In conclusion

Ultimately, it is Nicholas Clarke who does a wonderful job of a score for Rosie. I am really impressed by his effort, it really fits well with the film. I really enjoyed using Abaltat, but the score never really took off, which is a shame because I think the software has great potential, but I´m not sure it fitted so closely with a film like Rosie where so much depends on the music. It is an incredible tool for incidental music I believe.

The process as a whole as been frustrating, yet rewarding. It is good to get out of my comfort zone and try new things. I really didn´t feel like any more filmmaking after the 72 in Galway, but Rosie has got me excited again. It got me back into shooting with a light crew again. It got me thinking about our roles too - what it means to be a director, a producer, a storyteller, a musician and an actor. Lots of food for thought.

I am now facing another 72 Hour project, this time in Melbourne, and a shoot in Algeria for the third part of a Saharan project. Momentum and reflection, I think, are the most critically important elements to micr-budget filmmaking.

The final push

It has been a frustrating few months, with my attention being spread across so many other projects. Rosie hasn't been residing with me either, as it is with musicians who are all having a stab at scoring it. Indeed, I am having a stab at scoring too, as this was one of the original things that excited me about doing this project.

There is one concrete factor that is immovable and therefore brilliant. The film must be completed in time to be shown at the 72 FUNraiser in Berlin. This cannot and will not change. So at least I have closure, like a relationship that has gone on too long and is just hurting me...