Returning to the first draft
From a recent NYT profile of Clint Eastwood:
Some directors are known as an actor’s best friend. Mr. Eastwood may be the writer’s. “He didn’t change a word,” Mr. Schenk said. “That never happens.”
Mr. Eastwood said he learned his lesson after making extensive revisions on the script for “Unforgiven,” then calling up the writer, David Peoples, and announcing he was returning to the first draft. “I’m emasculating this thing,” he told Mr. Peoples.
I enjoy listening to demos of successful/good gospel songs when I can, and there are a handful of cases in which I hear the demo, compare it to the recorded cut and think some version of this very thought: shoulda returned to the first draft.
Update: Reader j-mo asks for an example. Good question! One answer: “Yesterday’s Bread.” It’s one of those demos that uses better and more famous singers (in this case the omnitalented Terry Franklin, holding down three different parts) than the recorded cut (Karen Harding). Harding’s rendition wasn’t bad but hearing Franklin’s version, you realize how much more the song can be when it’s conceived of and arranged as a southern gospel song - which is to say, built around close harmonies - than as a vehicle for a gospel soloist.Email this Post