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Clashing husband-and-wife inventors of a new process to design life-saving drugs need to settle their differences in time to fight off a global corporation using espionage tactics to bury an invention that will save millions of lives.
Hi you two, Sorry for the mess. kbfilmworks, my analysis was not about the logline (wich is long but clear), but about what you told us about your protagonists. What you say just above is clearer than what you told us before and we can see that your story is well structured and it becomes to be inteRead more
Hi you two,
Sorry for the mess.
kbfilmworks, my analysis was not about the logline (wich is long but clear), but about what you told us about your protagonists.
What you say just above is clearer than what you told us before and we can see that your story is well structured and it becomes to be intersting.
Multiple belligerents conflicts are possible only in spy games -as in your story- but this needs SANGFROID, DISTANCE, and usually, the SLEEPING partner is not directly involved in the action.
As there is no place for clashing, deception or any sentiment, only very strong an intelligent people can play directly these games successfully, what means that they are able to settle their differences, at least for one time. In your story, it may be the two, or the only the one who will win against all the others … if Fate lets do.
Can you make me know some movies with people carrying out the same fight while hating and fearing each other as strong without settling their differences ?
See lessClashing husband-and-wife inventors of a new process to design life-saving drugs need to settle their differences in time to fight off a global corporation using espionage tactics to bury an invention that will save millions of lives.
A good example is in DIE HARD : "PLOT: New York City Police Department detective John McClane arrives in Los Angeles to reconcile with his estranged wife, Holly"... Gennaro They are divorced and Holly even took her maiden name. She DON'T WANT to reconcile with him. However they ARE JOINED TOGETHER fRead more
A good example is in DIE HARD :
“PLOT: New York City Police Department detective John McClane arrives in Los Angeles to reconcile with his estranged wife, Holly”… Gennaro
They are divorced and Holly even took her maiden name. She DON’T WANT to reconcile with him.
However they ARE JOINED TOGETHER from the beginning of the hostage taking.
IN THE BEGINNING, the supsense is based on the fact that McLane HAS UN UNKNOWN ALLY in the place, the risk she takes and how long it will last.
See lessTHEN it is based on the fact that the stated goal of the agressors is not the one they really want to achieve.
Clashing husband-and-wife inventors of a new process to design life-saving drugs need to settle their differences in time to fight off a global corporation using espionage tactics to bury an invention that will save millions of lives.
Hi kbfilmworks, dpg is right by talking of paranoia. There is something wrong in your story as you tell it to us You have not two protagonists and an antagonist, you have three antagonists. Two people cannot carry out the same fight while hating and fearing each other as strong as you say. This flawRead more
Hi kbfilmworks,
dpg is right by talking of paranoia.
There is something wrong in your story as you tell it to us
You have not two protagonists and an antagonist, you have three antagonists.
Two people cannot carry out the same fight while hating and fearing each other as strong as you say.
This flaw is over the top. It is not credible for the length of an entire movie.
Suspense don’t mean unrealistic.
There is only three possible outcomes to this situation :
1. They lose before your midpoint,
2. The husband and wife find in this ordeal the strength to be reconciled (it can be their first goal) AND THEN are able to fight the global corporation,
3. The global corporation manipulates one of the two who betrays the other, and it wins.
As you tell us your story, this is the last outcome that will happens. And it will be very difficult to maintain any suspense in your movie because everyone will understand this within the first five minutes.
There is no such situation in the movies you’re talking about: the heroes are sometimes disoriented, asking themselves about the other, but always strongly bound. This is true for Notorious and for all the other movies by Alfred Hitchcok too.
I think this is very important if you want your story comes to the end.
See less