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ions.
>>>without any logical explanation to it.That for me is a fundamental problem.? This is where your appeal to "The Terminal" and "The Castaway" falls short to my way of thinking. In those movies, ?we know why the Tom Hanks character is trapped in the airport and on the island. There are logiRead more
>>>without any logical explanation to it.
That for me is a fundamental problem.? This is where your appeal to “The Terminal” and “The Castaway” falls short to my way of thinking. In those movies, ?we know why the Tom Hanks character is trapped in the airport and on the island. There are logical, causal?explanations.
And if you are (finally) going to give them mysterious circumstances and ?a sign, then it needs to be foreshadowed.??They can’t just drop out the sky out of blue, er, the dark,? 1/2 way through the story chronologically ?otherwise it constitutes a deus ex machina? contrivance.? That premonition could be an unusual message that they see on what normally be a traffic sign as they are driving the into San Francisco for the dinner — a plant, a premonition.?
My point is:? supernatural events can’t just come out of nowhere.? Well, they can.? But in?movies ?they shouldn’t. ?The inviolate rule is that they must be set up, foreshadowed, usually ?in the 1st Act.? (And the real 1st Act of your story in terms of the time line is the dinner even though you are interweaving the time line such that the story starts later on the bridge)
fwiw
See lessWhen an intergalactic refugee crash-lands at his farm, a timid teenager must find the courage to protect the exile and himself from malicious space hunters.
A logline is about a setup?of a dramatic problem that will constitute the main action in the 2nd Act to be resolved successfully or not in the 3rd Act.Taking this logline at face value, it suggests that the main action in the 2nd Act is the timid teenager looking... and looking... and looking...?forRead more
A logline is about a setup?of a dramatic problem that will constitute the main action in the 2nd Act to be resolved successfully or not in the 3rd Act.
Taking this logline at face value, it suggests that the main action in the 2nd Act is the timid teenager looking… and looking… and looking…?for? a subjective factor, his courage.? Which, hopefully he will find? by the 3rd Act, in time to save the exile and himself in the climax.
But it makes for a stronger, more interesting?logline to be explicitly be?about a protagonist’s struggle for an objective goal and only implicitly about whatever?subjective factor he?needs to develop in order to achieve his objective goal.? The missing subjective factor is implied in the character flaw — hence, the character arc — in the teenager being “timid”.? Hence,,? “must find the courage” is extraneous.
It seems to me that this logline might benefit from is a more explicit rendering of HOW he must protect the exile.?? And why — the stakes.? Why must?the teenage?protect him? Maybe the space bounty hunters?after the exile? is?a criminal on the lam.? What injustice or wrong is the exile in need of protection from?
fwiw
See lessWhen a body washes up on the beach, an anthropologist finds her life on the line to keep a secret that history has long forgotten.
A logline is targeted to movie producers. ?Taglines and blurbs are targeted to movie viewers. They are two different market audiences with two different set of interests. The goal of ?tagline or blurb is to induce a viewer to lay down US$10 (and more) and invest 2 hrs of time in the finished film. ?Read more
A logline is targeted to movie producers. ?Taglines and blurbs are targeted to movie viewers. They are two different market audiences with two different set of interests.
The goal of ?tagline or blurb is to induce a viewer to lay down US$10 (and more) and invest 2 hrs of time in the finished film. ?And offer an expectation that she will come away with a satisfactory viewing experience.
The goal of a logline is to induce a movie producer to lay down millions of dollars and invest months ?of time in making the film. ?And offer an expectation that the movie producer will come away with a profit.
In order to reel in a ?movie producer, get him to even read the script, you have to bait the hook with a logline that gives him (or her) a clearer indication of what the story is about than is necessary for a movie viewer. So:
Who is the protagonist and what is her character flaw? ? Who is the antagonist? (Big, big casting questions.)
What does the protagonist NEED to accomplish — what is her objective goal? (Indicates the genre)
What are the stakes? ?What does she stand to gain if she succeeds, stands to lose if she fails? (Is it something that ?can engage an ?audience’s emotional investment in the protagonist’s struggle? IOW: can this be parlayed into a franchise?)
Hope this helps. For more info, click on the “Training” option at the top of the web page.
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