After abandoning adoptive grandparents who later do not survive a crime he feels he instigated, a Texas senior must defeat hometown demons that follow him on his journey to find a place he can safely call home.
Roberto AltoLogliner
After abandoning adoptive grandparents who later do not survive a crime he feels he instigated, a Texas senior must defeat hometown demons that follow him on his journey to find a place he can safely call home.
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>>>must defeat hometown demons
How literally is this to be taken? ?Is he being followed by the person who murdered his grandparents? ? Or is he being pursued by his own feelings of guilt?
Whatever, the logline seems to be about a character driving the vehicle of the plot by constantly looking in the rear view mirror –by looking backwards to the past. ?Or fixing his attention on instrument panel of his feelings — rather than fixing his eyes ahead on the road to reach a postiive, specific objective.
Likewise, a ?logline should always have its eyes on the road looking forward, looking toward, focused on a specific destination — not back to the past, or inward to some subjective problem.
Where is this character going? ?IOW: what is his specific, objective goal?
Thank you! This is a great response. I would like to represent the “hometown demons” in the story as a character who keeps appearing. Yes, someone who represents his own feelings of guilt and fear for the town and family he abandoned. I’d like to write the character in as a person – antagonist – who later is revealed as a figment of his imagination. The protagonist is always looking forward, but I want to set up a situation that when references to the past come up, the antagonist emerges too, but by the latter half this doesn’t happen as much, indicating he is no longer burdened by these feelings and he is straight on devoted to attaining his goal, which is to find a place he can call home – a place with permanence and friendships that he can feel loyal to. I like your reference to looking in the rear view mirror because this is a highway-based story.
In the story, some of the characters that surround his new home include an elderly man and an elderly woman – giving him an opportunity to have older souls enter his life?- perhaps a redemptive move on his part to make up for the perfect life he was not able to have with his adoptive grandparents.
The backstory is that his parents were killed (car accident) when he was very young, and his grandparents stepped in when he was 6 and took over the parenting. It all goes sour his senior year, and he is forced to leave home. A few attempts to establish a home life after that – when he’s on the run trying to plant roots – make his urge to claim a place as “home” stronger toward the end of the story.
Singularity, I don’t know what I can do to the log line to express what I just wrote – should I say the guy is a figment of his imagination?
Robert Alto:
For the purpose of discussion, is this “demon” a figment?
My point is that a logline should frame the action in terms of what the character is running toward — not running away from. ?What he wants to achieve and/or get — aka: ?his Biggest Dream. ?Not the Biggest Nightmare he’s fleeing from.
Nurse Betty runs toward her Biggest Dream. ?It’s a foolish dream, a delusion, but in the context of the film, it’s her Biggest Dream, the objective goal she wants more than anything else and is willing to do anything, to risk all to get.
What is your character’s Biggest Dream? ?In the context of the film, what does he want to achieve more than anything else? ?What is he willing to risk all to get?
>>>a place he can call home
How will he know when he’s found a place he can call home? ?(Or thinks he can call home only to eventually realize….)?How will the audience know when he thinks he’s found a place he can call home? IOW: what’s the visual for his Biggest Dream?
Film is a visual medium. ?Which means there has to be a visual object a visualized event to every plot beat. ?What is the visual for “finding a place called home”? ?What does that scene look like?