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English teacher John Keating inspires his students to look at poetry with a different perspective of authentic knowledge and feeling.
The mentor doesn't commit suicide. ?He's fired after Neil, a friend of Todd's, commits suicide in Act 3. ?The suicide is the tragic denouement of Neil's decision, inspired by Keating, to defy his father.The protagonist is the character who drives the plot. Without him, the plot doesn't even get starRead more
The mentor doesn’t commit suicide. ?He’s fired after Neil, a friend of Todd’s, commits suicide in Act 3. ?The suicide is the tragic denouement of Neil’s decision, inspired by Keating, to defy his father.
The protagonist is the character who drives the plot. Without him, the plot doesn’t even get started. ?In Star Wars, that’s Luke Skywalker. ?You could subtract ?the mentor, Obi Wan, and still have a story about a kid who takes on an evil galactic empire — a story that would track differently, of course, but the essence of the plot would remain the same. ?
In contrast, subtract Keating from “Dead Poets Society” and the plot never starts. Keating incites the kids to think and live differently. ?Without him, they remain compliant?cogs in the machine, conforming and uniform?”bricks in the wall” of the oppressive status quo.
And there is an arc to the character of Keating — but it is not in terms of a character flaw (unless one wishes to ascribe to him the ‘flaw’ of ?being too passionate about his subject and his themes). ?Rather, Keating’s arc is in terms of his circumstances; he undergoes a reversal of fortune from being hired (at the start of the movie) to fired (at the end). ?
The dramatic requirement that the protagonist undergo some kind of change is fulfilled in the movie, but it’s a change of fortune rather than ?a change of some subjective issue.
(BTW: The notion that the protagonist must have a character flaw that he must overcome or fail arises from a misunderstanding of what Aristotle meant by ‘hamartia’ in his classical text , “The Poetics”, ?the first and still the most influential treatise on drama. ?It’s proven to be a very useful misunderstanding for modern drama, but, imho, it’s not a binding, immutable requirement just because people misread Aristotle.)
See lessWhen a flippant prankster is ripped off by crazy scammer he seeks compensation but inadvertently starts a relationship with the scammer?s even crazier assistant.
A change in objective goals would mean the story has two distinct plots. ? The rule of one plot per story or episode (in a series) is not an arbitrary one. ?It exists for sound aesthetic and commercial reasons. ?You violate it at your concept's peril. ?For as sure as the sun rises, you increase theRead more
A change in objective goals would mean the story has two distinct plots. ? The rule of one plot per story or episode (in a series) is not an arbitrary one. ?It exists for sound aesthetic and commercial reasons. ?You violate it at your concept’s peril. ?For as sure as the sun rises, you increase the odds, which are already stacked against against you, ?that your script will be rejected. ?You’re handing script readers an easy excuse to give a “pass” on their coverage.
Just saying.
What is your story really, really?about? ?What most intrigues you about this concept? ?What do you think would most intrigue an audience? ?Stealing the opals or the relationship with the femme fatale? ?Whatever your answer is, frame one plot accordingly.
See lessIn 1951,a physicist tasked with designing an early thermonuclear bomb, has a lesbian affair with her young lab assistant.She’s determined to complete the difficult design while struggling for survival when she discovers her lover to be a ruthless Soviet spy
I think the logline needs to clarify the central dramatic problem facing the scientist.What dramatic problem arises as a result of her lesbian relationship? ?Isn't ?it the threat of blackmail, being exposed as a lesbian which in those dark ages of paranoia and prejudice would destroy her career? AndRead more
I think the logline needs to clarify the central dramatic problem facing the scientist.
What dramatic problem arises as a result of her lesbian relationship? ?Isn’t ?it the threat of blackmail, being exposed as a lesbian which in those dark ages of paranoia and prejudice would destroy her career?
And what does the spy want from the scientist that she isn’t already getting by working on the inside as a lab assistant?
The “early thermonuclear bomb” being developed at that time (1951) was the hydrogen bomb. ?So just call it for what it was. ?
Finally, thermonuclear bombs were far too complex to be designed or built as solo efforts. ?It took a team effort. ?So she would not have been tasked to design it all by her lonesome which is the impression the logline seems to give. ?It would be accurate to say she was a member of team building the hydrogen bomb.
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