After blowing his investor’s money in one drunken night, a socially awkward college student struggles to produce a movie with no budget or risk being found out.
Categories: Drama
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13 reviews
For coming of age, usually there are more than two points or episodes or there's one episode/story with multiple moments. But if the story remains mostly as is, something stronger still needs to connect the parts and the two parts should be stated. For example (and not trying to make it perfect):
In the shadow of his famous father, a? student director must make a million-dollar movie after blowing an investor's money and then struggles with the fame after its unlikely success.
The thing about finding himself is that someone in a creative field usually knows that he's creative. That's why things were shifted with the father to make it more specific.
If he remains a student, then it's not the same as an indie film. Though why is he a student when someone invests in him? Could this be his first project after school?
Aidan Soguero
>>>The unifying concept, and you might diss this for being cliche as well because it kind of is, is this characters coming-of-age.
On the contrary, I can see this as a coming of age story and I respect the genre. (I'm writing one myself.) Coming of age stories are about (among other things) a loss of innocence, a protagonist who learns a bitter truth about life.
Re: "Man on Fire":
The film is a good example of a story with a strong midpoint reversal. Even so, it's really one unified plot in terms of the emotional arc. And the mercenary's objective goal: his job is to protect the young girl, keep her alive.
Also, as I suggest in my comment on a logline for the film, the emotional and thematic subtext -- she has saved his life; now he must save hers --supercharges the film with an emotional current that raises it above being merely an action-thriller or flawed-hero-to-the-rescue film. The audience is all-in, completely invested emotionally in the struggle, rooting for, wanting the mercenary to rescue the girl.
What is there in your story that will get the audience emotionally invested? in the young man's struggle? To achieve what overarching objective goal?
Aidan Soguero
>>>The unifying concept, and you might diss this for being cliche as well because it kind of is, is this characters coming-of-age.
On the contrary, I can see this as a coming of age story and I respect the genre. (I'm writing one myself.) Coming of age stories are about (among other things) a loss of innocence, a protagonist who learns a bitter truth about life.
Re: "Man on Fire":
The film is a good example of a story with a strong midpoint reversal. Even so, it's really one unified plot in terms of the emotional arc. And the mercenary's objective goal: his job is to protect the young girl, keep her alive.
Also, as I suggest in my comment on a logline for the film, the emotional and thematic subtext -- she has saved his life; now he must save hers --supercharges the film with an emotional current that raises it above being merely an action-thriller or flawed-hero-to-the-rescue film. The audience is all-in, completely invested emotionally in the struggle, rooting for, wanting the mercenary to rescue the girl.
What is there in your story that will get the audience emotionally invested? in the young man's struggle? To achieve what overarching objective goal?