To the old-timers

Well, you're all laughing at - or frightened by - my tenacity, but I think that I've been ruthlessly practical regarding my suggestions about my film career. Initially, this debate had more juice, given that people saw it as a clear choice between two screenplays and presumed that I'd simply be so eager that I'd go along with their ideas of ditching my dystopian climate change musical for another Rent ripoff. - But then I spent my summer coming up with a bunch of really good stuff, so I think that broadens the discussion. Now, it's like there's the anthology feature of short stories, Just Like Yesterday and 2030 Shipwrecked on Islands. That's a totally different equation; shorts are a much easier sell in NZ than features. - That's my view re 'Rent ripoff': in my 2030 musical, my songs are fresh. In Tina's story, they'd be boring. That's an opinion, but it's also acknowledging that I've had some success with my monologue versions of Weeded Out (including my recent versions); I think those are satisfactory as a way of explaining who I am and what my art is about. Like, take my audio recordings of Just Like Yesterday and try splicing my EP songs in, then get back to me about whether they 'fit' in that story. I really preferred the folk songs for that story; it's supposed to feel like that story was stitched together from the collective unconscious (which I used to believe in, but now I'm not so sure that it's real).