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I was living in a small flat in Flora on the day Tamara's father was murdered. After hanging out with Rasheed for what seemed an interminable amount of time as he kept reconsidering the crime and its perpetrator, I went back to my flat to work on the third act of a feature length screenplay I'd been working on since Dresden. I sat staring at my computer thinking about the images Rasheed took great care in describing and everything began to fall into place. Rasheed's character. The Underground. The reason for the Underground. The other people in town I could include as characters. I couldn't concentrate on finishing the screenplay at hand.
     I opened my notebook and began to vigorously record every detail I could come up with. Tapping the Source by Kem Nunn ran through my head as a way to organize the story of a kid from nowhere showing up in somewhere and being manipulated by two sides pulling in opposite directions but having a long history of connectedness. Thus was born Spencer and Edmund. And of course the love interest, Tati who is as of yet uncast.
     I was terrified at the way the story began to rain on me. I would sit and jot down notes as quickly as possible until I couldn't take any more and then I took a walk making sure I had pencil and paper. Along the way, I would remember a plot point and stop and write it down in the middle of the sidewalk like a mad man and talk to myself in full view of the world, delivering lines and praising my own brilliance.
     I said numerous times to myself it was like a gift from God. All the images I'd always loved in films and books began to occur to me in a way I could fit them in somehow to the plots of my movie. It was as true a religious experience as I've ever had. Not only could I see the film but I could see every stage. I could even see the marketing campaign and the details of the production that would provide the lore that would carry our little Prague project into the mythology that compels the hearts and minds of people like me. I walked all over Prague that night, getting lost and seeing parts of the city I'll never see again.


 
Moviepants: Adventures in Underground Cinemascopia   
Copyright©2003 Jerry Pyle
 
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