update

Well, I asked if Ethan was writing any skits atm, and he isn't. I very much doubt that I could do the anthology film solo - people have tried that before, and even popular, likeable Wellingtonians found that difficult. - To be honest, that's probably why my focus has been mostly on my music and animations; while it's nice to dream of real musicians playing my Shipwrecked score, it's not critically important... synths are part of the soundworld I hear when I think of that film. Definitely planning to finish that script after the election. The book isn't as important to me, though it's somewhat important... I'm really hoping everyone shuts up about recitals or concerts after September. I'm not temperamentally suited to the full-time virtuoso thing, nor to lots of things. It was lots of fun to play guitar in a new city, but there's no money in that, and I genuinely dislike performing -- contrary to the whole pumping nylon ethos, I think that working out on my guitar turns me into a shitty person. - That Bill Evans documentary is probably why I took a step back from the virtuosic side of my guitar. My trust money is in Mum's account, I think, but it hasn't arrived in my account yet. I'm really not all that passionate about fiction movies atm. I'm enjoying the ripped-from- the-headlines elements of my climate change musical, but I'm very upset that it was the other script about my life that people were offended by. - Me vs. Wellington is a chapter of my life I'd rather forget, though I'm sure it probably seemed more epic from the outside than it was from my POV... it's all a blur for me. This is probably a key reason I want to move: in Wellington, I feel inhibited when walking the streets and unable to fully be myself (ie singing tunes, rhythm games I play with myself etc.), which is very much why I'm saying no to faking like I'm a bloke for people who literally complained to the cops and called me names behind my back. - While in Auckland, I felt fantastic and much more able to stretch out. The griminess and noisiness of K Road was ideal for me; I gather that my sound projected really well, and was audible down the road. People who compared Portrait of a Knight to The Room aren't welcome in my life, and their advice has been a source of major irritation. I feel like the elite arts people in this town mostly hate me, and RP. My sense is that people think 'oh, now that you're away from your brother, you'll come to your senses and write more like us, because we think you suck and your dialogue sucks (but we love your music)' I'm fairly certain my ear for dialogue is really strong, and that's why there's so much cleverly used colloquial NZ English in my scripts and stories, despite barely using them when I speak on the tape. I'm much more refined than AM. People who were unable to connect with me shouldn't bitch and moan about scripts that weren't about them. However, I'm more than willing to hear the pollies out about whether the 2030 script is defamatory -- I think it's obvious that Jo isn't Chloe, though she's modelled off her, and generally it's well within the rules for fictionalising public figures. - .. this attitude is why even a significant amount of money isn't enough for me to pretend like these fake friends are real. I've been really annoyed by the theatre people insisting that I work with them, which is why I've stonewalled and deliberately pulled the fingers to NZ Opera. My attitude to concert performances is: 'no, I'm not interested, but here's a list of singers and guitar players that I'd love you to sort out to perform my music.' It's not my medium -- I'm a streets/pubs/churches sort-of performer, and I think the events where that type of muso plays with an orchestra suck. I compose legit music, and if I wanted to cross over with an orchestra and my pop songs, I'd do a studio record.