- Stephen Daldry's production of An Inspector Calls: looking at an old idea in a new way to give it a fresh lease of life
- Mother Courage at the National Theatre: more wittering about naturalism and Brecht's theories about drama and the audience
- New ITV crime drama Murderland (preview and Q&A at the BFI)
- Various new series piling up on Sky+: Warehouse 13, FlashForward, True Blood, Eastbound and Down
Despite sharpening up the script and making a few breakthroughs, the process of constant restructuring and rewriting has left me a bit concerned that I can't see the wood for the trees any more. While the script is clearly getting stronger, I worry that I can't quite focus on which bits work and which don't.
Does anyone else get this 'snowblindness' when they're rewriting? And how do you cut through it? Paul Valery said that a poem is never finished, just abandoned. How do you writers out there know when something's ready to go out into the world?
In other news... script progress will be halted briefly this weekend as I jet off to New York for a couple of days to cover the launch of Braveheart on BluRay for Orange. (Psst - Did I manage to sound sufficiently casual about that?)
It's probably going to be a bit knackering (arrive Saturday night, leave Monday morning), but it'd be a bit churlish to turn down a free stay at the Soho Grand and the opportunity to meet Mel Gibson and double Oscar-winning cinematographer John Toll. Wouldn't it?
Hopefully I'll get chance to pitch Mel with my Secret Jewish World Government script...