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There is a massive sense of relief that has befallen me as a result of the completion of my first full-length first draft of Mother of Us All, or as my Director of Photography likes to call it: the Mother of All Scripts. The flow of the third act came naturally with the knowledge that things may have to change. My goal with this draft was to make such simple, moldeable ideas with potential to be unlocked; not concepts that I would be married to. In some ways, that worked in my favor. I had my primary critic look over the script and he noted exactly that. He felt the script had good flow, a strong outline, a luring story and characters and that many important risks were taken on my part. Those elements just need to take some steroids so their potential can be tapped into. It’s the steroids that I don’t feel I creatively have access to right now. In other words: I am utterly frightened to try another draft. Never before have I found someone very satisfied with my first draft on any level. With my past screenplay, Charioteer, I had to completely re-work my entire structure. That process was both incredibly exciting and painful. I was emotionally prepared to endure that whirlwind again with 1968. I was more shocked than relieved that I wouldn’t have to take that step. So, currently I am waiting on the scans of the marked up first draft from my fellow screenwriter and I will proceed to write the second full-length draft once I’ve evaluated his comments.

Unfortunately, or possibly fortunately, if you can’t stand my writing, I won’t be revealing a section from the third act, hopefully for obvious reasons. But, if anyone reading has a critical eye and would like to give feedback on the second draft of the script, feel free to tweet me and I’ll send you a copy: @amariecarey.


About amariecarey

An inspiring young film producer/director/writer who is passionate about reflecting on the many complicated facets of humanity through integrating history into modern storytelling through the medium of film.

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