How I Live Now

There are aspects within this story that resemble my plan. I may also consider making the film about someone else instead of oneself. 

Fifteen-year-old Elizabeth (who goes by the name of Daisy) is sent to stay with cousins on a remote farm in the United Kingdom during the outbreak of a fictional third world war of the 21st century. Though enthusiastic about moving away from an evil stepmother who is with child, Daisy is homesick at first. First meeting Edmond at the airport, Daisy calls him “some kind of mutt”; however, her view of Edmond changes after settling in. Daisy’s homesickness only lasts for a short while before she and her extended family become close, and Daisy begins to embrace her new home. Daisy soon finds herself falling in love with cousin Edmond and, after realising that the affection is mutual, begins a relationship with him.

Meanwhile, the family receives news that Daisy’s aunt Penn is stranded in Oslo. During this period of time, terrorists attack from an unknown enemy who lateroccupies Britain. The war becomes increasingly difficult for Daisy and her family as it increasingly affects their lives, eventually leading to food shortages and lack of other resources, but they still have love. One day, the farm is taken over by soldiers who separate the boys from the girls by sending them away to live at separate homes, and then separate farms. Daisy and Piper are forced to put survival as their top priority and cannot look for the male members of their family. Gradually finding their way back home, the two girls learn the harsh consequences of war and wait for their beloved family in the barn house. After the war ends, Daisy must deal with putting the pieces of her life back together and overcoming the terrible experience of war as she reunites with the forever changed members of her family, including a physically and emotionally scarred Edmond.

Near the end of the book, Daisy (who had been pulled back to America by her father) goes back to England to see Edmond and the rest. Edmond, who thinks Daisy has broken their promise of always being together, refuses to see Daisy at first. However, he discovers the truth and accepts her once again. With scars on his arm that proved Edmond experienced harsh sights of war, Daisy begins to heal Edmond’s heart with her love. Instead of going back to America, Daisy continues to live with Edmond and the rest of the family in England where she will remain.


Idea Developed

I would like to include a similar structural approach as in Dead Man, beginning with and inflict of death, then following the protagonists journey dealing with this, concluding in their death.

The film starts with the protagonist, a young woman finding out she has terminal cancer and only several weeks to live. She screws her normal life and treatments, goes on a journey to fulfil herself and do everything she wants to do, blowing all money she has. Later she discovers her cancer gone and she’s recovererd, however now finding herself uncomfortably broke, and having supposedly fulfilled herself, having to continue life again lost. it questions whether we can really be content with life at this young age (or can make ourselves be).
I like the twist of the recovery while the audience may expect a death, the following struggle and feeling of lostness and isolation may also resonate with the audience. However, I also felt a little sad when William Blake died in Dead Man, and again I could challenge such fulfilment on this journey, hopefully also evoking emotion within the audience. I suppose at this stage I will not tie myself down to a specific climax…
3 parts: inflict of death, journey of self fulfilment, death
or 4 pats: inflict of death, journey of self fullfillmnet, recovery, repercussions (this may challenge a linear narrative?)

Dead Man



An old man (about to die) who is content with life = BORING

approach it to someone young – a life cut short/not lived

‘Dead Man’ – mournful, poetic, (odd humour)

strategy determines structure 

morph observation

journey = cycle. VISION

empathy with audience

consider THEMES!!!

This idea has developed to explore immortality and life and death. I am circling the theme and interest of being content with one’s life and being able to accept one’s fate of the inevitable. However an old man, leader of his tribe who was fulfilled by his life and ready to die made for a boring story. I have decided to make the protagonist young, not fulfilled and still hoping to find fulfilment in life, suddenly and surprisingly about to die.

Structurally in Dead Man, Blake is shot at the beginning but not enough to kill him, goes on a journey of his last days, and dies at the end. People keep dying along the way. It is still sad when it is time for him to die at the end.

Ralph Steadman


I wish to include an (observational) journey in this film influenced by ‘Pyschogeography’ written by Will Self and illustrated by Ralph Steadman. Of particular interest are the observations, rather anthropomorphic. For example, Self describes a power station to engulf St. Paul’s. I hope for my journey to flow in this style through anthropomorphism and metamorphosis, with loose style akin to Steadman’s.