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On that note, happy 4th! 
Morning, all. Stayed off this thread til now, because, well, "what dey done said" (the folks above). But at this point I think I can contribute.
Depending on the angle of this story, it would be something I'd avoid like Hanta virus. But...
Hansel and Gretal has a witch that cooks children (alive) and even tells them that beforehand. Now that is some sick s--t. Even worse considering that it's a story told to children. I've hated that tale since I first heard it.
Now, the angle here is somewhat different. But there'd only be several things that'd make me even consider watching this flick...
#1, no voice-over. Whether you write it well or not, no matter your intentions, or the actor who reads it, it'd strike me as an expositional justification for both the lead and the story itself. The audience won't stop to ponder the inner intent of the scripter. The story and characters should justify themselves, in and of themselves.
#2, the information about the sniper's targets and their victims would only come as a result of natural dialogue between the law enforcement officials hunting him, in the same manner as Law and Order and Homocide: Life on the Street (or Dalgliesh or Touch of Frost). We learn about the events as the cops do, or by seeing the sniper's actions. The only dialogue I'd want to hear from the sniper would be external, not internal. Spoken to whoever he runs into. Lines that would would show HIM, not his own perception of himself.
The reasons for these 2 points are simple: first, vigilante movies have been done do death/are a dime a dozen. Second, in all walks of life, there are "sacred cows". The more sacred the cow, the better your script had better be while working it in the abbatoir. You're tackling the biggest sacred-cow of all, and expositional v.o.'s and med. examiners giving us the vile details will seem (to many, IMO) to be an attempt to gild a leaden lilly.
I'm not saying don't finish the sript. But there are gonna be some landmines with it, and you'll need to avoid them.
Best of luck, kosk
Morning, all. Stayed off this thread til now, because, well, "what dey done said" (the folks above). But at this point I think I can contribute.
Depending on the angle of this story, it would be something I'd avoid like Hanta virus. But...
Hansel and Gretal has a witch that cooks children (alive) and even tells them that beforehand. Now that is some sick s--t. Even worse considering that it's a story told to children. I've hated that tale since I first heard it.
Now, the angle here is somewhat different. But there'd only be several things that'd make me even consider watching this flick...
#1, no voice-over. Whether you write it well or not, no matter your intentions, or the actor who reads it, it'd strike me as an expositional justification for both the lead and the story itself. The audience won't stop to ponder the inner intent of the scripter. The story and characters should justify themselves, in and of themselves.
#2, the information about the sniper's targets and their victims would only come as a result of natural dialogue between the law enforcement officials hunting him, in the same manner as Law and Order and Homocide: Life on the Street (or Dalgliesh or Touch of Frost). We learn about the events as the cops do, or by seeing the sniper's actions. The only dialogue I'd want to hear from the sniper would be external, not internal. Spoken to whoever he runs into. Lines that would would show HIM, not his own perception of himself.
The reasons for these 2 points are simple: first, vigilante movies have been done do death/are a dime a dozen. Second, in all walks of life, there are "sacred cows". The more sacred the cow, the better your script had better be while working it in the abbatoir. You're tackling the biggest sacred-cow of all, and expositional v.o.'s and med. examiners giving us the vile details will seem (to many, IMO) to be an attempt to gild a leaden lilly.
I'm not saying don't finish the sript. But there are gonna be some landmines with it, and you'll need to avoid them.
Best of luck, kosk
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