I've had a generalized feeling of being completely emptied out that's actually allowed me to almost float through this recommended break from filmmaking without (very much) nagging guilt about what I should be doing next.
Today, however, it's time to snap out of that blissful ignorance, for the next phase has officially begun: Editing.
Even while we were shooting, Jean-François Bergeron - editor extraordinaire - was assembling the scenes. And this afternoon, for the first time ever, I will be able to sit down and look at the film, put together, from A to Z according to the script. No art, though. Just the bare, unflinching facts.
From all accounts, this part is hard on us director types. Because this is the moment we are faced, not with the "aspirational" version of the film we've been carrying around in our heads and hearts this whole time, but with what really "is". With what is our new reality. This, from now on, is all there is. Every frame of the film we've ACTUALLY made is all there - in its most raw, gangly and un-finessed state. Warts, wonders and all.
I'm secretly expecting there to be way more wonders than warts, but we'll see!
And then the real work begins after that.
I know I've been M.I.A. during the really exciting part - the shoot - and that I'm now back in the blogosphere just in time for one of the more tedious spectator sports to begin - the editing - , but I fully intend to use this next phase to work backwards - to get all nostalgic on your ass and write a bit of a reflective account on what shooting my first (and I'm currently using that term loosely) feature film was like.
Oh, and I'll be sure to throw in the occasional real-time account of any notable events as they happen - like my upcoming trip to Nashville to meet the one and only Dolly Parton!