In Drafting Part 2, out heroes were in a state of turmoil and the entire project in jeopardy. Tyler and I were finding ourselves unable to find common ground on the script for the film we had not only committed to doing and financing, but which we were actively in pre-production on.
At this point, things were dire. Tyler hated the 2nd draft that I had let him preview, and I hated some of the approaches he wanted to take with the script. No matter how much we talked, we could not come to agreement on what to do, and part of the problem was that neither of us (even me, the writer) felt connected to our protagonists.
To top things off, we had worries about our lead actor, our younger brother Stephan, on a number of fronts. First of all, he did not appear to be following the order by Tyler to all of us to get into better shape for this effort (see Director’s Journal #5). This was an action/horror film which many of us would be acting in, not to mention all of the walking and equipment lugging through actual woods that we would do a crew members. And as our lead, he would most likely be bear the brunt of that physicality. Days and hours of running in the woods would be no easy task, and was the kind of thing that can’t be added in Post. Secondly, he was tasked with working on one of our many horrory props, involving a coyote, and had not made the progress we had been expecting with it (see Director’s Journal #4). Needless to say, we were both understandably frustrated and concerned with the level of motivation that was being presented, and we weren’t certain how to deal with it. Hints and suggestions didn’t seem to be sticking.
At some point, Tyler made a suggestion that changed everything: what if we changed one of leads, made him a kid? That sounded nuts for a non-comedic horror film, but I was intrigued. We began to toss that idea back and forth, each of us adding to it, expanding it and what it could mean. The more we talked, the more this idea made sense. It eliminated the TV show crew angle and took the steam out of the documentary, script-less style idea. It also grounded the story in this sympathetic kid, who became the emotional core of the all the protagonist, a different, new, and familiar voice in this “special world” of Bigfoot hunting. Entire character’s stories and motivations changed, and had more clarity.
It was the strangest thing, but this single idea completely changed and saved the entire film.
I mentioned in Drafting Part 1 that we “fired” our lead actor. That’s not entirely accurate. More specifically, we demoted Stephan from lead to supporting character, as his character changed to accommodate the new, angsty teen character of Danny. His character became a merging of two characters, which some background changes, the dropping of some of the dumber elements (like to TV show angle). Admittedly, the initial rewrite of his character had it chopped down quite a bit, after some discussion with Tyler and particularly after our initial read-through with the cast, his character became our director’s favorite and soon found me expanding it a much more robust, second lead. Stephan’s renewed dedication and focus on the acting was a big help, as he was willing to do whatever it took to play this new version of his character and make it his.
The other thing that I have to mention that I feel had a significant impact on the third and fourth drafts of the film, specifically with the tone: I saw JJ Abrams‘ Star Trek. I won’t go into my love of Star Trek as a whole, but I will say that this film reminded me of what drew me to making films to begin with. It was everything I want in a summer movie blockbuster: action, humor, drama, excitement, and over-the-top spectacle, reminiscent of the days of the Star Wars and Indiana Jones films I looked forward to seeing dozens of times each over my summer vacations as a kid. I saw Star Trek about 8 times, and wrote the 3rd draft to the Michael Giacchino score. This was the type of Bigfoot movie we were making: an exciting, suspenseful, scary, and fun journey into the unknown with characters that we care about. This is what the Tyler’s grim, Bigfoot-less script, and my first and second drafts were missing.
When gave the third draft over to Tyler, I was no longer worried about anything. This draft was IT, the film we wanted to make. Tyler loved it. I loved it. It was everything we wanted in a Bigfoot movie. And everyone else agreed. The read-through with the entire cast was magical. Everything began to move full-speed ahead, and would not be stopped. Slowed at times, perhaps, but not stopped.
The fourth draft consisted mostly of re-writes to gear things more specifically towards the actors we had cast and to add in some new, exciting set pieces we had encountered on our primary shooting location in Lebanon, OH that were too good to pass up on. After all, how often does one find themselves with access to an actual rope bridge?
So, that is the exciting tale of how we started on a Bigfoot movie, only to almost be uninspired and stopped in our tracks by that very same idea. The importance of getting to the right place with story and character can’t be overlooked. Well, it can, but the resulting film will be less than.
In my next post, I will talk about the other character that I, as the writer, needed to get into the head of and connect with: our antagonist, Grassman (aka, the Ohio Bigfoot).