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After his father gives him a job at their small-town newspaper, a conceited journalist buried in debt investigates a sports drug scandal that implicates his athlete brother.
"Buried in debt" is a problem and that might be related to a character flaw. But I don't know what that flaw is. If there isn't one, what purpose does it serve in the logline? And I don't see the dramatic causal link between either the conceit or the debt problem and the drug scandal that implicatesRead more
“Buried in debt” is a problem and that might be related to a character flaw. But I don’t know what that flaw is. If there isn’t one, what purpose does it serve in the logline?
And I don’t see the dramatic causal link between either the conceit or the debt problem and the drug scandal that implicates his brother.
That is, I don’t see the character flaw of conceit as a necessary cause of the plot problem. Nor do I see in the logline that the plot problem threatens to take him down because of his character flaw of conceit.
See less(Comedy) After the death of his wife (Mell),the oldest outlaw in a notorious biker gang decides to convert his bandits into neighborhood watch members, Whilst his enemies raise the price on his head.
About Ladykillers: 1] It was written by Joel & Ethan Coen -- "A" team writers with a well-established track record and reputation. I surmise they do not have to clear the hurdle of writing concise, catchy loglines with every script as do unknowns trying to break in to the business. What's so freRead more
About Ladykillers:
1] It was written by Joel & Ethan Coen — “A” team writers with a well-established track record and reputation. I surmise they do not have to clear the hurdle of writing concise, catchy loglines with every script as do unknowns trying to break in to the business.
What’s so freakin’ funny and catchy about a logline like: “A slacker ‘Dude’ named Lebowski, mistaken for a millionaire Lebowski, seeks restitution for a ruined rug and enlists his bowling buddies to help get it.” But because of their unique sensibility, and experience, they can pull off story lines that mere mortals couldn’t get away with. Exhibit A: “The Big Lebowski”.
But because of their track record , they can get projects green lighted that unknowns with similar stories can’t.
2] Since they direct their own scripts, they have creative control to realize their vision of the story.
3] Even so, they don’t always score home runs or even triples with their films. “Ladykillers” was not a salient commercial nor critical success.
Just saying.
>> I just thought that it would be funny to start the film with a church full of bikers
IOW: the woman’s death is in the backstory. Not seen on screen. As I said earlier, that can work.
More power to you with your story.
See less(Comedy) After the death of his wife (Mell),the oldest outlaw in a notorious biker gang decides to convert his bandits into neighborhood watch members, Whilst his enemies raise the price on his head.
Well, if the good lady dies on screen, that's a real bummer for a comedy. Not saying it can't be done -- you can make it work in a dark comedy, but in a light comedy? (On the other hand, if her demise is in the backstory -- off screen -- then it's easier to work in as a story element for the comedyRead more
Well, if the good lady dies on screen, that’s a real bummer for a comedy. Not saying it can’t be done — you can make it work in a dark comedy, but in a light comedy? (On the other hand, if her demise is in the backstory — off screen — then it’s easier to work in as a story element for the comedy genre.)
But, then, why does she have to die? Because if you kill her off, then where’s your “B” story, your love story? You gotta have a love story in a comedy. It’s required for the genre. (The sole exception I can think of is Monty Python).
So instead of killing her off , why not make meeting and getting emotionally involved with her in the first act the inciting incident for the rest of the plot?
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