This is the journal that I keep as I work on a project.  I reread it at points along the road and often discover solutions to problems (that I would otherwise have forgotten). When I reread it I "bold" those parts of the text that have relevance to me at that moment.



--Rosemary’s Baby

     specifics of behavior
     the reality of objects
     specifics of observation
--Enter the Void
--Mulholland Drive
--The Shining
     Rear Window
--Let the Right One In (re. quotidian tension)
--That Obscure Object of Desire
--Angst (1983) (influenced Noe re. Enter the Void)
--Henry: Portrait of a Serial Killer
--Woody Allen: Stardust Memories, Deconstructing Harry
4.9.09 Lyes Cottage, Sussex
The screenplay I wrote years ago stressed the Reese character.
It was at best a two-hander.
Revelation: make it from Mary’s POV, and make it out there, far
out, outré.
I groove on this for hours in a half sleep semi-conscious state
and it feels like a movie, vaguely like a movie.
Reese can come into play only via Mary later in the story, not
as someone that Hayward is pursuing at the beginning.  Skip the
Misty murder at the beginning.  I consider dropping Hayward’s
back story, but that’s fine as long as it is brought in later.
Take all the elements and use them as toys, as tools, have fun
with them.
This could be the horror film I have been failing to make. 

Can I get as loose in this as I have been in my photographs?