Looking back at March, the second month of Wes Brooks Productions, 2014—it was a great one. There were four things I foresaw March fulfilling: the completion of writing, design, and structure on the pages for what was dedicated to the debut film of 2014, a submission for the COS contest scholarship, an audio commentary on the debut film of 2014, and lastly, a finished film from the footage I shot in Arizona, last year.
These things became the finalization of the Trekkies Into Darkness pages, Viewpoint: A Convention of States, the Trekkies Into Darkness Audio Commentary, and the film I sought to dedicate to March more than anything else: Who Will Survive.
With Viewpoint, there was no tangibility that existed in that project, until I studied what COS wanted in a submission, and began the script, less than twenty-four hours before TR and I had scheduled to film whatever it would be. I had to have something before TR showed up, and I pulled it off.
What I, in the back of my mind, considered the COS gig would be, before doing it, was a bit of a drive-by project. I thought I’d work the script together in an afternoon, have TR come over, and we’d do it all in a snap. I’d swiftly ship out a final product, and I would get on with things. After the calendar commanded the project be begun, I realized an understatement I’d internalized of the project’s scale, while doing it. This was not a negative realization. It was bliss. The little contest submission in the back of my mind became Viewpoint: A Convention of States, serving as March’s unexpected main meal until Who Will Survive capped the month.
Viewpoint was one of the most efficiently produced things I’ve ever done. We did do it in a snap, but without stress or hastiness. In under five days, we had a colorful three minute contest submission, which birthed from our original six minute version, which birthed from a couple of actors, makeshift props, and some equipment, which birthed from a script, which birthed from the vague notion I had of doing this “drive-by project”. Viewpoint was wondrous. Not only because it was a pleasing production and rewarding release, but because of what it redeemed in me. Viewpoint turned my month around.
In the days before March 19th, the day we shot Viewpoint, I was in a low—an ultimate lowpoint of the year. Staggeringly so. In previous posts, most significantly, in the Who Will Survive post, I’ve touched on the vulnerabilities I have to environmental sensitivities. Any detail of my hardship in March need not be dwelt upon, but the challenge was a severe one.
Despite my severe challenges, I rose up to the plate for Viewpoint on March 19th, and from then on, was full speed ahead in my endeavors. I had started editing Who Will Survive, prior to the filming, editing, and release of Viewpoint, but my condition made it difficult, in a myriad of painful ways, for me to work on it. After Viewpoint, I was reenergized—renewed with life, invigoration, and clarity. Returning to Who Will Survive after Viewpoint, was wonderful. I’d reclaimed victory over my mind and body, and applied my zest to a project which had meant so much to me, on a very deep level. If I had not finished Who Will Survive with vitality, it would have been a great personal tragedy. Instead, I accomplished Who Will Survive after a year in the waiting, and felt great.
Who Will Survive is a personal triumph, in all that the film means to me. In addition, I’m very pleased with the final turnout of the film, itself. It brings me sheer delight, and a smile. I hope you enjoyed it, as well.
The other project I had ordained for March was an audio commentary for Trekkies Into Darkness. I wanted none other than Sophie and myself to do it, as our friendship is a core of the film. As I stated on one of the pages of the Trekkies Into Darkness Poster Gallery, “Trekkies Into Darkness, when you boil it down, is about the relationship of these two—how they bond.”
As communicated in Unveiling the Trekkies Into Darkness Audio Commentary, I was dismayed by my performance. Even though I hadn’t felt good while recording, and could’ve easily submitted to the notion of rerecording, I released the commentary anyway. There were two strengths I saw in going through with it. Releasing it would ensure my commitment to getting a commentary out before the end of the month, and, that new frequent saying of mine, “When claiming the future, one cannot dwell in the past…”
I raced to release the commentary and Who Will Survive by the 31st. The next day after I released the commentary, Sophie watched it. She loved it. Pardon the poetic indulgence, but I find that often imperfection is a wound left to be felt solely by the creator.
When removing myself from what it could’ve been, I enjoyed the commentary. It’s remarkable how decent it sounds considering how bad I felt at the time. Listening to Sophie’s barkish persona in the commentary brought me back to the days when Sophie and I did The Nerd Wars Podcast—something whose history is not sufficiently explored on the commentary. The Nerd Wars era of our lives was very formative in what led to Trekkies Into Darkness. ‘Tis a chest I’d like to open, here, someday. 😉
In much sweat, haste, and work, I fulfilled my commitments of proudly releasing the banners of March, after a severe recovery from that ill period. But meeting my goals came with a cost: fatigue. I was a beached whale by the end of it. I’d driven myself to the max. I’d been working intensely hard since I began work on Trekkies Into Darkness in December of 2013, and exhaustion began to creep up on me, as March thickened.
Come April, my Recuperation post, and the days that followed it were very therapeutic and much needed. I have made a slow recovery.
Overall, March had unexpected hurtles that proved weighty, but they couldn’t keep March from reigning as the phenomenal second month of Wes Brooks Productions, 2014.
So, what have I been up to, this April? I’ll let you in on it, as we anticipate the wondrous things to come, in April & Beyond…
See you then, friends.
Upwards and onwards,