The story of the radical writer John Reed, eye-witness to the Russian revolution, the only American to be buried in the Kremlin.

Very insightful. You're right, this parallels greatly with my current script about Roger Baldwin, and thinking in terms of the hook versus the plot could very well lead to more effective pitching.

Wind:

Good question.? I suggest that loglines posted? as "Examples" are a special case,? an exception to the general rule that all? loglines should be posted based upon? "The Formula".? ?Loglines in this category are not in the same class as loglines for spec scripts.? "Examples" loglines? are for scripts that are done deals, that have already been made into movies.? I think the more important factor to consider in writing loglines for done deals is the story hook.? What was the unique selling point, the "plus factor" that got the script read and sold, the movie made?

It may be that one version of a logline can do both? jobs.? But I have come to the conclusion based upon my own analysis of loglines? (over 850 to date), that is not always the case.

Such was not the case with "Reds".? The? hook that got Warren Beatty interested in John Reed, the hook he used to pitch the project was that? the main character, an American radical, was buried in the Kremlin.

And "Reds" is a special case of the special case.? Only someone with Warren Beatty's charm,? network (he was on a first name basis with all the power players) and star status could have gotten the? script sold, the movie made. An aspiring wanna writer with no agent,? zero industry contacts could not have done it.? Don't try this at home!

Wind:

Good question.? I suggest that loglines posted? as "Examples" are a special case,? an exception to the general rule that all? loglines should be posted based upon? "The Formula".? ?Loglines in this category are not in the same class as loglines for spec scripts.? "Examples" loglines? are for scripts that are done deals, that have already been made into movies.? I think the more important factor to consider in writing loglines for done deals is the story hook.? What was the unique selling point, the "plus factor" that got the script read and sold, the movie made?

It may be that one version of a logline can do both? jobs.? But I have come to the conclusion based upon my own analysis of loglines? (over 850 to date), that is not always the case.

Such was not the case with "Reds".? The? hook that got Warren Beatty interested in John Reed, the hook he used to pitch the project was that? the main character, an American radical, was buried in the Kremlin.

And "Reds" is a special case of the special case.? Only someone with Warren Beatty's charm,? network (he was on a first name basis with all the power players) and star status could have gotten the? script sold, the movie made. An aspiring wanna writer with no agent,? zero industry contacts could not have done it.? Don't try this at home!

Great job! Shouldn't you post the plotting logline here though, & suggest the pitching logline in the review section, just saying..

Nice case study of Pitch vs. Plot.

As for the logline, I think it needs to be tweaked just a little bit. When I first read it, I thought you mean he was buried "IN the wall" Sort of like how mobsters will bury an enemy at a construction site in concrete.