Tokyo draws nearer. The work grows more every day. The fire is burning inside me now to get this production underway. Last night I scheduled my first business meeting for my trip to Japan. Which was a tremendous victory so far for us. The TIFFCOM meetings are going to be strenuous work. The companies I need to speak with, many of them are only sending their international sales team and not representatives from their production offices, which is who I really need to speak with.
There’s an interesting aspect of trying to contact people on the opposite side of the Earth. I send my emails in the day time. They respond in the day time there… which is the middle of the night here. And then I wake up and respond and continue my insomniac life with my thoughts racing on throughout the night.
With every subsequent draft of the script, it gets better and better. Ashio is shaping up to be a very special project, in more ways than one. It was pointed out to me that it was a very unconventional look on the history of the copper mine. And, I am proud of that fact. That is what makes this project special. It is unlike many films that have come before it and will be unlike many that come after it. There is a certain heart and a certain flow of energy that waves through the pages of the script that I don’t think I have ever read before in anything I have ever written. With every subsequent draft, the script grows more special.
Every character now has a complete and powerful story. There is great depth in the words unspoken between the characters, and it is there on the page. Great depth.
To be honest, I don’t know what to do next. I have been piecing together some parts to make a visual display for my presentation, but ultimately, the script just needs to be read. Sure, i can do my words justice, but it is the words themselves and the words unspoken that make this a project worth doing and worth fighting for. I have attached myself onto something that I can no longer let go of.
I am getting a little nervous about putting everything I have into this trip to make this happen… now that meetings are going to now be tougher to schedule. Not being accepted into the Tokyo Project Gathering is a hindrance but I can’t let that bring me down.
I have mentioned it before. This script truly is the work of nearly TEN YEARS of my life. The origin dates back to my early fascination with the relationship in Japanese manga Lone Wolf & Cub. There was a certain timelessness to that story that struck a chord. Perhaps it was my own visions of raising my own son that way.
As a fledgling screenwriter I penned a draft of a Lone Wolf and Cub screenplay that was essentially a mess of words sort of ripped right from the comic, only set in a western setting. It was horrible. Atrocious. I thought it was good at the time. But I had only written two things before, so what did I know?
Ten years later. It is a story completely independent of it’s roots and yet shows ghosts of reminiscence. I can’t express how wonderful the story has become and how much it has grown this last year. It has been a remarkable transformation from it’s Western roots ten years ago, to it’s complete overhaul to a TV miniseries western reminiscent of Lonesome Dove in 2007 and then back again to it’s Samurai ancestry in 2009. And now… a post-industrial examination of pollution and freedom and a grandfather’s urgency to protect the last of his line.
Perhaps the changes in the screenplay represent the changes in my life as of late. And life is good. Why wouldn’t the script follow?