NUNE (the short film) is just the fries. Don’t get me wrong, they’re tasty—and hopefully the best fries, but my plan is that once people see the film short, they will want to lick the salt off every finger—and are HUNGRY for more.
You will reach a point in RED AS BLUE where you see bits of NUNE and you see how the small piece neatly fits like into one of those big ass jigsaw puzzles that cover a colossal wall.
Today, we moved onto some punk scene sketches. It’s great working with an artist who is extremely talented and takes direction very well. He makes me very happy.
In the past, with everyone else—it would take days and long emails and headaches and still, I would not be happy so I’d have to settle. Settling is an ugly and awful feeling for an artist. For a visionary, it is suicidal. So this is very refreshing for me but also extremely inspiring to work with someone who gets it.
As the artwork comes in, the story takes on a new life. Each day, I fall in love with one of the characters more and more. Whenever I devote a paragraph or two on them, I fall in love with them—even when they are behaving at their worst. For now, I am in love with Kimberly.
The Kimberly in RED AS BLUE is much more intense than the one in NUNE.
In RB you go really deep into her—and you can’t take your eyes off her. This girl steals the show.
I’ve made it impossible for anyone to feel sorry for such a tragic figure: but to secretly love her even if she’s unlovable.
I must say it is difficult to write characters that are hateful that you can fall in love with. But you can feel for Kimberly in RED AS BLUE: through June.
I believe I spent hours contemplating the end scene where June and Kimberly meet for the last time. I had to enter the imagination of feeling like I’m right there with them. You could say that it’s possible that June has a Stockholm syndrome. But it’s not like that at all. I believe the two main characters in my story either fall from grace or graduate towards saintliness. One rises, the other falls, and the one that refuses change gets stuck.
In the initial stages of hiring a new illustrator, I told him that I wanted an artist that can draw something that’s a work of art. I let him know that I wanted something that holds its own and isn’t incidental to the story. I wanted artwork that lets the viewer gaze at the images for days—and to fall in love with it. And that’s what I do. Before I go to bed, I look up a sketch from RED AS BLUE and I’d stare it. It makes me extremely happy. And then I fall asleep.