Everybody Sees A Giant

Something I woke up with at 4am this morning:
VFMD 2016 05 16a

Basically, I want to make this into a TV series someday. Big IF, I know. And amongst the many lofty goals of this project, one of the more fun ones is, I want to hire Peter Dinklage to play the lead of this one story called ‘Giant’. It’s a story of the future, so I had to give him a futuristic career, and I tried to imagine what being an author or a musician or a beat poet would be like in the 22nd Century, when all of this takes place. I dreamed up an idea about how pop music would basically be the five minute commercial in the midst of a solo symphonic performance artist’s larger compositions (called SymPop) to get the internet version of radio play in the last days of the hit single. I dreamed up something that would allow me to make Peter into a futuristic beat poet with radical HipOpera, based loosely on what they’re doing with the musical, Hamilton. He would be one part Spider Jerusalem, one part Ice Tea, and two parts Thomas Dolby, with tattoo sleeves and an epic goatee, and the ability to make symphonies with hip hop breaks and pop music interludes. And he would basically be plunked down in David Bowie’s 1. Outside story in the place of nathan Adler, trying to discover who murdered his mentor/muse, the beautiful and ethereal SymPop genius, Vera Linn, while completing her opus.

I’ve been trying to wrap my brains around the character arcs of each of the protagonists in The Constant Sea of Night, but only last night, while reflecting on my completed ‘Eratica (2016)’ did I have any sort of revelation about one of the protags who have been giving me some grief. Basically, I created a gay anti-hero who kills his lover on the first page. Basically, a real challenge to like him enough to continue, even though he had a perfectly good rationale. So I needed to reweave his character arc a bit, just the head canon so far, so as not to make it look like I’m saying all gay men are heartless murderers. His story is developing in the back of my head now. By the time I’m done with him, you’ll believe a good man can justify murder in a society that is as advanced and progressive but as godless and cruel as some people fear the Perfeckt Future will be. That’s Society, the story about the post-corporate world where everyone lives in a prepackaged corporate lifestyle with reality tv contracts and advertising sponsorship.

This book has a lot of juicy nuggets I’m aiming to share. I just have to get a few more things ironed out in my head. But introducing this new storyline is about a number of things, not least of which is, I want more pathos, and I want to make sure it isn’t all pretty people in an unbelievable world. Like Gattaca. Or Strange Days. Or The Minority Report. So I’ve decided to cast a dwarf. Not very PC, but then, if I write it well, and don’t harp on size, it should really be a very juicy role that might attract the artist in question without my having to work too hard at it.

Look, all I really know about this business is, write it very, very well, and give the actors something good to chew on, and maybe it will be a hit. The reset is shadow boxing.


Don't be shy. Tell me what you really think, now.


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