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When a single and aspiring journalist is denied access to the diaries of a missing professor, he embarks on a fateful journey, accompanied by his editor, to solve the mystery.
What are the stakes? What is to be gained by solving the mystery? What is to be lost by failing to solve the mystery? Why should a viewer be curious and care about the outcome of the 'fateful journey'?
What are the stakes? What is to be gained by solving the mystery? What is to be lost by failing to solve the mystery? Why should a viewer be curious and care about the outcome of the ‘fateful journey’?
See lessWhen the Germans discover nuclear fission, a troubled American physicist must race against the clock to detonate an atom bomb, but when his loyalty is questioned, he must fight a rigged tribunal to have his security clearance reinstated.
>>When tasked with ending World War II. The logline should include an explicit statement of the urgency (with implied stakes). The explicit urgency was a race against time to develop an atom bomb before the Nazis. The implied stakes: whoever won the race would win the war. Also, the plot is baRead more
>>When tasked with ending World War II.
The logline should include an explicit statement of the urgency (with implied stakes). The explicit urgency was a race against time to develop an atom bomb before the Nazis. The implied stakes: whoever won the race would win the war.
Also, the plot is based on real historical events during World War II, specifically the Manhattan Project. So this is an exception to the general rule that a logline should not name the protagonist. In this instance, it is OK, even necessary to name the historical character (J. Robert Oppenheimer) involved in the historical event.
And equally as important, his role: Oppenheimer wasn’t just a “visionary physicist”; he was tapped to perform in the central role of the plot as the director of the Manhattan Project.
See lessIn the early 1960s, a young mother’s anxiety makes her suspicious of everyone, even her 11 year-old son, who takes on a mission to heal her by making her laugh.
I love the idea. Can you rewrite the logline by focusing more on the main character (the son)? What specific event made him decide to take action? And given that healing is a process, what is the specific point the audience will be looking forward to, i.e. what will indicate that he is successful? MRead more
I love the idea. Can you rewrite the logline by focusing more on the main character (the son)? What specific event made him decide to take action? And given that healing is a process, what is the specific point the audience will be looking forward to, i.e. what will indicate that he is successful? Most great story concepts allow us to visualise what a positive outcome would look like.
Am I assuming right that this is to be a comedy?
Where will the comedy come from? Because anxiety is not funny… and if we’re going to make the mother laugh, the situations better be funny to the audience, too.
Those are few off-the-cough thoughts. I hope this is helpful!
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