An emotionally-stunted, apathetic playboy learns to grieve his father’s death and appreciate life from a terminally ill woman, who loves life.

thedarkhorse:

The standard m.o. for "smuggling in " in subjective needs is via the character flaw.? The character flaw is worked out in the process of struggling for the objective goal (OG).? If there's no OG than then there's no process for working out the subjective need.

Another way, I look at it is that the objective goal is the gimmick to draw viewers in, get them to invest their time in watching the movie.? The subjective need is the gimmick for the emotional catharsis/pay off that will leave them feeling their time and money was well spent.

(The working out of the subjective problem may be the story hook for the writer, what draw him into investing blood, sweat and rejection in writing the script.? Which seems to be the case for several of the loglines, you've posted.? It is certainly the case with my kidney transplant story.? But, again, when it comes to hooking producer interest into shooting the script, I opine what matters more is the objective goal.)

The OG in Citizen Kane is to find out the meaning of Kane's dying word.? Who was Rosebud?? The reporter's search for the answer to that question is the framing device for the whole picture.?? Without that objective goal, Citizen Kane isn't a plot; it's a string of pearls, scenes from the life of supremely ambitious man.

I don't think there needs to be a dilemma in regards to the two loglines.? A writer needs to do write both.? One to frame the plot for writing the script, the 2nd one to pitch the finished script.? I wish the site encouraged and supported posting both versions.? But...

regards

thedarkhorse:

The standard m.o. for "smuggling in " in subjective needs is via the character flaw.? The character flaw is worked out in the process of struggling for the objective goal (OG).? If there's no OG than then there's no process for working out the subjective need.

Another way, I look at it is that the objective goal is the gimmick to draw viewers in, get them to invest their time in watching the movie.? The subjective need is the gimmick for the emotional catharsis/pay off that will leave them feeling their time and money was well spent.

(The working out of the subjective problem may be the story hook for the writer, what draw him into investing blood, sweat and rejection in writing the script.? Which seems to be the case for several of the loglines, you've posted.? It is certainly the case with my kidney transplant story.? But, again, when it comes to hooking producer interest into shooting the script, I opine what matters more is the objective goal.)

The OG in Citizen Kane is to find out the meaning of Kane's dying word.? Who was Rosebud?? The reporter's search for the answer to that question is the framing device for the whole picture.?? Without that objective goal, Citizen Kane isn't a plot; it's a string of pearls, scenes from the life of supremely ambitious man.

I don't think there needs to be a dilemma in regards to the two loglines.? A writer needs to do write both.? One to frame the plot for writing the script, the 2nd one to pitch the finished script.? I wish the site encouraged and supported posting both versions.? But...

regards

DPG:

My apologies for a late response. Thank you for a detailed response.

Perhaps you can't mention it in the logline. The real objective/throughline/whatever you want to call it is camouflaged? Smuggled in.

How about Citizen Kane? There Will Be Blood. I mean - both of those objectives funnel down to a subjective need. This makes me think of the two loglines dilemma. One that you use for you. And one you tart up and sell to people.

The latter you'd probably keep objective. The first one - perhaps keep in the character's super-objective? What does he/she really want.