I suppose it’s a good sign that, with so many exciting films coming out in the next couple of years, one might forget about a new mindtrip from Charlie Kaufman. The genius behind Adaptation and Eternal Sunshine has already pulled in Nicolas Cage, Jack Black, Steve Carell, and maybe Kevin James for a musical that’s centers on a director fighting with a film blogger. (Oh, hell0.) Other than some surface news, substantial plot information hasn’t been divulged — but that’s probably for the better; his movies benefit from surprise.

That’s just changed, though, since Kaufman was interviewed by Time Out London about Francis. Sharing what we can expect, as well as his process for pulling the screenplay together, he said that it’s “got a lot of scenes and a lot of characters” with a scope that’s “very, very large.” He further explained with the following:

“In the broadest possible sense, it’s about online film criticism, but as usual, the world that I’m writing about is not necessarily the world that I’m writing about. It’s just a place to set it. There’s a lot in there about the internet and anger: cultural, societal and individual anger. And isolation in this particular age we live in. And competition: it’s about the idea of people in this world wanting to be seen. I hate to use the word “about”, as it implies that what I’m doing is an analogy and that I’m trying to say something. I’m not. That’s for the audience to do.”

Those last few sentences seem to be a rule that Kaufman works by — he basically gives the same explanation for Synecdoche, New York. Although I would argue that he’s being coy and that his movies are often about specific things, the man behind them might disagree; I don’t want to dispute him.

If you still want to know more about the script, good news: ThePlaylist managed to get their hands on it, and they’ve been kind enough to share some finer points (but without spoiling anything). They claim that it’s a “sprawling, super ambitious and hyper meta-textual” project, while also managing to be “hilarious, completely bizarre, multi-layered, [and] dense.” It takes on bloggers, directors, members of PR, other groups of the film industry, and dealing a “a jiujitsu-like takedown” of the Academy Awards.

The story follows three characters: Frank Arder (Carell), Francis (Cage), and Alan Modell (Black). The first is a director whose film You was nominated for 29 Oscars, possibly due in part to him having the part of “every character in the film including women and children and characters of many races including African Americans.” Francis, meanwhile, is actually a “film-blog commenter” who’s attained some fandom through his treatment of Hollywood. Still with us? The last lead, Modell, is an Oscar host making a living by starring in the “wildly popular, immensely moronic” film series called Fat Dad. The titular characters have love interests that “are super integral to the script,” and there’s also something with “two talking ghost-like thumbs who have a Romanian political agenda.”

The previously-reported-on robot head is named Robert, or Richard’s Head; he was made by a director, Jonathan Waller, who wants to find a Best Picture winner after his hopeful fails to grab the prize. By culling parts of every great script, it creates “one super-perfect script called, God.”

Singing comes into play for no discernible reason, with “half the dialogue” being communicated in this fashion. Add in the meta portion, with “movies within movies of movies,” as well as “credits for “Frank Or Francis” run[ning] in parallel to credits for other films on screen,” and I’m already baffled — but incredibly excited. Someone, please, make this and make this right away.

How does Frank or Francis sound to you? Are you also scratching your head at these descriptions?