final boss fight Location Found!

Looking around in NYC/Husdon river more and finally found what I was looking for. Governor's Island. Not only that, the Governer's Island National Landmark is a pentagram. Looks like we have the location of the final fight

final boss fights

So in planning out my final fight between Jerome and Braden I was struggling to find a location for it that hasn't been used to death, stuff like the empire state building or central park is out, it's just too clichéd. I am looking at a couple of older historical buildings or churches. I have been toying with the idea of having it take place at some cathedral that was built over a pagan site or native american site. Unfortunately Seeing how this is set in NYC and not Europe finding a church built on a pagan sites is difficult to say the least. I have also been looking at street layouts seeing if I can find a pentagram hidden in them anywhere. No luck so far. In planning out the final battle I have tried planning it out based on different theories of how NYC will be destroyed. First, there is Jerome using the energy siphoned off Merlin's shade and start something like a shock-wave from the urban center of NYC/Manhattan and the destruction spreads from there. That would be an interesting dynamic as it would force the circus performers into the city. The other theory I was toying with was trying to find an element that somehow connects the city, and i came up with water, since plumbing connects everything. Following that theory I looked at different points with lots of water and have came up with a couple of possibilities, mainly different bridges, and one that kept coming up because it's right on the mouth of the Hudson River, Coney Island. I am not sure I can bring myself to set a final magical battle at Coney Island however. So, yeah, that's the latest dilemma with the script

Thoughts on Time Travel (unrelated to script)

Recently I have seen several shows and stories that deal with time travel, and being the over-analytical person I am I have thought of a potential flaw shared by just about every theory ever depicted in literature, movies, shows, etc. That is a person's relative position while time traveling. In a lot of shows and movies when you see time travel you see a person's world changing around them while they are staying static. This implies that when in a time machine or using a time-traveling device, you move freely back and fourth throughout the fourth dimension while not affected by stuff going on outside of your little bubble. If that is so, how does the time traveler end up in the same geographical spot as when they began. If they are moving freely throughout the 4th dimension from a singular location then everything should continue moving around them, including the earth rotating, not to mention around the sun at thousands of miles per second and that around the center of the galaxy and so on and so in. Even just one second in time travel should potentially displace a person miles away from where they started. If you jumped for a continued amount of time you you be displaced off the earth and into empty space. That is unless somehow you still have inertia while time traveling (in which case you would still be displaced because your movement would be in a strait line if you were no longer acted on by outside forces). So the only way you could theoretically survive time travel is if while traveling freely in the fourth dimension you were still acted upon by the physical forces that drive the universe. Otherwise when you re-appear it would be in empty space and you would instantly die. So, yeah, that's it for my time travel musings.

rules for magic

In writing out the first half of my second act one of the things that is going on is Braden is learning more about magic. It's all well and good to have mages and wizards and witches chanting in weird languages and casting firebolts and such, but when a pupil like Braden is being taught there needs to be some kind of philosophy or rules that actually govern magic that they (and by extension the audience), can learn. I am a huge fantasy literature fan and have learned several models for magic from various series. I have also started learning the philosophies behind wiccan/pagan beliefs on how spells and magic work. It is very interesting as paganism deals with two alternate world, the physical and spiritual, with most magical energy coming from the spiritual realm and being channeled into the physical. This concept worked very well with my idea of how with the rise of the modern world magical forces and energy became weaker. In Tolkien's writings, something similar happens when the race of man tries to invade the undying lands where the elves and gods live, and the gods then seperate the spheres of the world (it's a really complicated mythology). Anywho, i was toying with the concept of something similar happening where magic was set up so that in the old days, the magical realm and physical realm were one, but as man advanced and removed itself from nature so to did the 2 realms seperate. This then brought symbols such as the pentagram into my script and the use of magic as one interpretation of the pentagram is that 5 points represent the 5 visible planets. I thought the planets and starts could be a cool link between the two realms and so pentagrams would serve as a way to access magical energies.

So as you can guess this is getting really convoluted and out of hand, and impossible to describe in my script. So i am now exploring a revised idea of the rules of magic that is similar but different. Now, there is the philosophy that everything living has an aura of energy and that energy flows in and around it. As the modern world came to be, nature was destroyed and thus less energy. There is still a spiritual realm with spirits and imps and demons to allow for the exhistence of merlin, who is half demon (fathered by an incubus). this opens the way for Braden to have special powers as a descendent of merlin and having demon blood he is able to access the power of the spirit realm as well as the physical realm. pentagrams are still important symbols for harnessing energy as they allow for a concentration on the 5 elements (earth, wind, fire, water, and spirit), but it also allows for higher level mages to be able to spell cast without relying on a pentagram or circle as they can just channel the energy around them. (I am also much more comfortable with this philosophy of magic because it is much closer to the philosophy of projecting ki, which is the basis of aikido, the martial art I practice). So yeah, that is the new system of magic I am incorporating into my script. We will see how it goes.

The weeks went to hell in a hand basket

So it's been a little while since i posted. As the title suggests things have been less than ideal lately, in fact they have been pretty f***ed up. There are both good and bad things, but mainly there is a lot of it, just busy as hell. My senior project is still struggling with fundraising, but location talks and scouting has been very successful and I am in the process of negotiating with several places. I am also realizing how much work goes into a project of this magnitude and keep having new tasks added to my plate every day. At the moment I am looking for a professional make-up artist, and a bunch of visual effects support. I am also trying to wrap my head around the PA film tax credit to get a little bit of my money back.

In the not so good news front,  this has been a very stressful week in relation to suicide. I was the head camera op and technician for the philly It Gets Better project, a video campaign to help prevent LGBT youth suicides, so it was a pretty hard hit to take when I learned that both a close friend and also a close family member are currently suicidal and have both been hospitalized in the past 2 weeks for either an attempt or severe depression and seriously considering an attempt. I have been basically counseling my friend and trying to keep him from going over the edge again, and my family member is now on medication and mellowing out, so at least one of them is in the clear. Several months ago I lost a good friend from highschool to suicide, so to learn that I have several more people I am close to considering it has been a very big emotional toll. Nothing much more I can do about it but keep reminding them both that they are wanted and loved and that nothing is worth that in the end.

So onto the screenwriting workshop project. My first act that i turned in was very rough, but it at least laid the groundwork and I know what i want to change and where to take it to keep advancing. For the second act up to the midpoint, here is a basic outline for what is going to happen. Braden is going to go looking for his grandfather, which will lead him to the rougher side of the magical underworld. Unprepared, he is quickly cornered and in over his head until the Ringleader from the circus, Victor, finds and rescues him. He takes him back to the circus and promises to aid him in his search for his grandfather and also takes him on as his apprentice. Braden learns more magic and also increases in strength and ability (now that he has been removed from his "parents" and is now longer being regularly drained of his innate powers). The circus is goign to be welcoming vastly different from his home life, and bascially will be the first time Braden seems to "fit" anywhere. The searches for his grandfather will be unsuccessful, and as Braden gets acclimated to his new home surroundings he begins to lose his sense of ugency to find his missing grandfather, up until the midpoint where Braden becomes accepted into the circus by having his first preformance with the group.

One of the things I am having difficulty with is thinking of creative characters at the circus he can interact with, so if anyone has suggestions let me know.

Notes on my first act

Well, my first act is written. it's not nearly at the point of development I would like, but it's on the page so at least I have something to work with. Now that it is all written down there are some things I know I will have to go back and change/insert/improve. First, while I like how Jerome, the grandfather/teacher of the main character, can be abrasive at times towards him I need to make him more endearing and make him be the one person Braden really cares about to motivate his wanting to go out and find him more after Braden discovers the workshop in shambles. I also need to make his reaction to finding the workshop more intense. I need to research circus acts more so I can do a better job of describing the one Braden sneaks out and discovers. I also need to work with the transition of Braden being chosen and "discovered" by the circus for his magical abilities to when he goes back to regular life and finds the workshop in shambles.

What works and what doesn't

So some ideas in the outline work better than others when actually put onto the page. The one I am wrestling with now is the issue of Braden's (the main character) "parents." In the story his parents are actually a low level succubus and incubus that the antagonist, Jerome, is controlling and using to keep Braden's powers in check to easily control him. Succubi and Incubi are minor demons that feed off the energy of the opposite gender, usually through seducing their victims and draining their energy and life while sleeping together. So basically they are sex demons. In my script they are leaching off Braden's energy just by being in close proximity to him. Since they are demonic entities forced to do this against their will I have is written in that they have little emotional attachment to Braden and spend most of their time satisfying their lusts with each other (thus making them neglectful parents). It sounded like a great idea on paper when I outlined everything, but now that I am getting into the meat of the first act it's just coming across as very awkward and doesn't fit with the rest of the tone of the script. My script is a fantasy/adventure and on the darker side of writing, but the parents constantly doing it just seems out of place and way over the top, so I need to figure out a different way to present thier neglectfulness of their charge.