Sunday, November 28, 2004


All kinds of things have been happening. And I haven't updated at all. Because all kinds of things have been happening.

First things first: New York city is my new favourite place (until the next one). It's cool as fuck, huge, massive, doesn't look real, and just makes you stare at it, gobsmacked. The people are great, really friendly and helpful - I knew they wouldn't be the stereotypical nasty New Yoikers we see in movies, but I was surprised at how incredibly nice they all were. The buildings look like CGI after the first few floors, even the cars seem slightly oversized, maybe 115%, just enough to make you stare. And the food - sweet jesus, the food. Enormous portions, anything you want, in any combination. And if you want, you can have anything at all delivered to you, 24 hours a day - rack of lamb, lake sturgeon omelette (I'm not making that up), or roast turkey. I achieved my childhood dream of going to the top of the Empire State Building, saw Central Park, went on the Staten Island Ferry, saw the big library, and we just walked and walked and walked, drinking the whole place in. I can't wait to go back.

P45: Had a meeting with the film people at 2.30pm on Sunday 14th - and I'd just landed that morning at 7am. It's my fault, I thought we got back Saturday night, and didn't realise until it was too late to rearrange. I stayed awake, and started the rewrite immediately. Well, almost immediately. The next day. After a lot of sleep. I've got two weeks to do this first revision, then we have the readthrough next week, then I polish dialogue for another two weeks, then hopefully they'll swing into action with the pre-production, and I can stop being the Man Who Writes P45 Over and Over. The actors they're talking about for the various parts are a bit of a surprise, I hadn't really thought that my silly, made up characters would be played by proper actors. I'm excited and amazed that they consider the parts worthy of offering to these people.

Harvest: the pitch thing went great, and they're going to commission a first draft from me, subject to contract. I wasn't going to put this here, as I'm paranoid that by saying it, I'll scupper the whole thing by tempting fate. But fuck it, let's live dangerously. When the contract is signed, I'll say who the film company are, though you can probably guess. Anyway, they want a draft out of me, and revisions, but they understandably want to pay bugger all, seeing as I'm nobody right now, in case I hand them over a pile of badly written arse. "Bugger all" in the film business meaning "fuckloads" to mere mortals like me, of course. So the relevant people are fighting over the contract now, I just have to wait and see what happens. But it's Very Good News.

John the Producer with the Book Adaptation Thing: He's found a financier in Germany, so he and my agent (ponce, I'm such a ponce for saying that, even now I feel like a ponce) are batting contracts back and forth. The financier wants to meet me to make sure I'm not some nutter, then hopefully he'll pay for a first draft and a set of revisions. Once that's done, they'll either kick me off and hire a proper writer, or pay for another rewrite, then try and get it fully financed to make it. It's happening outside the whole studio system, so it's less money (also because I'm adapting the book, and it's not my original idea), but that means more creative control for us.

Now that I write this all out, I've just realised how ridiculously exciting it all is. And you know what else? I've got a fucking pizza coming to the house in a few minutes. Mushroom and pineapple - beat that.

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