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After being attacked by a distressed mother of an obsessed fan, a girl band must escape their dressing room without being killed.
Power up a cell phone. ?Call 911. FADE OUT:?CREDIT ROLLSorry, but I just don't see what the complications are, the ?jeopardy that can be stretched out and escalated for the length of a feature film. ?Or is this for a short?
Power up a cell phone. ?Call 911.
FADE OUT:?
CREDIT ROLL
Sorry, but I just don’t see what the complications are, the ?jeopardy that can be stretched out and escalated for the length of a feature film. ?Or is this for a short?
See lessFleeing an unseen force controlling their minds, an old man and his two nieces hijack a woman’s car only to discover she’s already picked up a familiar hitchhiker.
What's the inciting incident -- the call to action -- that "recruits" them into a career of chasing down monsters? ?What upsets their status quo???What's the personal stakes for them that they have gotten involved in?a stranger's (the female driver's)?predicament?
What’s the inciting incident — the call to action — that “recruits” them into a career of chasing down monsters? ?What upsets their status quo???What’s the personal stakes for them that they have gotten involved in?a stranger’s (the female driver’s)?predicament?
See lessWanting to go legit a young drug dealer must do one last run to rescue her sister being held hostage by her boss; knowing she be going to be killed.
Again, I agree with Dkpough1.I fail to understand why Amy can't rescue her sister in the present as well as the future; I can see so many dramatic reasons why she can -- and should -- do both. ?And, once again, having Ella rescue herself reduces 3rd Act dramatic tension ?which violates a fundamentalRead more
Again, I agree with Dkpough1.
I fail to understand why Amy can’t rescue her sister in the present as well as the future; I can see so many dramatic reasons why she can — and should — do both. ?And, once again, having Ella rescue herself reduces 3rd Act dramatic tension ?which violates a fundamental rule of dramatic action.
The logline says that Amy must rescue her sister. ?The logical expectation of anyone reading the logline is that Amy will rescue her sister from the drug dealer some time between FADE IN and FADE OUT. ?That the rescue will take place explicitly on screen in the present tense of the story, not implicitly off screen — no visual, no rescue scene — in the future after the credit scroll.
When a director or producer reads the script ?and discovers that Ella rescues herself from the drug boss, I seriously doubt he (or she) will be pleasantly surprised.
If you do not want Amy to directly rescue her sister from the clutches of the drug dealer, then I suggest you need to revise the logline to eliminate that expectation. ?Otherwise it is misleading.
Just saying.
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