I have adapted the opening action sequence to work as a 6 minute mini-movie. This can be a stepping stone toward the feature versions (parts 1 and 2). It’s a long book, and I know exactly where to break it in half.
I made a few decisions crossing over mediums, which some may find interesting. Firstly, language is a burden in scripts, and it needs to be cut down to the bare minimum. Most of the process is paraphrasing the crucial details into compact, more suggestive stage directions.
Next, there are threads opened up, and each one needs to be reconsidered for inclusion or exclusion. The subplot about the ghost hunters, the inserts from Ghostliest, were cut out immediately. Several reasons for this:
- More expense, casting, locations.
- Slows down the action sequence.
- Could include it in the feature version to differentiate the short from the full film.
I have an idea about using the same actress as Kaylee for the ghost huntress Jasmine, with a fire engine red wig. But to include that here would slow down the short film and play against the strength of the medium: shortness.
Another huge strength of this story is in the sound, the sound design. Kaylee is half-hypnotized by just the sound of the signal. POV and the interplay of the sounds of being hypnotized and of war breaking out, make this a very audio-heavy project. Having a strong sound component does a lot to push a film over the top. This was planned from inception.
What the short film can do is demonstrate to industry people the strengths of the concept, the raw action and overwhelming, epic scale of the catastrophe. To pull off such an intense 6-minute action film would be more than enough to demonstrate to the intended audience (film people) to investigate further.
Next, there is the subplot with Kaylee’s Mom to consider. It was not in the text during the escape, and yet it is a crucial part and heart of the story. I made a decision to include a first sighting at the climax of this short. But I didn’t end it exactly there.
The short sequence did not have a proper ending, because it’s a beginning, and that could work against it. While she does escape her brother, the world is FUBAR.
How to properly end the short film then?
I came up with something.
I’ll not post the pages, as I don’t want to aid and abet any sub-par IP thieves. Let them do their own work. I entered it in a new contest, and I’m pretty happy about the way the script turned out. It gives me confidence that the full two-part feature project could work very well, and not break the bank.