Well what...?

Well a long time between posts. It can be explained by a combination of frustration and despondency and a lack of anything substantial to say.
When I last posted I was preparing to go into a studio to begin sound design. That never happened, and today I am preparing to search for a new sound designer. No great surprise that when you begin post-production you are inevitably at the mercy of other people's schedules and decisions.
More than six months later the only progress that has been made is some revisions to the edit, and finally, after a long wait, the music has been added. But I cannot say that I am unhappy. When I showed the revised edit to Lukas (he assisted JC on many occasions) this past Thursday I was filled with a new confidence. The music and the changes have made a substantial difference to the film. I have a new clarity towards the whole film, and the direction I need to take.
All along people have suggested that what I really needed was an editor, and I agree. I know for a fact that the film would've been better, and better faster (though I will say editing it myself has meant that I learned an invaluable amount about writing, directing, and creating a film). The problem, where to find this editor? I needed someone who was experienced, and experienced of unconventional narratives. In both cases such a person would be hard to find, and when found would invariably be busy or expensive or both.
So now looking at the edit? The music has made the future direction of the sound design very clear, which was one of the reasons I waited for Joakim to get me the music before I began the search. I feel so much clearer about it so many ways that, the technical issues aside, I feel I could do it myself. I am actually quite keen to go out in the world and begin to collect sounds and then start layering them into the edit.
And showing it to Lukas, (who make a lot of good comments, but one stood out above all, which is that there was a clear contradiction between a loose abstract structure and certain well-constructed scenes, and why...? This meant in the revisions I began to look for ways I could loosen up these well-constructed scenes, to deconstruct them) another way out of the editor dilemma...which is to find an editor, or even two or three to provide some paper edits, after viewing over a day, which I could use to finalise the edit. Hence the time commitment and costs would be less of a problem. And considering where we are at with the film, that is closer to completion than at the beginning, how much interest would an editor have in the film anyway?
So some revisions to the edit, some revisions to the music, which Joakim has promised to deliver by the end of the week, and then the two-pronged search begins.