Over the next year (or two or five), on this blog I'm going to share the ups and downs of getting this feature film made. The script has already had quite a journey so we'll have to play a little catch up. For now, I'm not going to start at the beginning. I'm going to start with the flame that got it going.
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| My co-story creator, Greg Isernhagen |
We were out having a drink - as we do - and I told him the story about my talk with John Sayles' agent, who suggested that I write a romantic comedy. Greg asked me what I had in mind. But you see, I'm more of a thriller/mystery gal so I didn't have anything solid in mind. I just thought about what life gives you, or doesn't. So that was my pitch -- Well, I said, supposedly we all have a soul mate. But what if your soul mate was born in ancient China or during the Crusades? You're screwed. He casually took a sip, then added, "There's an app for that." And so, we were off and running.
It took me a while longer to nail him down to actually come up with the details of the story. Initially I wanted to do three stories in one script (why do I always have to make things harder and more epic? maybe that's for another post), but he talked me off the ledge and suggested focusing on one singular story, to be set in 1966 London. This was his dream period, when the essence of rock & roll flourished, and style and groovy attitudes were the norm. (Like a true Francophile dork, I was envisioning the French Revolution... and this is why I have friends who save me.)
We launched our story gathering and research party in January 2018 in Portland, Oregon, where we came up with a 5-page outline, a key theme, the story arc, characters, etc. I came home from that brainstorming session with a boat-load of homework and buried myself in research. I watched hundreds of hours of films (ranging from Alfie to Quadrophenia to Ready To Wear), bought and read multiple books (including White Bicycles and Mary Quant's Autobiography), and listened to hundreds of songs that were on the charts here and across the pond. I read news articles and gossip columns, and also reached out to Joe Boyd, Pink Floyd's former producer and author of White Bicycles, who was kind enough to offer some tips and personal insights on some of the characters I was throwing in.
I emerged from my cocoon in April with a draft that I sent out to Greg and a dozen others, all of whom came back with thoughts, feedback, suggestions, and corrections (shout out to my team here!). In June we had an actor table reading. Greg's feedback: Work on the transitions. I wasn't sure what this meant. Transitions between scenes? Transitions between time periods? That was all he ever said when I asked what it needed. We did talk about more distinct "fish out of water" scenes, so I wrote one in. She has an address in her hand (not the Google Map on her phone), and the wind takes it away, so she's chasing it down the street -- because of course it's the only way to find her way. But is that it? I'll never know what he meant, or what he envisioned, so there's that.
Since then, the script has gone through multiple changes, and I've added another scene -- with the generous assistance of writer/creative gal Heather Clisby -- who was lucky enough to meet Greg during his weekend visit for the table read. In my mind, she became his substitute of sorts, and she's been a helpful go-to when I'm stuck. I'm probably 12 versions in at this point and it's currently sitting with a killer script editor who is due to get it back to me before Christmas. My goal is to have this upgraded version shiny and new for 2020.
That's the beginning and the end of the genesis story of Timeless.
In a nutshell, as Austin Powers would say.
As I move forward in the process of getting support to produce this film, Greg will be here with me. I dedicate this effort to him. It is his final legacy, and his spirit will carry it to wherever it's meant to be.
Vaya con dios, my friend.
