I have a simple question about one script I’m currently working on:
it has 10 short stories all based in Greece in different cities and areas.
Maybe you know the movies “New York, I love you” and “Paris, je t’aime”.
Basically, it is such a script, but located in Greece.
Do you think this type of script is marketable in any way?
And should I write one logline for the whole script or 10 different ones for each story? Thank you for your help in advance! Savas
savinh0Samurai
I have a simple question about one script I’m currently working on: it has 10 short stories all based in Greece in different cities and areas. Maybe you know the movies “New York, I love you” and “Paris, je t’aime”. Basically, it is such a script, but located in Greece. Do you think this type of script is marketable in any way? And should I write one logline for the whole script or 10 different ones for each story? Thank you for your help in advance! Savas
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Are they interconnected? Do they share characters, genres, all in the same universe? If not, it would likely be easier to sell them all on their on merit, as separate short films. For marketability, all I can say is that it would be easier to get it made if you had some experience, a presence in the business. Tarantino’s Pulp Fiction wasn’t his first film, and it is different than what typical movie is like, the way it focuses on different characters and plotlines.
As for a logline, more specifics would help to determine how to best craft one.
Not sure what’s truly “marketable” or not, but I personally would never have the attention span to sit through 10 shorts in a row, nor would I believe the avg public would either.
As a writer, I view shorts as a way to practice scene writing and also for filmmakers to build a resume and break into the business.
But that’s just my opinion.
I think Foxtrot makes a good point with the attention span. Especially if they aren’t connected and cohesive. Basically ,why does this one script have 10 separate stories? Does it need to? Why not make one story into a full film, or make 10 separate films? ?I’m not sure if it would be marketable to do it this way.
one of the story ideas I had was about a comet that was about to hit the earth. At the last moment when the earth is about to be destroyed, The comet vanishes.
In the aftermath there is a series of stories about people, who thinking they were about to die, did something out of character.
Now that they are still alive they must live with the things they did.
The story line that was the glue, was about a preacher who in the moment the thought him and his family were going to die, cursed God.
He is now helping the people who are struggling with the things they have done. but he himself is struggling with his faith.
In my logline attempt. I concentrated on his story line. The story line that was the glue that held all the other stories together.
After the humongous planet destroying meteor vanishes from the sky right before impacting Earth, a troubled priest must help his congregation recover while dealing with the fact, at the moment the destruction of the earth was eminent he denied God.
This was what I wrote (And got good constructive feedback on.
If you have an main story line that is the glue that holds all the other stories together I would concentrate on that for the logline.
The more time I spend on this site and a few helpful others, the more I’ve come to realize that the plight of your characters (1-5 max, maybe less) is what really makes an audience relate to your story.
Therefore, your logline should setup what ME (the audience member watching your movie) shall experience when I enter your story as one of your characters. Humans want to see how other humans handle shit and then imagine how they might react in similar situations.
What you have here:
After the humongous planet destroying meteor vanishes from the sky right before impacting Earth, a troubled priest must help his congregation recover while dealing with the fact, at the moment the destruction of the earth was eminent he denied God.
establishes an idea, but not so much the task at hand. ?So, right up to a troubled priest is good, but now your main character’s obstacle needs to clearly shine through right up until the 3rd act resolve. Leaving that out will hook us into seeing the thing.
So, what is the big stake and goal for this priest. It should be to reaffirm his congregation’s fate in God, no? Recovering is not enough. Given time, most people usually do recover from things. What must he accomplish before the curtain drops?
Sound advice from Richiev and Foxtrot25.
To which I would add: ?writing a short story is a solo endeavor. ?All it takes is one person get it written. ?(Published is another matter — but these days there’s always the web.)
Making a film is a collaborative endeavor. ?It requires the effort and talent of many people. ?When we ask the question: “What’s the hook in the logline?” we are asking: “What is there about the concept that will act as a magnet to attract the talent, the producers, director, actors, oh, and money, to make a film of the script?”
So what is there about your concept that you think makes it a talent and money magnet?
Whatever, it is build the logline around that feature — the hook, the talent magnet.
If, as Richiev pointed out, you have a framing device to hold all the stories together, you could structure a series out of it. Otherwise, most films that follow the paradigm you’re proposing were not commercial successes and were made more as vanity projects as a result of industry insiders having access to the necessary resources.
Why not pick the most interesting short films in your pool of 10 and work on them. Once you’re able to get a short film, or two, right then move on to working on long form projects.
I’ve tried my hand at this sort of script a couple of times before, and putting it into a simple traditional “logline” is not easy at all. DO a search for “Woodstock” on his site and you’ll find my attempts, which had some great feedback on it. Basically, you need to find the overarching theme and try to work something around that.
As for it being “marketable”, it will be if you can find the ensemble cast to back it up. If not, it’s not easy. Hope it work out, and hope this helps!