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Where did you do most of your writing? And please describe in detail. At my desk in the living room of my one-bedroom flat in Edinburgh. Mostly at night as I had a 9-5 day job. I thought about the project a lot during work time too, took notes on GDrive documents or on my phone as I traveled to and from work. The thinking takes up a lot more time than the practical act of writing.
Then the script through multiple drafts – I have 28 drafts saved on my laptop still. I’d print each draft and take handwritten notes, then implement those notes in the following draft. There’s something about reading a hard copy that allows me to think in a way I can’t when reading on a screen – I’d recommend it.
It’s the moment that Buckley’s life is interrupted by outside influences. In a feature it would be the inciting incident after you have established the characters routine. In shorts screen time is even more precious and you have to jump right in and hit the ground running from the first scene.
This is not an autobiographical film; however, I’m drawing on details from my life and my experience to give texture to the story world.
As a director I’m also creating a tone that evokes memory and nostalgia. I laughed when I was writing this script, and I cried when I was writing this script. Having been fortunate enough to see the film with many audiences I know that it also connects on an emotional level with a large portion of the audience, which is the best thing I could hope for as a filmmaker.
When we were in production it felt like we were veering off on creative tangents and improvising alternative dialogue with actors. In the end it circled back to the form that the shooting script took. I don’t like to feel constrained by the script and I’m open to things changing and evolving in the moment. Sometimes though, you look back and realise that all of the work distilling and refining the script has paid off. It took so long for a reason; it’s robust.
by Karen Hugg