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 Back To The Final Jerkoff Index PAGE 1 Intro/History October 14th, 2009 - While I'm proud of most everything I do, my work on this movie ended up being one of the most enjoyable final products I've made. After the premiere of Viral Video, it was really only a month or two before Tyler, Mike, Terry, and I got together to talk about ideas for the next movie. After the script for Viral Video was scrapped halfway through production, we wanted to make sure that this project wouldn't suffer from the same problems. A good many hours were spent by all of us talking on the phone, IMing eachother, and emailing drafts to eachother. I wrote "The Final Jerkoff" (a meta reference to Viral Video) at the top of one of the drafts I sent to Tyler, and somehow it found its way into the circulation of all the drafts, and was simply never removed. By the end of summer, we had a great, but unfinished script that we began to shoot once the school year started. It was a fantastical exaduration of 2 real events in the last year. One was the "Stalker Boy" incident, and the other was the drama that ensued while making Viral Video. In almost every way, this project was a conscious reaction to Viral Video, which was a large departure from the previous Gang movies. For the script, we wanted to make a movie that was within the traditional "Gangverse" and that would be the final sequel to the series of other movies. The camerawork would return to videogame cinematics, and handheld shots would be used as little as possible. Most every problem with Viral Video was addressed, so I decided to approach the music as critically as possible too. Early into production, Mike brought up a very troublesome and important concept. He suggested incorporating both the Shenmue theme and the traditional Gang theme into the score. Writing new themes is probably the easiest part of scoring (for me at least), so it would be saving me no amount of work, creating new work in finding ways to use them at certain points, and would make certain tracks inherently "not mine", but for the good of the movie, I went along with it. In addition to writing a reharmonization and new arrangement for the entire Shenmue theme, I also broke both into respective motifs, which could be used much more easily throughout the score. |