I've been perusing my extensive soundtrack collection and have gotten really excited about a few different prospects for composers that really hit home for this piece. So far I'm super psyched about Danny Elfman a la "Milk" (light, positive despite minor blends etc) and Nico Muhly (works in "The Reader", dark but full and satisfying). I'm also tinkering with Kerry Muzzey, but his stuff is fairly soft and there's no real positive swell in his work.
Overall I'm still open to suggestion, though. Because there's no dialogue (the entire column on the script document is just "X") the music has to speak volumes for the scenes. I can see it being a confusing piece on mute, which is dangerous territory... but the result WITH the music when I've shown the tests to a couple of my fellow SCAD-y's has been 100% positive.
I finished rough digital scene 1 storyboards and started on 2-3, but I'm not happy with how digital looks (not loose enough). I'm going to go back and re-do all the scenes in pencil and scan in to tone. I laid out the big introductive pan in blocking and mapped out the character path. So the foundations are all there for me to go ahead and do background work for scenes 1-5, since they're flat backgrounds. I'm just scared of digital painting because I haven't done it in so long.
OK, honesty time... I really haven't opened Flash since last class. Its just so scary!! I had it explained to me very briefly, but to be perfectly honest I'm hoping to spend all the time I can in programs I already understand (photoshop, mostly). I could have knocked out the first few tutorials, but since I do need the extra help I opted to do it with the class so I can learn from the ground up exactly how to do this thing.
Also, I'm going to be perfectly frank and say that I'm having trouble with the characters in all their poses. I'm having problems reconciling the 'pudgy' style I'm going for with the movement of a rat. I haven't done pencil tests yet, but i think a lot of this will rely on my life drawing (and lots of it). So we'll see... we'll see.