I have countless assets and skills that will help me produce Tuesday — it’s just a matter of remembering them and connecting the dots.
Reading through the first 15 pages of my script this afternoon, I saw many special effects and locations that, theoretically, could be tricky on a low-budget film.
But then I remembered that the incredible people with whom I’m making this movie will far outweigh my lack of a studio-level budget. Most of my creative collaborators were trained in off-off-off-Broadway theatre, so we will be able to make magic on whatever budget we have. This is deeply reassuring!
Last week, my friend T. offered to read my script and create a budget, while I do the same, so that we can compare notes at the end. I’m thrilled to have her on board, as she’s a sharp producer whose annual poetry event just celebrated its 6th year.
Today I pulled out my crayons and highlighters and started breaking down my script. I realized (with relief) that I’ve done this before. In college, I took a production management class with the excellent Michael Moody (who was then PM for Manhattan Theatre Club); he had us line a Terrence McNally script for budgeting a production.
I intended to read 3 chapters of this slim book today, but I ended up reading the whole thing in one go. I’m reading lots of filmmaking books. Instead of taking extensive notes, I’m writing down questions that that come up that apply directly to my movie. My questions for this book:
- Do I know someone who could act as location manager? OR Can I substitute negotiable/simpler locations for any potentially difficult locations?
- Can I organize my locations in “clumps”, then find a “home base” for each clump?
- Might B. be willing to be my devil’s advocate, someone with whom I can talk and who will point out possible pitfalls that I can plan for?
I started this blog as promotion for my movie, but today I realized that I can make this space transparent and honest as I work towards production.
When I tell people that I’m self-producing Tuesday, it’s tempting to pretend that I know everything. But that’s not true. It’s awfully lonely to try and run this thing by myself. So I’ll check in here with updates on my progress: who I’m talking to, what I’m reading, and my next steps.
First things first — I’m deeply grateful to the filmmakers so far who have generously shared their time and thoughts with me. Thank you all for being so smart, collaborative, and open with your experience!
Maya, a 23-year-old woman just out of college, watches the World Trade Center collapse from her Brooklyn window. With her city in chaos, she struggles to keep her life together, including her five-year relationship with her boyfriend Neil and her lackluster job.
As she becomes disillusioned by the life choices she’s made, she grows closer to her roommate, Gabriel, an old high school friend. When he moves away unexpectedly, Maya discovers that she has to let her life fall apart in order to start rebuilding.
“ Sept. 11 has shaped our political discourse and even infiltrated our popular culture…we need something more from our film artists than another thrill ride and an emotional pummeling. “United 93” inspires pity and terror, no doubt. But catharsis? I’m still waiting for that.
— from MANOHLA DARGIS’ New York Times review of “United 93” (April 28, 2006)
After watching the World Trade Center collapse from her Brooklyn window, a young woman struggles to hold her life together, only to find that it needs to fall apart.
