My newest piece (and first part of a series on writing) for Focal Press’s Mastering Film is live! Here’s a sneak, and be sure to follow the link to read the article in full!
I came into filmmaking and writing through composing music. Near the end of my tenure as a scribbler of notations for other people to play (come to think of it, that’s pretty much what I do now), I was working on multimedia pieces that involved scripts and carefully choreographed music pieces – which was no doubt the gateway drug to me writing and making films (and transmedia works) full time.
As a composer, I wrote my first – handwritten – draft as final, which means I agonized for weeks over a certain note. I was the living incarnation of the composer stereotype (down to the long hair, but minus the piano on the floor). As is usually the case, the pieces that I would write on a spur-of-the-moment flurry of creative “inspiration” (read: desperation) were more lively and fun than anything I agonized over. Yet I couldn’t get over that music school version of Catholic guilt – put the agony into it, feel guilty if you don’t.