Hmmm, don't know what to say about this one.  Well crafted, as always, but again, not something I can get into personally.  I prefer the gritty shit Dustin, the punch-ups, the overly graphic sex scenes, brains being blown out onto the back wall ect.

This was not a read for me, but I did appreciate the time-travel aspect of the script.

Did you write this after Antisocial Emissions? Or did you have this on the back burner somewhere?

I just want that British grit from you Dustin, because that's the shit which goes down very well with myself, but you don't write for me, and I understand that.

I'll maybe give this another read tomorrow, see how I feel about it.

Your work-rate is very impressive Dustin, fuck.

Hey Dustin,

Read this over the weekend and enjoyed it.

Well written as always and a nice romantic tale, something different for you I suppose. But that's a good thing.

I've no problem with the way you wrote the flashback. I understood exactly what was going on and really can't see how it would confuse people as it is written pretty clearly.

My only problem, and this is clutching, is when they meet. It seemed a little rushed. He was gone too quick and left the poor old woman to time hop alone! Maybe you could add a little more to their meeting. Give them that time that they missed out on?

Or maybe you meant this, as a way to show us that time is precious and our time together can be up in a flash. Which, although depressing, is quite a nice idea.

Nice work though. A well told romantic tale.

Good luck with it,
Glenn.

Quoted from Max Hmmm, don't know what to say about this one.  Well crafted, as always, but again, not something I can get into personally.  I prefer the gritty shit Dustin, the punch-ups, the overly graphic sex scenes, brains being blown out onto the back wall ect. This was not a read for me, but I did appreciate the time-travel aspect of the script. Did you write this after Antisocial Emissions? Or did you have this on the back burner somewhere? I just want that British grit from you Dustin, because that's the shit which goes down very well with myself, but you don't write for me, and I understand that. I'll maybe give this another read tomorrow, see how I feel about it. Your work-rate is very impressive Dustin, fuck.

I got the idea for this after reading an article where a lady advertised on gumtree for a time travel companion. I know they're hardly the same thing, but that's where the idea came from.

http://www.mirror.co.uk/news/weird-news/woman-posts-ad-open-minded-5887110

At first I wrote about a guy going around to buy the time machine after seeing it advertised, but it didn't really go anywhere (the story that is). After some thought as to what I could do with the story, I came up with this. I wrote it after Antisocial Emissions and just like with that, the idea came and I set to work.

I don't expect this to be for everybody, it's not exactly my type of thing either, but the time machine and the guy rotting and turning to dust has to be worth a few points.

Cheers mate.

Dustin

MARJORIE
(ventures)
George?

- I like this wryly. In one word, it perfectly conjured up an image of Marjorie delivering this line.

GEORGE
(lying)
No... no, you look just as
beautiful as the day I left.

- On the contrary, I think this wryly is a bit lazy and vague. You could give us more here in term of body language and facial expression to describe how he's being disingenuous.

MARJORIE
I have to admit, I’d given up ever
seeing you again in this life.

- I wonder would it be an interesting twist, as well as providing some extra conflict, to have Marjorie be a little angry at George? As in not immediately welcoming or wholly happy to see him reappear like this after all this time. By the sounds of it, the guy made a dodgy time travelling machine and literally disappeared without a trace for over 60 years. Surely during that time, as the likelihood of him returning dwindled, her mind was increasingly preoccupied with, shall we say, less that sympathetic thoughts as to his whereabouts; growing resentment, blame, hatred etc, for leaving her like that. The gnawing possibility that he landed in some other timeline, liked it, stayed there and essentially abandoned her.

GEORGE
I could only stay in one place for
so long before I started to age.
Jumping constantly has kept me
young.

- Nitpicky I know but shouldn't he be talking in the present, not the past? As in "can" instead of "could" and "start" instead of "started" I mean, he's still using the time machine up to this point.

“As their lips meet, they are transported in their minds to a
ballroom, both in their twenties, dressed to the nines,
kissing while they twirl to music.”

- Should this be a new scene since they've been transported to a ballroom? That is where the characters will be on screen even if it is only for a moment.

Nice idea here and I appreciate it’s only a four pager but I was left wanting to learn more, boringly inevitable I know. I had so many questions; Where did the time machine come from? Who made it? Why hadn't Marjorie used it before now? Why can't it send George where he wants to go? If George ages so quickly wouldn't he have aged a lot in the intervening years with all his future and past escapades? Are you saying that if he got back into the machine before he turned to dust and went back in time he would've gotten younger again? Does he only age when he goes forward?

I totally appreciate that you can't get into the technicalities of it in such a short script but I was curious to get a better grasp of the aging situation since it does play such an influential part in the dramatic stakes of the story. It gives you a ticking clock scenario and ultimately drives Marjorie to make that all important decision at the end, to go look for him...something I wondered why she hadn’t done before now. Or was this because George had possession of the handset all these years?

However, I realize those kind of logistical question are really beside the point here. You're more interested in the notion of these two people being able to share a brief moment together after having being estranged for so long. How love reverberates through time and space, superseding everything else. George even says how he's seen so much during his time travelling exploits yet he's only ever wanted to get back to her. It’s a very Intersteller-ish idea actually. Was that an influence?

Col.

Quoted from IamGlenn Hey Dustin, Read this over the weekend and enjoyed it. Well written as always and a nice romantic tale, something different for you I suppose. But that's a good thing. I've no problem with the way you wrote the flashback. I understood exactly what was going on and really can't see how it would confuse people as it is written pretty clearly. My only problem, and this is clutching, is when they meet. It seemed a little rushed. He was gone too quick and left the poor old woman to time hop alone! Maybe you could add a little more to their meeting. Give them that time that they missed out on? Or maybe you meant this, as a way to show us that time is precious and our time together can be up in a flash. Which, although depressing, is quite a nice idea. Nice work though. A well told romantic tale. Good luck with it, Glenn.

Yeah, I wanted to keep this as short as possible without hurting the story. She time hopped in an effort to meet up with him. If she made it back to 1955 then there's a chance she could bump into him, although she would be old and he young. I actually considered writing that and then ending it with he rebuffing her. But that wouldn't be a nice story and would ruin it. It would make it more like a bitter joke than a real story.

I like it as it is. A tale of hope and true love everlasting.

Thanks for the read and thoughts, mate.

Quoted from eldave The more I read scripts - here as well as well known ones - the more I am becoming a fan of unfilmables - asides  Recently read one written by R.E - filled with asides and are very effective. She's a tough old girl gets to her core in 5 simple words.

Exactly...but...only when required, only when it adds and moves forward.

Here we get the impression beyond someone who is just old. She's walking into the dark, stick in hand...hence...she's a tough old bird. Doesn't need anymore.

I don't want to hijack this thread, but I read somewhere at script shadow about how readers were getting fed up of the over the top character descriptions, which is a kind of parallel for this type of aside, which is then not seen out in how they act. A useful reminder that we must be relevant and consistent.

Back to script in a second but just wanted to agree with this.

Now to script.

I think everyone should be forced to write a rom com, and comedy. They present different challenges that often rise and fall on the emotions we feel. The ultimate challenge to a writer to convey.

This is sound and being contained has a decent chance of being filmed, but a tad like the Col - above - I feel this could be fleshed out without going on too long. It's a choice thing.

So, here what I thought I would do, I doubt this is what you wished for, but here it is all the same.

First off, he left her, in a self adventure. She's been left to age, alone it seems, he's young and fit. She's not. How would you feel about seeing your ex as a granny??

So my thoughts;

1) she's a tad angry - remember she's a tough old bird. Why she's going to get mushy straight up. Go on have her hit him with the stick.

2) tells him to fuck off on his sofa

Ps I quite like the idea he has seen her many time, but never got close enough, the sofa never landed in the right place.  She recalls being waved to a few times, say in the park, supermarket etc - so he's the weirdo. But it gives weight to his desire to see her again.

3) he sits down doesn't leave. He laments his travels, loneliness

4) this strikes a nerve with her - she's been lonely. If only they had found a way to stay together. Both agree.

5) she opens up - age stinks, don't blame him for this, just wish she could have come along

6) he ages before her eyes - they are now less different, both physically and mentally

7) then as you have written - although I would make a stronger reference to the day they met in xyz year, so that when she re dial see definitely know she's off to see him.

A way to be together after all.

What I find with time travel scripts is that underlying this is a usual thread of cheating life. Because you nicely bring in the acceleration process, this ties in well to this type of theme. If you try to escape, like a drug, there is a price to pay.

But, for her...what price...she's paid the price. Nice reversal of theme.

Best of luck with this.

Re the format - we all know you like the way you do things. I appreciate the desire to do as you feel works, but on occasions it may be worth remembering the format. Re the flashback I get what you wanted to do, get, but it was then 'unclear' to me whether this was an aside of character or a visual scene. A slower read may show this more clearly, but then we all have to write for readers in a rush. All the best.

Quoted from DustinBowcot I got the idea for this after reading an article where a lady advertised on gumtree for a time travel companion. I know they're hardly the same thing, but that's where the idea came from. http://www.mirror.co.uk/news/weird-news/woman-posts-ad-open-minded-5887110

Reminds me of Safety Not Guaranteed.

Nice script, interesting to see you do romance. Nothing really to say that hasn't already been said, maybe just that the visual of eyes rotting and bones crumbling feels kind of out of place in an otherwise gentle romantic tale. The logline still looks wank to me, though. "discovers an old flame in her shed" sounds both weird and vague.

Quoted from DS Reminds me of Safety Not Guaranteed. Nice script, interesting to see you do romance. Nothing really to say that hasn't already been said, maybe just that the visual of eyes rotting and bones crumbling feels kind of out of place in an otherwise gentle romantic tale. The logline still looks wank to me, though. "discovers an old flame in her shed" sounds both weird and vague.

Love Safety Not Guaranteed!

Dustin,

I read this a few days ago but neglected to comment, because I forgot. No keys you see. Couldn't find them and couldn't stop looking as I needed some sausages. Anyways...

I've not read other comments. As I couldn't be arsed. And there's the keys thing...

Quoted from Time For Love GEORGE (lying) No... no, you look just as beautiful as the day I left.

Minor quibble, but I don't think you need the parenthetical there. As nine out of ten would suss it anyway.

This reminded me of Mike Leigh. Which in my book is very good indeed. I think it's rather good. Doddle to film, with the right fx. Good luck with that. Mind you, you could just change the actor and keep the original's voice.

Smelling the jacket brought back Brokeback Mountain and American Beauty, it would be a very nice scene indeed.

It's a good end too. You're getting rather good at this, Dustin. Well done. Keep it up, fella.

R

Quoted from Colkurtz8 Dustin MARJORIE (ventures) George? - I like this wryly. In one word, it perfectly conjured up an image of Marjorie delivering this line.

Me too, thanks mate. I generally think of dialogue in more literary terms and have to switch it around for screenplays. In my head, that reads:

"George?" Marjorie ventured, her eyesight not as good as it used to be.

So I thought, why not use it in a wryly. I'm going to start writing like this all the time. I stripped so much out of my writing while learning how to do this and I feel that I have taken too much out. So, I'm going to start putting it back in and I don't care what anyone says.

Quoted Text GEORGE (lying) No... no, you look just as beautiful as the day I left. - On the contrary, I think this wryly is a bit lazy and vague. You could give us more here in term of body language and facial expression to describe how he's being disingenuous.

I hate it too but for a different reason. I don't think it is lazy, more superfluous. Like Ren said, it will be obvious he's lying. But I also don't agree with your point on needing to write body language or facial expression. The wryly was meant to portray tone not the direct the actor in facial expression or body language. I think that type of thing is best left to the actor. He may want to smile, or perhaps do something else.

Quoted Text MARJORIE I have to admit, I’d given up ever seeing you again in this life. - I wonder would it be an interesting twist, as well as providing some extra conflict, to have Marjorie be a little angry at George? As in not immediately welcoming or wholly happy to see him reappear like this after all this time. By the sounds of it, the guy made a dodgy time travelling machine and literally disappeared without a trace for over 60 years. Surely during that time, as the likelihood of him returning dwindled, her mind was increasingly preoccupied with, shall we say, less that sympathetic thoughts as to his whereabouts; growing resentment, blame, hatred etc, for leaving her like that. The gnawing possibility that he landed in some other timeline, liked it, stayed there and essentially abandoned her.

She already knows what the time machine is because she recognised it and knew that after 60 years it must be George. So, it goes without saying that they had a conversation about this before he left. They probably wouldn't have expected it to work... then, he's gone. They loved each other so much that she waited the entire time for him to return and knew that he would never purposefully leave her, that something had gone wrong somewhere. She knew that he would be trying to get home, either that or he was dead. This is true love. Where you deeply know another person, know them so well that you know they'd always have your back. I don't agree that she would be angry or be harbouring any form of resentment. She knew that if he could come back, he would... and he did... she was right.

Quoted Text GEORGE I could only stay in one place for so long before I started to age. Jumping constantly has kept me young. - Nitpicky I know but shouldn't he be talking in the present, not the past? As in "can" instead of "could" and "start" instead of "started" I mean, he's still using the time machine up to this point.

Yes, it would be more correct to speak in the present tense here. Thanks.

Quoted Text “As their lips meet, they are transported in their minds to a ballroom, both in their twenties, dressed to the nines, kissing while they twirl to music.” - Should this be a new scene since they've been transported to a ballroom? That is where the characters will be on screen even if it is only for a moment.

Yes it should. But I don't need to write it in because it is obvious from the context.

Quoted Text Nice idea here and I appreciate it’s only a four pager but I was left wanting to learn more, boringly inevitable I know. I had so many questions; Where did the time machine come from? Who made it? Why hadn't Marjorie used it before now? Why can't it send George where he wants to go?

I think it's obvious from the context that the time machine doesn't just sit there after somebody has used it to travel. In most stories the time machine goes with the traveller. So Marjorie couldn't use something that wasn't there, and also explains why she hung around for 60 years... damn, are these real questions? I've got a lot of respect for you Col, but man, this shit seems a little much for a man of your IQ. I also believe it is fairly obvious from the context that George made the time machine. George himself doesn't know why it won't send him where he wants to go so why do you expect me to know? It just doesn't work proper.

Quoted Text If George ages so quickly wouldn't he have aged a lot in the intervening years with all his future and past escapades? Are you saying that if he got back into the machine before he turned to dust and went back in time he would've gotten younger again? Does he only age when he goes forward?

Now this is an excellent question and something that played across my mind as I wrote it. The only way that it can work is that once he steps back into the machine and travels he reverts back to the age he started from, probably due to the weirdness of time travel. It's a logical conclusion that I, for obvious reasons, didn't want to write into the script. Be honest, did you already arrive at that conclusion yourself? You must have. It's the only logical conclusion, else the logic of the entire story doesn't hold up.

Quoted Text I totally appreciate that you can't get into the technicalities of it in such a short script but I was curious to get a better grasp of the aging situation since it does play such an influential part in the dramatic stakes of the story. It gives you a ticking clock scenario and ultimately drives Marjorie to make that all important decision at the end, to go look for him...something I wondered why she hadn’t done before now.

Marjorie doesn't care about the ageing thing. She just wants more time with her lover, no matter the cost.

Quoted Text Or was this because George had possession of the handset all these years?

There never was a handset.

Quoted Text However, I realize those kind of logistical question are really beside the point here.

I don't think they are beside the point. They're considerations for the reader/viewer who can fill in the gaps for themselves. If they can't, then they have to be that annoying friend that asks.

Quoted Text You're more interested in the notion of these two people being able to share a brief moment together after having being estranged for so long. How love reverberates through time and space, superseding everything else. George even says how he's seen so much during his time travelling exploits yet he's only ever wanted to get back to her.

Yes. Precisely.

Quoted Text It’s a very Intersteller-ish idea actually. Was that an influence?

Not at all.


Thanks for taking the time to read and review, mate... as usual, plenty to chew over. Hoping to see something new of yours up soon.

Dustin

Quoted from DustinBowcot I hate it too but for a different reason. I don't think it is lazy, more superfluous. Like Ren said, it will be obvious he's lying. But I also don't agree with your point on needing to write body language or facial expression. The wryly was meant to portray tone not the direct the actor in facial expression or body language. I think that type of thing is best left to the actor. He may want to smile, or perhaps do something else.

I believe a wryly has its place here because the dialogue could be misleading otherwise. Yes, she has aged 60 years in the interim so obviously she’s doesn’t look the same but it’s that true love thing where in George’s mind she hasn't changed. He can see the real Marjorie, the woman he fell in love with all those years ago, in there despite the physical differences This is a rare moment of levity in the script so it could be easily misconstrued as an earnest remark without that wrylie. I know some frown upon overly explicit ones, actors in particular but they do no harm either in conveying what you want to get across. The same goes for body language which has the added plus of being a more visual method of writing which is what we’re always striving for. Again, what the actor decides to take from that or not is up to them.

Quoted from DustinBowcot She already knows what the time machine is because she recognised it and knew that after 60 years it must be George. So, it goes without saying that they had a conversation about this before he left. They probably wouldn't have expected it to work... then, he's gone. They loved each other so much that she waited the entire time for him to return and knew that he would never purposefully leave her, that something had gone wrong somewhere. She knew that he would be trying to get home, either that or he was dead. This is true love. Where you deeply know another person, know them so well that you know they'd always have your back. I don't agree that she would be angry or be harbouring any form of resentment. She knew that if he could come back, he would... and he did... she was right.

That’s all true but we’re human after all, plagued by doubts, uncertainties and what ifs. I just made the suggestion as it might had some dimension  to the scene so it’s not all the same “I’ve missed you so much and loved you for so long” sentiments. Still, I get that unwavering devotion is the central theme here.

Quoted from DustinBowcot I think it's obvious from the context that the time machine doesn't just sit there after somebody has used it to travel.

It wasn’t obvious for me because you mentioned “Embedded into one arm of the kings wing chair is a Bakelite dial phone, without the handset.” so I figured that this missing handset is what George used to time travel. This is why I referred to it later on in my notes. You see, I’m not well up on the anatomy of 60s household furniture

Quoted from DustinBowcot I also believe it is fairly obvious from the context that George made the time machine. George himself doesn't know why it won't send him where he wants to go so why do you expect me to know? It just doesn't work proper.

I think you greatly overestimate my IQ, sir. Yes, I presumed George made the time machine but that doesn’t stop me asking question about the nature of its existence, how it was made and why it’s faulty. If anything I like to hear the writer’s take on it, their intentions. Yes, it’s not the focus of the story but I make those queries to satisfy my own curiosity.

Quoted from DustinBowcot Be honest, did you already arrive at that conclusion yourself? You must have. It's the only logical conclusion, else the logic of the entire story doesn't hold up.

Yes I did but again I wanted to hear your take on it. What you were considering when writing it Also, It makes me wonder, since George has no control of which direction it’s going to take him, forward or backwards, what would happen if he went too far into the future? You don’t have to answer this one though

Quoted from DustinBowcot I don't think they are beside the point. They're considerations for the reader/viewer who can fill in the gaps for themselves. If they can't, then they have to be that annoying friend that asks.

Yup and I’m playing the annoying-question-asking-friend with aplomb here! Anyway, I’m glad you got something to think about from my comments.

Col.

Quoted from Reef Dreamer Exactly...but...only when required, only when it adds and moves forward. Here we get the impression beyond someone who is just old. She's walking into the dark, stick in hand...hence...she's a tough old bird. Doesn't need anymore. I don't want to hijack this thread, but I read somewhere at script shadow about how readers were getting fed up of the over the top character descriptions, which is a kind of parallel for this type of aside, which is then not seen out in how they act. A useful reminder that we must be relevant and consistent. Back to script in a second but just wanted to agree with this.

So long as it adds something then it is more than just an aside. I completely agree on them not being done properly and equally with the thing on OTT descriptions that later don't relate to the character at all.

Quoted from Reef Dreamer Now to script. I think everyone should be forced to write a rom com, and comedy. They present different challenges that often rise and fall on the emotions we feel. The ultimate challenge to a writer to convey.

Completely agree.

Quoted Text This is sound and being contained has a decent chance of being filmed, but a tad like the Col - above - I feel this could be fleshed out without going on too long. It's a choice thing.

Yeah. It is.

Quoted Text First off, he left her, in a self adventure. She's been left to age, alone it seems, he's young and fit. She's not. How would you feel about seeing your ex as a granny??

I don't feel that my feelings on this count for anything. This isn't autobiographical. When I write characters I don't base them upon myself. If I saw my ex as a granny it wouldn't bother me at all, aside from wondering what I ever saw in her.

Quoted Text So my thoughts; 1) she's a tad angry - remember she's a tough old bird. Why she's going to get mushy straight up. Go on have her hit him with the stick.

Ew, no.

Quoted Text 2) tells him to fuck off on his sofa

No. I hate that idea. There isn't a sofa.

Quoted Text Ps I quite like the idea he has seen her many time, but never got close enough, the sofa never landed in the right place.

Hate that idea too.

Quoted Text She recalls being waved to a few times, say in the park, supermarket etc - so he's the weirdo. But it gives weight to his desire to see her again.

No way.

Quoted Text 3) he sits down doesn't leave. He laments his travels, loneliness

He doesn't have time.

Quoted Text 4) this strikes a nerve with her - she's been lonely. If only they had found a way to stay together. Both agree.

They haven't split up for a trial period. He's been lost in time. I'm not sure how they could possibly have found a way to stay together.

Quoted Text 5) she opens up - age stinks, don't blame him for this, just wish she could have come along

She doesn't blame him.

Quoted Text 6) he ages before her eyes - they are now less different, both physically and mentally

This already happens in the script.

Quoted Text 7) then as you have written - although I would make a stronger reference to the day they met in xyz year, so that when she re dial see definitely know she's off to see him.

I disagree. Where else is she going to be going, given the context?

Quoted Text A way to be together after all.

There is already a way that they can stay together forever. They simply have to meet up and travel together from then onwards. The option is already there and I'd rather leave possible scenarios to play out in the viewer's head than sign post everything.

Quoted Text What I find with time travel scripts is that underlying this is a usual thread of cheating life. Because you nicely bring in the acceleration process, this ties in well to this type of theme. If you try to escape, like a drug, there is a price to pay. But, for her...what price...she's paid the price. Nice reversal of theme. Best of luck with this.

Thanks, mate.

Quoted Text Re the format - we all know you like the way you do things. I appreciate the desire to do as you feel works, but on occasions it may be worth remembering the format. Re the flashback I get what you wanted to do, get, but it was then 'unclear' to me whether this was an aside of character or a visual scene. A slower read may show this more clearly, but then we all have to write for readers in a rush. All the best.

I don't write for readers in a rush. Everything that needs to be there is within this story already. If people don't get it, then just ask a friend... because they probably will. I honestly don't care about the clarity on whether it is an aside or a flashback. I'm pretty positive that it is obvious what it is. I'll be straight too in that I believe the confusion from very few writers is because they simply don't like the way it is formatted, so feign confusion believing they are speaking for other readers. Although doing it for my best interests, and I do appreciate it, I don't feel that it is confusing at all.

Thanks for the read and sharing your thoughts. Even if I don't agree now, it doesn't mean that I won't in the future. Plenty to think on and I'll more carefully consider what you've said over the next few days, or weeks, even.

Much appreciated, mate.

Quoted from DS Reminds me of Safety Not Guaranteed. Nice script, interesting to see you do romance. Nothing really to say that hasn't already been said, maybe just that the visual of eyes rotting and bones crumbling feels kind of out of place in an otherwise gentle romantic tale. The logline still looks wank to me, though. "discovers an old flame in her shed" sounds both weird and vague.

I've never seen that. I'll have to check it out one day as it gets a 7 on IMDb. I usually like films that score a 7. Unless they're those artificially inflated Oscar-winners. I try to avoid those.

You can't have romance without rotting flesh and bones turning to dust. What sort of romance would that be? Aside from one without rotting flesh and powdered bone?

The logline I made up on the spot when it came time to upload, like I always do. Some people like to write loglines, I like to write stories. It's meant to sound a little weird. I'm sure discovering an old flame in your shed is not the usual place to discover them. Vague, because it's only a short and I don't want to give too much away. I like to be deliberately vague. Stops people knowing exactly what's going to happen. So it's a surprise.

Thanks for the read and your thoughts on my lack of logline writing ability.

Come to think of it, when was the last time we had a story from you? Be nice to see something new.

Much appreciated, mate.

Quoted from rendevous Minor quibble, but I don't think you need the parenthetical there. As nine out of ten would suss it anyway.

I thought that too, quite a few times but ended up leaving it in. I liken it to needing a piss but not being arsed to walk all the way to the toilet, so sitting and suffering instead.

Quoted Text This reminded me of Mike Leigh. Which in my book is very good indeed. I think it's rather good. Doddle to film, with the right fx. Good luck with that. Mind you, you could just change the actor and keep the original's voice.

Thank you.

Quoted Text Smelling the jacket brought back Brokeback Mountain and American Beauty, it would be a very nice scene indeed.

I'm probably missing out, but I've never seen either of those. I wouldn't be able to watch two guys getting it on. Not that there's anything wrong with that for anyone else. It's just not something I could watch. And, I don't really do romance anyway (just ask my gf), so I especially wouldn't want to watch two blokes going at it. I'd snigger like the small-minded juvenile I am.

Quoted Text It's a good end too. You're getting rather good at this, Dustin. Well done. Keep it up, fella. R

Thank you very much.

Safety Not Gauranteed is a good indie flick, funny a little different with a sweet and poignant ending, very much like this script!

Director went straight from this to Jurassic World... talk about upgrade!