I'd like to be here blogging, but at present, I'm busy selecting, editing, and still writing material for the next issue of VIDEO WATCHDOG; it seems there is already enough material on hand for the next three issues. I'm going to go ahead and edit/prepare everything, so we can do two issues back-to-back if that's advantageous.
I've also promised to deliver tomorrow some liner notes and graphics to Digitmovies for their upcoming Bava Anthology soundtrack CD of I VAMPIRI (Roman Vlad) and CALTIKI THE IMMORTAL MONSTER (Roman Vlad and Roberto Nicolosi), which I think will be another two-disc set, and another two-disc set of Enzo Masetti's dazzling music for HERCULES and HERCULES UNCHAINED. I'm told we can all toss out those old vinyl and CD boots of the Masetti scores; Digitmovies has received original studio tapes from CAM that unearth at least 75 minutes of music per film!
In addition to all this, my next "No Zone" column for SIGHT AND SOUND is due next Friday... I have no idea what I'll be reviewing yet. It seems I don't have time to watch anything in the evenings, except that blessed half-hour of old WHAT'S MY LINE? reruns on Game Show Network at 3:30 a.m. eastern. That's our decompression time.
All of this work needs to be done and out of the way within the next two weeks, at which time it's back to work on the Bava book.
Fool that I am, with my plate already piled so high, I started working on a new screenplay last week. I had received some promising news from my screenwriting agent, and that encouraging word was enough to spark me in that direction. I've had the idea for this film for awhile now; it was just the vaguest outline, really, but once I started putting it "on paper" (so to speak), I found that my ideas were more developed than I realized; the characters sprang readily to life, themes were becoming pronounced, and I was able to knock out a pretty solid opening 10 pages in half a day. Just to sit down and produce some fiction made me feel like a complete human being for this first time this year. But this was the same sort of energy that propelled Charlie Largent and me through our initial draft of THE MAN WITH KALEIDOSCOPE EYES (then called SUNSHINE BLVD.) in less than two weeks; I know how rare that level of energy and inspiration is and I have the greatest respect for it. It's the rush I live for, as a writer. I'd love to press on with this script, because it's best to get these ideas down while they are young and vital and flowing, but I don't know where I'm going to find the time.
But I will.