’m avoiding like the plague. But the final product will be worth it, I’m sure. Plus, I get to delve into the style of the 1950s. I started writing the portion of the script that takes place in 1952 last night, and I don’t know why I didn’t start sooner. It’s extremely fun and interesting to write.
(Note to self: wean yourself off of poetic language. Cordially, Evan)
Also exciting is that I’m in the process of landing space and local actors. I’ve entered Phase II of my four-step machinima master plan, which includes the interweaving of professional voice actors and local theatre actors. By Phase IV, I’ll have transitioned to almost exclusively local actors so there won’t be a huge change when I transfer from machinima to live-action film. Right now, I’m in the midst of getting audition/rehearsal and recording space for this gaggle of local talent. According to the informal calendar I have, I could have the local recording finished by the end of February.
Expect an Indiegogo campaign launching in January. I need to get pricing sorted out with these local businesses.
I’ve been thinking about the soundtrack I would license if I had a million-dollar budget for the film:
  • Lakehouse, Of Monsters and Men
  • Outro, M83
  • Daydreaming, Dark Dark Dark
  • (a score composed by Hans Zimmer and Benh Zeitlin/Dan Romer)
(Side note: it could be entirely possible to license “Daydreaming” on a budget since Dark Dark Dark is on a local indie label. I just don’t know where I’d put it in the film. It will probably slide over to my ‘I Want To License This Music In My Shorts Program In 2014’ pile.)

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