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While undercover, an earnest detective falls in love with a criminal. But when he aides her during a bust, the pair fight to escape the country together.
I suppose what I was hoping the audience would get on board with is the idea that love and family is more important than the letter of the law? Love is the thing that makes him help her. He helps her because his feelings for her become more important than his desire to progress in his career. WouldRead more
I suppose what I was hoping the audience would get on board with is the idea that love and family is more important than the letter of the law? Love is the thing that makes him help her. He helps her because his feelings for her become more important than his desire to progress in his career.
See lessWould it help if I specified the criminal is not a murderer or anything – simply a thief? Criminals are redeemed in films all the time.
A materialistic sell-sword is sent to discover what had stopped the flow of magic that runs the city, but when he learns that the source of the power is the harvested souls of his race, he fights the king to liberate his people.
I can see what you guys mean about the logline feeling clunky. Here's my issue though - the protagonists' goal switches halfway through the film. They are: 1) find the reason the power is out 2) liberate his people from enslavement and exploitation In your version, Torie M L Davis, the goal of the oRead more
I can see what you guys mean about the logline feeling clunky.
Here’s my issue though – the protagonists’ goal switches halfway through the film. They are:
1) find the reason the power is out
2) liberate his people from enslavement and exploitation
In your version, Torie M L Davis, the goal of the overarching piece appears to be the liberation of his people … which it’s not, at least initially. The inciting incident is NOT the discovery of the soul harvest – this is the midpoint of the film. With that in mind, do you think it’s necessary to include both events (or catalysts) and both goals in the logline, or should it be more like yours in as far as only selecting ONE goal? Because doing it that way, I’m selling the idea of the movie based only on the second half?
See lessIn the Soviet Union in 1937, a worker of the People?s Commissariat for Internal Affairs finds a list of traitors, which he thinks is going to be his way out.
I think what you've got here is a time period and a setup: In the Soviet Union of the 30s, a (describe your protagonist's flaw) government agent finds a list of traitors ... But what you don't have, besides the vague "he thinks this is going to be his way out", is a goal. Now that he has the list, wRead more
I think what you’ve got here is a time period and a setup: In the Soviet Union of the 30s, a (describe your protagonist’s flaw) government agent finds a list of traitors …
See lessBut what you don’t have, besides the vague “he thinks this is going to be his way out”, is a goal. Now that he has the list, what’s the plan? Does he want to expose it? Does he want to show it to his superiors to gain favour? Does he want to use it as leverage to blackmail them? Does he want to gain asylum with the Americans? Without the goal, the genre is unclear, as are the stakes.