As we say in Nebraska, the Assistant Director and Chief Writer had a cow because he thought I wanted to do a remake of Rear Window. Ay yi yi. No worries, as we had a great story conference and shoot planning meeting. No, no, no AD Christopher: the man beats up his wife in the first scenes of the first act and it happens before all the stuff we've already shot and it's what incites the whole rest of the story. It's going to be great, he and are agreed, and even though we never hear a word of what's going on in the condo across the alley, Chris will be writing real scenes for the lady lawyer and her husband with great dialogue so that the scenes will give the actors a lot to work with. And in fact, we are making the lady lawyer and her husband instead dancers or actors who use their front room as a studio, and they are working on a wife-killing scene - not having one.

As we say in Nebraska, the Assistant Director and Chief Writer had a cow because he thought I wanted to do a remake of Rear Window. Ay yi yi. No worries, as we had a great story conference and shoot planning meeting. No, no, no AD Christopher: the man beats up his wife in the first scenes of the first act and it happens before all the stuff we've already shot and it's what incites the whole rest of the story. It's going to be great, he and are agreed, and even though we never hear a word of what's going on in the condo across the alley, Chris will be writing real scenes for the lady lawyer and her husband with great dialogue so that the scenes will give the actors a lot to work with. And in fact, we are making the lady lawyer and her husband instead dancers or actors who use their front room as a studio, and they are working on a wife-killing scene - not having one.

Because, you see, it doesn't even matter to our story what the neighbors are actually doing in their front room, so much as Keskarel's reaction to it, and what action and motivation that incites her to. As Chris writes "the crux of the story—V and K build a friendship." I don't believe in flashbacks because one of my dramatic writing teachers made flashbacks sound as bad as going to work with your hair in pink rollers. But I had to concede that after the audience learns Keskarel has just left a marriage after only six months, and she has a devastating reaction to watching the lawyer and her husband almost kill each other through their window, we may indeed need to show that scene to take us to the plot point of the Videographer finally understanding exactly who and why Keskarel is. Both are lonely and have never had any sort of real friends, together we can examine their past to show their neurotic behavior throughout the film. As Chris outlines the primary characters: "V missed everything growing up by inches, true love, friendship, job prospects and she is determined to catch everything in her later life, thus the camera." And poor K just misses everything because she is frightened of the world." One of the scenes probably to be directed by Chris is one in which Keskarel convinces the antisocial Videographer over to see just what's going on in the neighbors' front room.

And I think Chris is dead on about this: "It would be great to have an awkward scene at the end of the movie where V and K see the neighbors in person. We can use the characters' development as a back drop to change. The lawyer’s (actor's) story will be sensational enough to where we can have a basic story about our characters' isolation and their longing for human contact."

We're shooting scenes to establish Keskarel as POV Numero Uno next week. And we're hoping for the beginning of March to shoot the actors'/lawyer's scenes in LA at my gorgeous friend Sapna Gandhi's house, with my amazingly talented little brother-in-law Steven Lewis playing the actor's/lawyer's husband.