I haven’t been able to touch it for quite a few weeks now because I’m sorta stuck between a rock and a hard place (the rock in this case is production and the hard place is pre-production, for whatever that’s worth haha).
Basically, the way I’ve worked in the past is that I get the script about as good as I can manage (which I’ve done), and then I go to record the voice actors, and we sorta punch up the dialogue AS we record it. I’ll feed the lines and give emotional direction, but I tell the actors to read it however they feel comfortable/however they think the character would say it. Then I’ll suggest a slight change (maybe I want to avoid certain wordings or whatever), and we’ll just kind of keep going back and forth like that making it more solid each time. And I’M SUPER EXCITED to do this, because it’s loads of fun, and all of the most quotable things in the first one just came from goofing around in the soundbooth, so I’m very excited for these people to turn my mediocre writing into comedy gold.
And aside from that being a whole process in itself, I really can’t start animating much without the dialogue, you know? And because the delivery/lines/emotion/etc may CHANGE slightly, from the process described above, there’s not much I can do in terms of animating yet because all the animation is based off of those recordings. I can do a handful of shots that have no dialogue, but the bulk of it is dependent on it.
Anyway, to get down to it, the reason all of THAT is taking so long is because, without going into much detail, I’m bringing someone new on board for the cast and I’m still trying to work some stuff out in that regard. A lot of it is just back-and-forth and waiting on responses and junk. The next step will be finding a time to record that works for all my actors, because nowadays they’re not all sitting next to me in a classroom ready to go at the drop of a hat and the offer of a beer for their time, haha. Differently locations, different schedules, etc etc. So that’s kind of what’s up with W2H2 right now! You guys are always pretty supportive and tell me to take my time and all that, which I appreciate, so there’s no need to come reassure me of that, I just figured the least I can do is keep you guys in the loop about what’s going on and where I’m at with it!
Thanks for your support! I’m really eager to get back to working on it, so hang in there guys!
This scene is interesting to me because it’s a turning point. In this scene, these characters are essentially strangers to each other and have just reconnected. Miami is surrounded by water, it’s always present, and I felt that there needed to be a moment of spiritual transference between these two characters and this idea of a swimming lesson– of Juan teaching Little how to swim, how to sustain himself– seemed like the right place to do it. I told Mahershala, “This is a baptism, and I need you to teach him how to float. Teach him how to swim.” Alex Hibbert actually did not know how to swim. He’s learning how to swim as you’re watching the scene. And it’s beautiful, because in this moment, where I want this element of spiritual transference to occur – you watch a grown black man teach a young black boy how to swim in the middle of the Atlantic ocean.
as a teenage boy who loves boys, In a Heartbeat has me so excited!! I am just so thankful for this film and i cannot wait to see it when it comes out, major thank you @ the team behind IAH, it feels great to be represented outside of a background in my favorite thing ever (cartoons and animation) ♥️
Look, let me first say that I know how much you love James Bond. I love him too. He’s always been there for me, from rainy days at questionable movie theaters watching Die Another Day to sitting through his entire ‘70s output whenever AMC plays them around Thanksgiving. Remember For Your Eyes Only? What fun we had! The laughs, and the thrills, and oh, the weirdly uncomfortable relationships with female ice skating champions 30 years his junior. Whenever we needed a pick-me-up or a reminder of what it was like when Sean Connery and Adam West were the biggest stars in the universe, James had our backs. We won’t forget what he did. Except On Her Majesty’s Secret Service. We’ll probably forget that one numerous times.
Look at this chart, though. The tissues are in a box on the table, behind the vodka. Sony reported a loss of $719 million last year. That’s a 50 percent reduction. In layman’s terms, we need to start considering whether it’s worth keeping James around as a series anymore.
See, Sony co-financed … Please don’t cry. If you cry, I’ll cry. Sony has marketed and distributed the Bond series since Casino Royale, and co-financed Skyfall and Spectre. And while Skyfall was so successful that it was praised as the “Dark Knight of the franchise,” with Spectre, things took a turn for the worse. If you look a little bit down the sheet, you’ll see terms like “over-budget” and “behind the scenes problems,” but you don’t need the technical jargon. The point is that I want you to know that this advice is coming with the best of intentions.