What's Next

All we have left once the score is done is color correction, a lot of voice over work, and the sound mix. This will probably be done in the few months after the holidays. Then the business end kicks in. Which I know nothing about and am even less interested in.

And I can afford to be disinterested because BL has capable producers to see it through. From what I understand, the goal is to get it ready for next year's festival screenings and we have found us a champion in this area to help us do just that. He's been described to me as "plugged in." Which I guess is better than "plugged up."

When necessary, BL gets my full attention, but for all practical purposes I moved on after the positive test screening a couple months ago and the edit tweak that followed. It is what it is and the joy was creating it and working with the people who made that possible. What happens next isn't up to me and I can do little to help once the creative area is complete. So, I will hope for the best and wish it luck as it enters the world.

The Score

Our composer, James Covell, has composed a lovely theme for the film and most of reel one -- the first 20 minutes -- is scored. Watching the picture with score composed specifically for each scene caught me off guard as to how much it improves those scenes. Scenes I've long since tired of affect me again. And some scenes that I thought flopped suddenly have some life.

We had a temp score for the screenings that in spots I either liked very much or just happened to be the best we could find. But I had no idea it was so lacking until now. That doesn't mean the temp score was bad -- but it's not set to the mood and texture of each scene. This music is and the difference is striking.

There's no way to tell if the score will have as transformative effect on the entire film as it's had on particular scenes, but after long since tiring of watching the movie, I'll actually look forward to a screening after the score's done.