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With help taking too long, A hopeless romantic races against time to save his fiance on the 74th floor of the South Tower on 9/11.
Oh, and one other thought: The love relationship also must have an arc. Love relationships can't be in a condition of stasis; they transform during the course of the story. Jack and Rose didn't start out as lovers; they became lovers. One way to do that for a 911 story would be for a backstory whereRead more
Oh, and one other thought:
The love relationship also must have an arc. Love relationships can’t be in a condition of stasis; they transform during the course of the story. Jack and Rose didn’t start out as lovers; they became lovers.
One way to do that for a 911 story would be for a backstory where they have recently had a falling out, broken off the engagement. Whoever you decide to make the main character should be the one who is principally to blame for the break up. That character becomes the designated rescuer: he (or she) redeems himself (or herself) by rescuing the other.
Or whatever. The dramatic point is: their relationship must be different at the end of the movie than it was at the beginning, preferably 180 degrees different for the most emotional impact.
See lessWith help taking too long, A hopeless romantic races against time to save his fiance on the 74th floor of the South Tower on 9/11.
It's James Cameron's Titanic M.O.: He didn't rely on CGI candy to sell his epic disaster story because that appeals mainly to only 1/2 of the human race: guys. He framed it with a love story, one that appealed to the other 1/2 of the human race: gals. (And consequently, females were more likely to bRead more
It’s James Cameron’s Titanic M.O.: He didn’t rely on CGI candy to sell his epic disaster story because that appeals mainly to only 1/2 of the human race: guys. He framed it with a love story, one that appealed to the other 1/2 of the human race: gals. (And consequently, females were more likely to be repeat viewers.) So it’s critical to get the love story right and I’m not sure this logline does.
Cameron decided (shrewdly) that the main character was the gal, not the guy. It’s Rose’s story in every possible way starting from the fact that she’s the narrator. If Cameron had written a logline for his script (which a player of his stature in the industry didn’t have to do; his name on the title page was sufficient), it would have led off with Rose, not Jack: “When a seventeen-year-old girl trapped in a loveless engagement to wealthy man falls in love with a vagabond artist aboard the ill-fated Titanic….”
Cameron also realized (wisely) that since the maiden voyage of the Titanic had a tragic conclusion, than likewise so would the love story; ergo, Jack sacrifices his life so that Rose may live. The death of one character gives wider dramatic meaning and consolation to the death of over 1,500 others.
Jack doesn’t just enable her to live. Through his influence as the catalytic character, she is psychologically liberated to live her own life instead of the one dictated to her by others. That’s her character arc.
That’s a flaw I see in this logline: the designated character flaw doesn’t seem to suggest a compelling character arc. Some might not view being a hopeless romantic as a character flaw. And if it is, what becomes his character arc as a result of his dramatic struggle? It’s not enough that one (or both) survive. To what is “hopeless romantic” transformed by the story’s end?
See lessWhen an out spoken video gamer returns home to care for her injured father. She must enter into and win a video game tournament to keep her fathers farm.
I think her being estranged is essential to the main plot. The estrangement is the emotional complication she must overcome in order to decide to rescue her father. Her stake in rescuing the farm is emotional -- not financial. Riff off the parable of the prodigal son. Only she's the prodigal daughteRead more
I think her being estranged is essential to the main plot. The estrangement is the emotional complication she must overcome in order to decide to rescue her father. Her stake in rescuing the farm is emotional — not financial.
Riff off the parable of the prodigal son. Only she’s the prodigal daughter.
fwiw.
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