LEYKARUNAIN (TEARS IN BLOOD) which I wrote last year as a directing vehicle for top director FATTHAAH is moving forward. He is scheduling to begin principal photography on either mid or late January next year. That’s like less than two months away.
Currently, FATTHAAH is busy working with his music director on composing the five songs included in the film. He also reports that he is working closely with the lyricist as well on writing the lyrics especially the theme song which progresses the film rapidly and is a major turning point of the story. The way he has described the lyrics and his visuals, I feel that FATTHAAH is more than ready to direct what he does best, romantic-dramas. But consider this movie a tragic-romantic-drama. I have no doubt that he can handle the romantic-drama part with his eyes closed. I’m more interested on seeing how he translates the tragic part to screen. All I can tell is that it has to be visually very intense. And I’m pretty sure he is equal to the task.
For most part of last year and this year, FATTHAAH has been wandering on horror land as a director and as a production manager for some of the horror gigs produced by DASH STUDIO where he is working at presently. He believes that LEYKARUNAIN will show a different visual style he has never undertaken in any of his previously directed films. I am more excited.
Since there’s plenty of time for production to begin and it’s been a while since I have written it, I have told FATTHAAH that I am going to rework on the screenplay. It’s not a rewrite but a simple revising. He does know that if a screenplay is kept for a long time unproduced, it’s always wise to go through it again before production starts. One will always find key areas in the screenplay that either needs to be updated or amended. Time does changes the look and feel of an unproduced screenplay.
Likewise, I have started revising LEYKARUNAIN this morning around four thirty. Weirdly, that’s always been my favorite hour where I find my creativity at highest. I have already completed act one and have so far changed some dialogues and amended three key scenes. Believe me, the revised scenes look great, add more power to the development of characters and give depth to the relationship between the concerned characters. Awesome!
I am hoping that when done revising, I will get my writing groove back so that I can wrap up MIKOE BAPPA BAEY BAEY (COME MY BABY’S FATHER) before that screenplay renames itself as MIKOE WRITER BAEY BAEY (COME MY BABY’S WRITER). That’s why I really have to stop this post immediately and go back to revise LEYKARUNAIN.