Movie Update: “Bonefish” (The Galloping Ghost of Bimini)

Due to what I perceived to be highly questionable ethical, moral, and business decisions by the producers who secured this project under what I came to believe were false pretenses, I have regained all film rights from Eaton Square Ltd. (T. Beauregard Rogers IV and Rick Daniels), who had partnered with Foxfield Entertainment, who refused 10 requests to see their secret rewrite.

Filming was scheduled to begin in April and run for thirty days. Most of “Bonefish!” was to be shot on Bimini, a tiny Bahamian island 50 miles east of Ft. Lauderdale. While close geographically, Bimini is light years from the mainland in every conceivable way. It remains light years from the big screen, as the two production companies secretly conspired to shoot virtually everything in Puerto Rico.

This story first came to life as a romantic comedy novel I wrote eleven years ago. It was very well received by critics and fans and two print editions — hardback and softback — sold out. Bahamian film minister Craig Woods was a big fan and never let the story off his radar chart.

At that time I did not write screenplays, so being able to circle back and adapt it for the big screen has been  inspiring. Craig’s loyal friendship and interest was a big reason I revisited the island last summer with my daughter Gracie to see what had changed and visualize the adaptation.

Both novel and film revolve around Bonefish, a stubborn but otherwise ordinary gray horse, who insists on living life his way. Because of that, he ends up changing the lives of people in three countries in book, two in the film adaptation.

Like most of my work “Bonefish!” is a multicultural ensemble story with a happy ending. Stories are how I speak to the world and my message is quite consistent: Everyone, please, let’s get along. Let’s help each other be happy.

In the film’s script adaptation, Bonefish is a galvanizing connector between the locals and those new to the island who are aggressively creating change. The film very much reflects what is going on now in this tiny island of 1,600 people. Much has changed in the 11 years since I first told the tale. The pace of change is dramatically accelerated.

I loved the 12 Miles to Paradise novel and have always missed the characters very much. Characters are real to me — they are my friends — so bringing Bonefish back for a silver screen encore will create an extraordinary feeling of happiness. For many reasons totally unrelated to money, I can hardly wait for filming to begin.

Because the screenplay is updated to today’s issues, the movie is based on the book but is not a literal adaptation. The film is a family feature, a coming of age story, with many comedic moments.

This film project, for me, has always been a labor of love. I first visited to Bimini in 1992 and have returned many times since, strengthening cherished friendships for more than twenty years.

Every story I write attempts to teach readers or audiences something, and I believe that all good stories are accurate snapshots in time. This film reflects life in Bimini today, and will feature a couple remarkable people whose lives are anonymous to the unknowing but men who will stand taller than giants once their fascinating stories are told.

When nothing Eaton Square and Foxfield Entertainment did seemed high road or ethical to me, I had little choice but to hire an attorney to make sure my rights were protected and the film was not made.

Bringing a film like “Bonefish!” from concept to screen involves many steps along creation’s way:

1. The story is first. Without great characters a director cannot tell a great story. The story drives everything — from funding to talent. It is my job to give the director more than enough to make the film we all want to make, and a casting agent a roster of characters that good actors want to play.
2. Having producers jump aboard is second. Eaton Square and I also divorced after I learned of their behavioral and ethical chicanery surrounding their option of my original screenplay “The Raven of St. James’s Park,” a London-based romantic comedy I thought would be shot this summer. Eaton Square cannot be trusted, so I am glad they are gone. Foxfield Entertainment proved no better; and I’m glad they’re gone too.
3. Once you have the story and producers, the next thing you need is a budget the creative team can live with and the millions it takes to make it. The budget must cover all production elements, plus pay the talent you hope to hire. I have got a great team behind me. They have shared the vision and raised the money. While Eaton Square and Foxfield represent the dark side of my producing interactions, I have also met many ethical men and women. Like any business where money is at stake, you will deal with good guys and bad guys. I am proof.
4. Once you have the money and the film is viable, the team divides responsibilities. You have to chase contracts and crews, sort out logistics, get price quotes, props, and caterers — a million details you’d never think existed. Bimini also presents a unique challenge in that it is seven miles long but less than 700 feet wide. Home to only 1,600 or so, its infrastructure is not designed to absorb the schedules and demands of 120+ hungry crew, nor block off roads when only two run north and south. Crossroads between the two are shorter than a decent arm can throw a baseball. I hope some day to make the film there — where it belongs. Until that day I’ll bide my time and search for a more ethical bunch with which to do business.
5. The actual shooting of the film — “Bonefish!” was planned for thirty days — is one of the shortest steps. Since most of the film will be shot outdoors, bad weather can cause delays, idle crew, and burn precious cash. Shooting schedules must try to anticipate these with outdoor/indoor adaptation Plans A and B.
6. Once the footage is shot, the crew and actors leave and the work moves indoors to post-production. The editor and director make decisions, select the scenes they want, and cobble the film together. After that come the sound, music, color, soundtrack and rough cut screenings. In our case it will probably be the director’s call on final cut.
7. Film in hand, then it’s time for distribution. “Bonefish!” is a fun film with mainstream appeal that tells a great story backdropped by beautiful scenery. The story is universal and the shooting venues picturesque, so we hope “Bonefish!” is deemd to be a film with global appeal. Global distribution maximizes revenues, which makes everyone happy — especially the investors. Integrity in financial management is key too. Eaton Square deadbeated me out of nearly two grand in expenses but it remains a small price to pay for the lessons I learned about dealing with them. I did not trust these men and never will, nor would I left a friend trust them with money.

I will do my best to keep you updated with future announcements and hope some day the film gets made. But we will do it right or not at all.

In the meantime, if you have any questions — feel free to send them along. I will do my best to answer whatever you may be curious above. If you are a screenwriter with questions about working with Eaton Square Ltd. or Foxfield Entertainment, I encourage you to connect so we can discuss my experiences by phone.

Thank you for continuing to support my work.