It's never really over

Just when I'm trying to concentrate on the third draft, the Sofia film festival gets in touch to say they want to screen home. Only we gave them a DVD with some changes (less music and one shot cut shorter), so now I have to find a beta edit suite and make changes to the beta copy I have that I'm going to send them. It's a diversion, but I'm not complaining.

Well, OK, I will complain a bit, because I finally got round to seeing Andrea Arnold's film Wasp on filmfour last night, and thought it was fantastic, and then spent hours wondering what Home would have been like if we'd shot it in the same style as Wasp.

Gave up wondering in the end. Came to the ocnclusion that you have to stick with what you know, and locked off shots are what I know, not hand held faux verite. So that's settled it then. Except, I wonder what Home would have been like had I shot it hand held like Wasp? What would One, two, three, four be like if we shot it really hand held? How much would it change the characters and the situations (Answer: shit loads)? In the end come to the conclusion that there's no point trying to copy someone else's style. Use different stylistic elements within a film to show varied emotions / pace, but know what your style and look is first of all. Like Tom Waits said, he makes records because he can't find the ones he wants in the record store, so what's the point in merely aping someone else's style, they've already done it.

I may have used that Waits quote before here, but I'm buggered if I'm going to read through all this rubbish to check. I've got far more important things to worry about, like what would Home have looked like if I'd shot it like wasp?