Re: A good script vs. a sellable script
I disagree.
Avengers 2 had an action-oriented start, but just because stuff is blowing up doesn't mean the story is moving forward at speed.
And I think this is the real problem. People complain about the need to start fast and they think it means "blow stuff up." But it doesn't. It just means that the story is moving forward. Dramatic things are happening.
I'm not ragging on A2, although I did think that CGI oner that opened it was the worst moment in the entire film.
When we talk about movie starting at speed, we're talking about choices being made that drive the story forward and reveal character. Are we at a different place 30 seconds, two minutes, five minutes in than we where when we started?
e.g., dramatically speaking, Ocean's 11 has a very fast start, but nothing happens other than conversations. Ocean obfuscates his way out of jail, contacts an old partner, locates another old partner, and bluffs his parole officer. The story is moving!
And it doesn't take a ton of reading experience to realize that you can tell, very quickly, when a writer is pushing you forward or when a writer is standing around explaining stuff.
Originally posted by FoxHound
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Avengers 2 had an action-oriented start, but just because stuff is blowing up doesn't mean the story is moving forward at speed.
And I think this is the real problem. People complain about the need to start fast and they think it means "blow stuff up." But it doesn't. It just means that the story is moving forward. Dramatic things are happening.
I'm not ragging on A2, although I did think that CGI oner that opened it was the worst moment in the entire film.
When we talk about movie starting at speed, we're talking about choices being made that drive the story forward and reveal character. Are we at a different place 30 seconds, two minutes, five minutes in than we where when we started?
e.g., dramatically speaking, Ocean's 11 has a very fast start, but nothing happens other than conversations. Ocean obfuscates his way out of jail, contacts an old partner, locates another old partner, and bluffs his parole officer. The story is moving!
And it doesn't take a ton of reading experience to realize that you can tell, very quickly, when a writer is pushing you forward or when a writer is standing around explaining stuff.
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