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When dad goes bankrupt, one percenter Adam Lewis must learn to live within his means.
Richiev, as usual, has nailed the essential issue: ?a plot should be a conspiracy against the protagonist such that it forces him to do what he fears most, ?what he hates doing most.A logline should describe exactly what he must do anyway.?I like Richiev's take better because how can the character lRead more
Richiev, as usual, has nailed the essential issue: ?a plot should be a conspiracy against the protagonist such that it forces him to do what he fears most, ?what he hates doing most.
A logline should describe exactly what he must do anyway.
?I like Richiev’s take better because how can the character live within his means if he has no means? ?No doubt, he has to tighten his belt, but doesn’t he also need to find a source of income? ?Like get a job?
See lessA rookie Senator facing his first vote reevaluates his platform and priorities when his wife is murdered in a mass shooting.
It's a good thing to put a protagonist in a situation where he is caught in the horns of a dilemma. But a logline is a description of ?a plot, not a situation. ?It succinctly lays out the course of action the character takes as a result of the inciting situation. So what is the plot, the objective gRead more
It’s a good thing to put a protagonist in a situation where he is caught in the horns of a dilemma.
But a logline is a description of ?a plot, not a situation. ?It succinctly lays out the course of action the character takes as a result of the inciting situation.
So what is the plot, the objective goal the politician struggles toward as a result of the situation created by the death of his wife?
Loglines are about action the protagonist takes. ?Not what he wants to do — but what he actually does. So what does he actually do?
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Okay, but those "wants" need to be translated into a specific goals which lead to specific actions -- a plot. ?That is what a script has to be about: what characters do about what they want.And the "doing" (not the wanting, ?not the talking) is what movie makers are looking for in a logline as wellRead more
Okay, but those “wants” need to be translated into a specific goals which lead to specific actions — a plot. ?That is what a script has to be about: what characters do about what they want.
And the “doing” (not the wanting, ?not the talking) is what movie makers are looking for in a logline as well as the script.
>>>Graham doesn?t know what he wants really, with anything
Then the character is DOA — dead on arrival. ?Characters who don’t know what they want don’t belong in a script. ?Drama is about characters who know what they want and actively try to get it. ?It may be a morally bad goal. ?It may turn out to be the wrong goal. ?But every major character must have a plot goal.
A protagonist must, by definition, be proactive.
fwiw
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