This past week has been scheduling hell. It’s also been super fun and really exciting, don’t get me wrong. But damn.

As I mentioned in a previous post, this past week was the week of multiple filmmaker visits. First, the very awesome director and producer duo of The Demon’s Rook came to town for an intensive four day colour correction blitz.

director James Sizemore and producer Tim Reis - how cute are these dudes?

director James Sizemore and producer Tim Reis – how cute are these dudes?

I’ve never seen colour correction done before. I was fascinated by the extent to which they could not only change the colours in a scene – changing flat-looking grass into a vibrant green, for example – but also how easily they could re-light a scene in order to draw the eye to a particular part of the frame and focus the viewer’s attention. The process was done for us as a favour (a huge and expensive and incredibly generous favour), but it certainly made me realize how crucial the process is. The Demon’s Rook was already a super fun movie, and it already looked good. Colour correction just made it look so much more polished and slick that it’s as if we doubled or tripled the budget in those four days.

Now we just have to sit back and wait for the festival invitations to start rolling in, I guess. Knock on wood. Fingers crossed.

director James Sizemore is also an amazing painter and brought us this fantastic print

director James Sizemore is also an amazing painter and brought us this fantastic print

The second pair of filmmakers (our adorable Germans) were in town to talk to potential Canadian partners in order to hopefully make a deal that will allow the film to get financed and move forward. We have assembled  several Canadian partners who can bring a lot to the project. Naturally, they will want something in exchange for their contribution – a stake in the project.

This means that the German producer has a tough choice to make – is he willing to give up a chunk of the control over the project in exchange for the possibility of actually getting it made. No matter how great the deal looks, it’s got to be tough. He’s spent two years working very hard on this, and now he has to give a portion of it away and trust that others won’t muck it up.

I tagged along on a tour of Pinewood Studios with the German delegation - it's huuuuuuge

I tagged along on a tour of Pinewood Studios with the German delegation – it’s huuuuuuge

While all this has been happening, I’ve also been trying to put together an application form for some funding for the project I’m working on with Peter Lynch. I feel like that film is supposed to be my top priority, but I had to neglect it this week because everything else was happening all at the same time. Stressful.

Next week, when life goes “back to normal” (ha ha), I will hopefully catch up on all the work (and laundry) that I’ve neglected this week. As July is around the corner, I also have to start focusing on prep for our end-of-July trip to the Fantasia festival in Montreal, where Colin and I will be attending the Frontieres international co-production market, representing The Void (by team Manborg). Hopefully, all this upcoming work will be interesting and informative to write about, and all my blog posts won’t end up being the same “oooh, I’m sooooooo busyyyyyy” nonsense. Let’s hope.