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In the final moments before facing the firing squad, the charismatic leader of a murderous robbery gang makes one last request: to have her confession heard by the priest who was once her lover.
What Nir Shelter and Tony Edward said. A logline is a sales tool. Its purpose is to attract money and talent to get a script made into a movie. And movie making has always been and will always be an unholy, tumultuous marriage of an irreconcilable odd couple: art and commerce.
What Nir Shelter and Tony Edward said.
A logline is a sales tool. Its purpose is to attract money and talent to get a script made into a movie.
And movie making has always been and will always be an unholy, tumultuous marriage of an irreconcilable odd couple: art and commerce.
See lessIn the final moments before facing the firing squad, the charismatic leader of a murderous robbery gang makes one last request: to have her confession heard by the priest who was once her lover.
I think the conventional Hollyweird business model is in flux, if not in crisis, particularly the traditional distribution channel through theater chains. [Every time I go to a movie theater, I feel like I'm in a dinosaur museum.] But whatever changes occur in the making and distribution of movies,Read more
I think the conventional Hollyweird business model is in flux, if not in crisis, particularly the traditional distribution channel through theater chains. [Every time I go to a movie theater, I feel like I’m in a dinosaur museum.]
But whatever changes occur in the making and distribution of movies, whatever changes there are in the rules of game, one factor will never change: time. We all will continue to have exactly the same amount of time, 86,400 seconds a day, no more no less.
Amidst all the hype about new venues for distribution let us not forget the flip side: more pipelines means more product, yes — and more competition for those immutable 86,400 seconds. Ergo, in my not-so humble opinion, it is not less imperative, but more imperative than ever for writers to promote their scripts in ways that will maximize their already slim to nil chances of getting attention.
I don’t have an issue with the flashback technique for telling your story. All I meant to say is that, for me, that technique is not an attention grabber, not a strong hook for promoting your script. I think your hook needs better bait. What would hook my attention is the notion of two people whose lives intersected (as lovers) — and then wildly diverged until they meet again when one of them faces a death squad. (An even stronger hook for my pathological sense of drama would be if they meet again as bitter, irreconcilable enemies.)
Others’ mileage may vary.
See lessIn the final moments before facing the firing squad, the charismatic leader of a murderous robbery gang makes one last request: to have her confession heard by the priest who was once her lover.
I think the conventional Hollyweird business model is in flux, if not in crisis, particularly the traditional distribution channel through theater chains. [Every time I go to a movie theater, I feel like I'm in a dinosaur museum.] But whatever changes occur in the making and distribution of movies,Read more
I think the conventional Hollyweird business model is in flux, if not in crisis, particularly the traditional distribution channel through theater chains. [Every time I go to a movie theater, I feel like I’m in a dinosaur museum.]
But whatever changes occur in the making and distribution of movies, whatever changes there are in the rules of game, one factor will never change: time. We all will continue to have exactly the same amount of time, 86,400 seconds a day, no more no less.
Amidst all the hype about new venues for distribution let us not forget the flip side: more pipelines means more product, yes — and more competition for those immutable 86,400 seconds. Ergo, in my not-so humble opinion, it is not less imperative, but more imperative than ever for writers to promote their scripts in ways that will maximize their already slim to nil chances of getting attention.
I don’t have an issue with the flashback technique for telling your story. All I meant to say is that, for me, that technique is not an attention grabber, not a strong hook for promoting your script. I think your hook needs better bait. What would hook my attention is the notion of two people whose lives intersected (as lovers) — and then wildly diverged until they meet again when one of them faces a death squad. (An even stronger hook for my pathological sense of drama would be if they meet again as bitter, irreconcilable enemies.)
Others’ mileage may vary.
See less