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?A cop and his K-9 companion unintentionally hijack a billion dollar drug shipment from a ruthless cartel that will stop at nothing to get it back.
Can you strip your concept down to a hook, the "secret sauce" that differentiates your story from all the other cop versus drug lords movies that have already been made? ?As I presume you are all too well aware, there is a surfeit of them. (The last one to impress me was "Sicarrio")Which triggers meRead more
Can you strip your concept down to a hook, the “secret sauce” that differentiates your story from all the other cop versus drug lords movies that have already been made? ?As I presume you are all too well aware, there is a surfeit of them. (The last one to impress me was “Sicarrio”)
Which triggers me to ask: have you thought of making the cop a kick-ass female, reverse the rescue role: she has to save her boyfriend?
(When I reversed roles on a cop story I’ve been working on — don’t worry it’s not about drug lords or drug dealing — made the protagonist a female, the story just exploded with new possibilities. ?Possibilities that worked so much better for a female protagonist. fwiw.)
See lessan uber driver struggles to survive after he picked up a judge who followed by a terrorist wanted to kill him.
>>> struggles to surviveHis goal is only to survive? ?I don't think that is good enough to sell the concept, make someone want to read the script, make the movie. ?Particularly as the story will inevitably be compared to the movie?"Collateral" (2004).IMHO, the implicit promise of the premisRead more
>>> struggles to survive
His goal is only to survive? ?I don’t think that is good enough to sell the concept, make someone want to read the script, make the movie. ?Particularly as the story will inevitably be compared to the movie?“Collateral” (2004).
IMHO, the implicit promise of the premise needs to be that the an ordinary guy must rise to the occasion and do extraordinary deeds, a timid schmuck must become a brave hero to save the stake characters, the terrorist’s target victims. ?Nothing less will get the script read, the movie made.
See lessan uber driver finds his next trip with a young terrorist who wants to explode a bomb in specific place. attempt two
And then...?It is not sufficient for a logline to describe the dramatic problem. ?It must also state what the protagonist must do about it.We know what the terrorist wants to do. ?What must the Uber driver, the protagonist, need to do?And it's better to specify the "specific place" -- the logline neRead more
And then…?
It is not sufficient for a logline to describe the dramatic problem. ?It must also state what the protagonist must do about it.
We know what the terrorist wants to do. ?What must the Uber driver, the protagonist, need to do?
And it’s better to specify the “specific place” — the logline needs to name the target.
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