'what about the ads?'

Well, I mostly was promoting the weed cause, but re: Tina I was initially intending to do that, but then after the Big Smoke I changed my mind. People are allowed to change their minds. My view re: the ads -- I attracted interest in the project, but that doesn't actually mean I have to sign any (nonexistent) deals.

That's not how entertainment law works. The Film Commission never made a formal offer, and same re: Welly Council. So either make a formal offer which involves exchanging cash for my IP, or let me do what I want, which is the 2030 musical. It is NOT supposed to be incumbent on me to remind professionals of how our business works; I'm 29 and if you shits had bothered to fund any of my previous projects, perhaps I'd be less stubborn. But instead, you insulted my brother's projects, belittled my script and came after my 2030 songs. To Steve Barr/Paddy/Don and whoever else: your daffodils ideas killed my interest in the Tina show. Fuck do I not want a lecture on how to make movies from a second-rater, and those songs are not for sale. My songs are my children, and I'm really attached to the climate change story. - $100,000 isn't enough to make me want to do it. The money isn't important; what I realised from all the bullshit notes on the Tina script was that I wasn't interested in compromising my vision for that project, and hence I shifted to prose. While I'm actually quite happy to discuss significant changes to the 2030 musical. That's the script I was really keen to get someone rich to buy. I'm willing to sell the Tina script too, but only if I'm not involved in any way. I'd take $30,000 if it was for the script sale only, and some other queen was developing it for themselves. 🧠 That seems fair, right?