I have a large file cabinet with random screenplays, treatments, and loglines I've written. One of which, Tom One, was the source of much frustration on my end. I started working on it in 1995, at the ripe old age of 18. After a few years of edits and revisions and storyboarding, I locked it away as I couldn't wrap my mind about it.

Tom One's creation lies in an adaptation class I took. I decided to rewrite one of my favourite anime films, the legendary Akira. I removed some of the more abstract ideas from the story, relocated it, keeping some of the story intact, along with a dozen of so action sequences.

Now, the crux of the matter was/is my decision to make Tom One a rock opera. Head, Jesus Christ Superstar, Tommy, The Wall, Bugsy Malone, Quadrophenia, all films I enjoy.

Keep in mind, when I wrote this screenplay, it was years before Moulin Rouge so my teachers and classmates, and even a few friends I had in the industry couldn't figure out what to make of it. I'd infused contemporary songs and lyrics, into a SCI-FI film.

Moulin Rouge at least had a cheat, singing fits into the universe created by Baz. They were artists after all, working on a stage show, singing made sense. But a bunch of street punks and politicans and religious fanatics, breaking into song. The suspension of disbelief was too much to overcome.

Until now.

Call it inspiration, call it anti-divine intervention. I think I've figured it out.

Tease. And?

When do we get to see some of this? When will it enter production?

Loyal, send it to me.

I've been an editor before and I'd like to read it.

Can't say I've been an editor, but I feel I should be included simply because I am zennier.

No pressure... but I despise people who make threads that imply the creator will reveal something marvelous or compelling (cough, box, cough)...

So... no pressure. It's only my opinion of you.

It's a metaphorical dusting since everything is in storage in Iowa.

I don't have the hard copy with me to send, though I would, if I did.

Any thoughts on musicals in general, rock operas, suspension of disbelief in the genre, etc etc etc.

I love musicals and musical numbers..
Another part that also ties in is dance... West Side Story and Gene Kelley's not remembered for his voice...
Even the POW's in Bridge on the River Kwai, marching are much more than song alone..
So consider dance...

I think it's definitely the hardest genre to pull off because of it being so reliant on the songs and performances. The biggest problem with the Little Shop of Horror remake was the the musical numbers being so weak. Steve Martin's big number was great, but most of them really hurt the momentum. If the songs have you sitting there waiting for them to be over, it comes off like it's somehow a problem with the script.

Suspension of disbelief is essential, and pretty easy to do where musicals are concerned. How often in real life do people just break out into song? I do it all the time, but I'm strange. As a rule, people on the streets don't break out into a song and dance routine for storytelling purposes, but we don't even give it a second thought when watching a musical, because it's accepted and expected. All bets are off. There's a magical element to musicals that allows for the unbelievable to happen without us questioning it's realism.

For the most part, I avoided dancing. It's harder to pull off than the singing.

There are two dance sequences written in but both could exist outside the reality of a rock opera. Cherchez La Femme - Se Si Bon, which occurs in a cabaret. And You Only Live Twice, a bedroom strip tease.

Be nice to read some of it when you ressurect a copy.

I like musicals, but Rent like Phantom became tiresome. It's not necessary in a film to produce a whole song always from beginning to end. If your song isn't getting to the point immediately then do not film it.

Basically the difference between a mediocre 2 minute song and a mediocre 5 minute song is vast.