For those ten days in May, Cannes really is an amazing place. It’s not just for the big players either, we may not have been doing deals in the Ritz Carlton but there’s plenty of networking to be done in almost every cafe and pavillion. Then there’s also the parties. Oh, the parties. I had no idea what to expect and was rather sceptical as to whether I’d manage to get into any but I needn’t have worried. It’s remarkably easy to move from yacht to yacht making the most of the hospitality and free champagne.

It also felt far easier to do some serious networking in Cannes than it ever has in London. Here people have usually just come from work and are already considering how they’re getting home or what they’ll have for dinner and this isn’t really that conducive to sparking up an interesting conversation. In Cannes however, the atmosphere was far more open and welcoming and you’re never short of something to spark up a conversation about.

Basically, what I’m trying to say is I MET CHUNK FROM THE GOONIES. He was amazed I recognised him as he’s now very slight and dresses like a lawyer from LA, which he is.

Apart from that, I also met with a potential executive producer. We’re waiting to hear her thoughts on the newest draft. I also met with a very experienced IT entrepreneur who is keen to get involved with film. We’ve already discussed a potential digital distribution strategy, which could prove to be very innovative. We’ve just got to get the film made first. I met numerous other film industry professionals, one of which loved the pitch but instantly wanted to discuss bringing in another director. I’m confident that Ross can make a striking and memorable film, so unfortunately I declined that offer.

As usual, the main goal is sourcing finance. It’s all hands to the pump from now until the end of the year as we investigate every possible route. It’s getting far too hot in the office now, so I’m off out to get a Calippo.

In other news…..

We’ve also been to Screen East’s low carbon workshops with a view to submitting an application to their low carbon film fund.  It’s a scheme we’d love to be involved with, given its highly commendable aspirations - reduce your film’s carbon emissions by 30%. 

The script has been getting some very positive feedback, including from The Script Connection, who described it as “exactly the sort of film that young British filmmakers should be aspiring to make”.  We held a reading with actors a couple of weeks ago, which was insightful and rather exhilirating to hear the scenes come alive. Our thanks to all involved. 

Tom L spent a weekend in Cannes (blog forthcoming), which may hopefully lead to further funding options, as well as topping up Tom’s tan. 

Ross

We’re currently exploring all avenues for ‘soft’ money, ie money we don’t have to pay back and we’ll be aiming to utilise them as much as possible.

We had a meeting a couple of weeks ago for the First Feature Development Fund at the UK Film Council and I think it went well. It was hard to tell but we’ll just have to wait and see what happens. 

Anyway, on the off chance you know of anyone who’d like to contribute financially to our wonderful burgeoning film project or you’re minted yourself and you want to help out, please email tom.linay@seventyninefilms.com for further details.

Well, hate is a strong word BUT IN THIS CASE IT IS APPROPRIATE.

I also watched In Bruges last night and I can’t get the image of Brendon Gleeson lying on the floor, having jumped off the church, out of my head. Not nice.

I find myself caught in somewhat of a dilemma as I toil with the latest rewrite of the script. Based on feedback on the previous draft we decided to make structural changes pertaining to one specific event in the narrative. Without wanting to give too much away it is a fairly key plot point that shapes an entire character and is the source of much drama in the second act. I’ve always been conscious that this particular aspect of the script could potentially stretch believability, or worse, feel like a convenient plot device. Nevertheless I persisted with it, hoping that the eventual pay-off came sufficiently late enough in the story to get away with the original event. (It’s quite hard to write this blog without actually mentioning the plot point I’m struggling with)

Anyway, I’m still no closer to solving this rather pressing issue - our film council application, investors pack and general progress toward production depends on the script being in great shape. So you could say I’m feeling the heat somewhat. The main problem is that I’m really quite fond of this particular part of the script. I think it sets up a great deal of tension, as well as feeling like the most natural way of revealing the character “twist”. Changing or removing part of the script that you love is an inevitable (but horrible) part of rewriting, that every writer must at some point face. With the current absence of a compelling alternative, I’m toying with introducing a Scooby-Doo-esque monster mystery subplot. In fact the more I think about it, a suicidal Great Dane with an eating disorder is just what this film needs to make it a sure fire Indie breakout.

On a slightly lighter note we’ve bravely entered into the world of online social networking with the creation of Misadventurers Facebookand Myspace pages. I’ve never personally set up either before as I just couldn’t see the point, other than for the odd bit of covert cyber stalking. Anyway I’m sure you can add us as buddies, friends or whatever you call it. And it will definitely take you less time that it took me to get to grips with the infuriatingly peculiar world of Facebook.