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A bounty hunter and a renegade race against the power-hungry to find an utopia lost in time.
>>An avaricious bounty hunter is forced to learn generosityLoglines are not about characters arcs, what they must learn -- subjective issues.? Loglines are about character action, what they must do -- objective issues.(Although in the course of doing, they must also learn -- but that's for theRead more
>>An avaricious bounty hunter is forced to learn generosity
Loglines are not about characters arcs, what they must learn — subjective issues.? Loglines are about character action, what they must do — objective issues.
(Although in the course of doing, they must also learn — but that’s for the script as a whole.)
See lessA bounty hunter and a renegade race against the power-hungry to find an utopia lost in time.
Again, thanks for the clarification.I would point out that technically a utopia is not place. Rather it's an ideal society.? Which is why you've had me scratching my head trying to figure out what this objective goal/place is.It seems to me that what you envision is similar to the sacred locations (Read more
Again, thanks for the clarification.
I would point out that technically a utopia is not place. Rather it’s an ideal society.? Which is why you’ve had me scratching my head trying to figure out what this objective goal/place is.
It seems to me that what you envision is similar to the sacred locations (groves, isles, temples, etc.) in mythology and religion. Where a person could find safety and sustenance, refuge and redemption.
In the “Wizard of Oz” the Emerald City is a utopian society.? But it doesn’t grant wishes.? ?The person who presides over that utopian city does, the Wizard. In “Aladdin”, the lamp is only magical because of what it contains:? a wish granting genie.
My point is it seems to me your wish-granting-whatever needs personification, some anthropomorphic personality whom your protagonist can and must interact with.
>>>I?ve always felt that a magic lamp/well/spring/stone or anything like that feels a bit eh and generic.
Okay.? But tried and true dramatic props are things people can immediately understand and accept.? Also, the fact that these props are so tried and true indicates they are linked to archetypes, images and motifs of the collective human psyche.? ?And as the depth psychologist C.G. Jung said, he who speaks in archetypal imagery speaks — sings with enchantment and power in a chorus of a 1,000 voices.
What archetypal imagery is your “utopia” singing with?
fwiw
See lessA bounty hunter and a renegade race against the power-hungry to find an utopia lost in time.
Why does the wish-granting have to be a utopia?? If it grants wishes, why not choose a prop?? Like a magic lamp, a magic well or spring or sword or ring or precious stone.? It could be hidden away in a remote, hard to reach location, of course.??The problem with "utopia" is that no particular visualRead more
Why does the wish-granting have to be a utopia?? If it grants wishes, why not choose a prop?? Like a magic lamp, a magic well or spring or sword or ring or precious stone.? It could be hidden away in a remote, hard to reach location, of course.??
The problem with “utopia” is that no particular visual comes to mind.? Film is a visual medium.? And every critical element of a logline should evoke an image.? It doesn’t have to be exactly the visual you have in mind but it should evoke an image in the mind’s eye of the reader to grab and hold their attention.? ?So what’s the visual on the objective goal of “utopia”?
No image comes to my mind.
And until your last comment, I had no clue to indicate that this utopia grants wishes,? Yet it’s the defining characteristic of the place; it’s the reason everyone wants to find it.? It’s the organizing conceit of your whole story.
fwiw
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