Category: filmmaking


This is my example of ‘over-writing’ – where a character says more than needed (when he goes on about gut bacteria). 
It’s a risky strategy, because you may create a tedious script. 
And whilst other filmmakers may disagree with my approach, I’d much rather have more material to cut away in the editing room, than be scrambling around with too little material at the end.
It’s also an example of calling-out the audience – if anyone starts falling asleep here, the protagonist is saying, ‘hey wake up, this is important, I’m talking to you’.

The snake that eats itself – the ourabus – is an ancient symbol, found in mythology across the world. 
I simply needed a dream symbol for the computer to get stuck on, that it would struggle trying to ‘solve’. 
But I had no idea at the time of first writing this – that the ourabus is THE sign of the Singularity (nor did I know anything of the concept of the Singularity, which is a moment of infinity, and now also used to describe the moment when tech growth has accelerated so fast as for change to become instant). 
The symbol literally ‘came out of the blue’ to me, which might be ‘happy-stance’, or it might be the magical power of intuition? I like to think it’s the latter, and it still gives me goose-bumps. 

It’s always nice to show-off our spectacular Table Mountain, which is completely under-represented in films.
Also important to take a break from ‘action’ and ‘talking scenes’, and show a character on their own.

T.O.M. pg 024

I suspect characters in books tend to display more angst, than in movies, which tend to be more heroic (possibly due to the power of the image, or the star). A case in point is ‘The Beach’, where for the film version, it was reported that Leonardo de Caprio refused to play the insecurity of the lead that is evident in the book version.

T.O.M. pg 021

Throwing the 2 protagonists (yes 2) together in a lift.
And trying that last-frame-a-page-turner trick again…
(E.M. Forster called ‘what happens next’ a lower form of engagement, but still a form of engagement)

Dialling up the melodrama, and setting the stage for future conflict!
(Yes, I wish I could draw a little better…)

T.O.M. pg 018

A trick I learned from Tintin, is to always try make the last frame of a page a ‘page-turner’ – i.e. keep the audience wanting to find out what happens next. I think the same applies to scriptwriting.

As we approach machine-consciousness (A.I.), surely we should get to know our own states of consciousness much better? And that means understanding dreams!

Call centre agents should be concerned about AI taking their jobs.
The Oracle Machine also phones people for answers, and indeed, Google now have their BERT AI to automatically phone people and update website info.

The conflict & drama begins…
And hey, Webcams and Remote-work issues are more topical than ever?