Scrabbling about in the dirt

Through my father I had contact with a well known ex-producer. Sent him the proposal in the hope that he might be forthcoming with some investment (as much for a name as anything) but sadly received a 'no' from his PA today. It's understandable, but every (it's actually only the second) no seems like a mortal blow.

On the plus side I have a meeting with the man from the famous band a week Monday to tie up his investment, then a meeting with another private investor - provided by our composer - who seems keen and just needs closing (I hope).

The company who helped us out on our previous short have also put us in touch with a man who heads a group of investors. Fingers crossed they will step in and cover the short fall. We're desperate to stick to our mid march shoot dates so as to provide the sales agent with enough to launch at Cannes, but I have to keep reminding myself that even if we miss that the ball is rolling and we will get there eventually, it will just delay the final release. Right now everything about an early release is good, though, from the success of Once to the writers strike.

Meeting with sales agents is postponed until Monday at 11am as they have been struck down by this sickness that is getting everyone. It lasts 48 hours, so I know I'll get it at a weekend.

Bought a book on cinematography as it had excellent things to say on camera movement and lens choice. Found myself standing next to Paul Greengrass as I bought it. Wished I'd had the gumption to give him a proposal as well. Book is veh helpful, there's something about seeing film grammar written in fornt of you that makes you think more about it, and it's really helped with my notes on the shoot style. Most of all it's helped with me not shitting myself, which I do every so often when I think about directing a feature and leaving my job.

I'm planning to make all the office (work) shots lock offs, maybe with some tracking, but only small and very deliberate. To contrast this the rehearsal scenes will be hand held and fluid, allowing the camera to track and explore much more freely. However, as the rehearsals get more serious I'll hold the camera back more until at the end when it has stopped being fun and become just another job I'll shoot them all on a lock off just the same as the earlier office scenes.

Well, this is the intention. I await Mr Eley laughing it out of the production office and me having to think of something less obvious.