The Inner Conflict



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  • #16
    Re: It's a craft

    PS: 15 years olds don't want to think ... they want to have a good time. They go to school to think ... not to the movies for that. So although Tomb Raider is fluff to you, it is a feast for the youth of today just like Planet of the Apes.


    • #17

      Nicely put. As an 18 year old I agree. (for the most part anyway)

      I enjoy most fluff movies as long as they make an attempt at hiding themselves. I dont need explosions nudity or violence to entertain me (though they all do) just a good story with real emotions and people. I think theres other, more pertanent things to worry about than you hypothetical target audience.


      • #18
        Its a craft


        You miss my point. I think the older crowd would go to the movies more if they felt there was something there for them. Movies that are written for the 16-25 crowd draw the 16-25 crowd. Its a Catch 22 situation. What interests that crowd will not interest (generally) the older crowd. Titanic blew the competition out of the water because its appeal went across the board, not just the 16-25 crowd. There was something there for everyone. Older people could relate to Kate Winslet's character because they saw her life as a cycle, a true character arc; whilst younger people were entertained by the disaster sequences.

        "But it's the teenagers and young adults who have more time to see movies over and over again. So in a way, we are forced, (not a bad thing), to keep them in mind when writing stories."

        Sorry don't agree. Young adults are also studying, taking finals etc. Yes they have time, but the over 50s/retirees have far more leisure time, and if the industry ignores them they are missing a large segment of the market. An old lady going to the movies with her friends 20 times to see one movie is something we should not ignore. The challenge is I believe to write screenplays that appeal across the whole spectrum of people. The more we pander to one age group, the more we have to pander.


        • #19

          NOW it all makes sense to me...Ive been going about this all wrong. WHAT AN IDIOT!!! I could have been a millionaire by now if only I had opened my eyes a little earlier. Here is the logline that Im going to IMC and Dreamworks with tomorrow for my 'big meeting'.

          There is this 15 to 25 year old kid sitting in a space ship. And he isnt thinking about anything at all. Then all of a sudden a 15 to 25 year old girl comes in. She gets naked, and then she explodes all over the place. Then, the kid finds some money and stuff. And the stuff is really cool. And then he buys himself the biggest coolest thing youve ever seen. Not your normal thing, but a very special thing with lots of lights and explosions. And this thing has huge ****. And then the kid has sex with the thing and then kills it. Then he smokes lots of pot and doesnt think much about it.

          I think Ive got a keeper there? what do you think? Any thoughts on how to query this?


          • #20

            Many a true word....


            • #21
              The Debate Continues

              BPB and Ses, if you guys are so upset with the current crop of films, why don't you start up your own studio together?

              With your understanding of the movie market, you'll have no problem creating a film of true artistic achievement that doesn't lose money. It'll be easy.


              • #22

                Other than the length of that logline I think you have a winner there. Better write it quick before someone else on this board does.


                • #23
                  Re: Logline

                  I would go see it but it's a little too cerebral for me.


                  • #24
                    Re: Logline

                    Get Tom Green attached. He needs to stretch himself as a performer.


                    • #25
                      Re: The Debate Continues

                      I thought writing for oneself is called a "Diary."

                      Outside those covers, I'm sure a writer can either simply write something and hope it reaches some audience, or write something targeted for a specific audience.

                      If we're not in the mood to denigrate or blame some segment of the population we feel apart from or superior to, we could hopefully do either with skill, integrity, and even artistry.

                      Isn't the question, really, how well it's done?


                      • #26
                        Re: Inner conflict

                        RESOLUTION ?‚ HAPPY ENDINGS!

                        <!--EZCODE QUOTE START--><blockquote>Quote:<hr> BrendanPBrennan
                        Re: Inner conflict

                        I apologize... I was under the assumption that we became writers to satisfy a compelling need to tell a story that means something to us. I guess at some point we realize that that isnt enough and then we start writing for other people and 'audiences.'

                        I guess you could say that is OUR inner conflict. But I dont think the Hero in our own personal screenplay ends up having a happy ending. <hr></blockquote><!--EZCODE QUOTE END-->

                        I do! "I" have a Happy Ending because I take myself out of 'my personal screenplay!' I think you misunderstand the compelling need and who its for: The compelling need is for your characters, not for you! If you don't get rid of yourself - respectfully - I don't think you'll get to a story - because you don't 'care' for your characters. It's 'their' story, not yours; so keep out of their way!

                        Story IS resolution; or else, it is not a film. Resolution (as in: An American Film Resolution) does not imply, require or demand a Happy Ending!

                        Resolution requires that the audience goes home with an <!--EZCODE UNDERLINE START-->understanding<!--EZCODE UNDERLINE END--> of the 'fate' of the central character, and for the other characters who dropped through the funnel of the story at the conclusion of the film.

                        This doesn't imply that the audience <!--EZCODE UNDERLINE START-->likes<!--EZCODE UNDERLINE END--> the resolution! Just that it makes sense for your characters and in 'their' story.

                        <!--EZCODE UNDERLINE START-->Resolution is the fate of the circumstances, not an ending.<!--EZCODE UNDERLINE END-->

                        <!--EZCODE CENTER START-->
                        In essence, your choice of opting out of the marketplace which demands resolution, revives DaDa Theater where there never was any resolution, profits or success! And, very little audience.
                        <!--EZCODE CENTER END-->

                        In recent times - recent to me, anyway! - the following films did not have happy endings, several didn't answer anything for anyone, except the reality of the <!--EZCODE ITALIC START--> impossibility<!--EZCODE ITALIC END--> that a happy ending could never exist! And, that <!--EZCODE UNDERLINE START-->impossibility<!--EZCODE UNDERLINE END--> was the resolution - like it or lump it!

                        Successful Unhappy Endings: Brian's Song; Dying Young; Beaches; Schindler's List, Silence of the Lambs, Chinatown; Sixth Sense . . . .and the most dramatic unhappy ending of all time: Franco Zifferelli's 1968 ROMEO AND JULIET.

                        CHINATOWN! - Nobody can possibly think that there was a happy ending or even a 'good' resolution <!--EZCODE UNDERLINE START-->possible<!--EZCODE UNDERLINE END--> in Chinatown. The stark reality was that <!--EZCODE ITALIC START--> power<!--EZCODE ITALIC END--> would never yield to simple justice, for the sake of justice. There is no possible happy ending to a story where a wealthy, powerful predator who begats his own granddaughter and intends to seduce her before she reaches menses - - - Where is the possibility of a happy ending for those victims? It doesn't exist! So, the <!--EZCODE ITALIC START--> powerful<!--EZCODE ITALIC END--> just continue on in their world, unreachable except through assassination and that is the unhappy resolution that the audience goes home with. As in: ''Well, what did anyone really expect? Power wins, doesn't it? Didn't it? Won't it again?'' (Like Marlon Brando in THE FORMULA with George C. Scott?)

                        THE SIXTH SENSE: No happy ending despite the hug between mother and her little eight year old son who sees dead people who don't know that they are dead - yet. Resolution? Many! Malcom, the murdered psychologist, finally finds out he is dead and Ann (Malcom's widow) and he say goodbye; the mother finds out from her son that ''her mother'' did attend a long-ago dance recital and does move things about in her house today - - - But central character, eight year old Cole, the telepathic-mystical-insecure-frightened child who possesses Sixth Sense talents which make him a freak is still in the same morass at FADE OUT: !

                        But resolution? You bet. At least Cole's most loving mother better understands her son and he was able to <!--EZCODE UNDERLINE START-->announce<!--EZCODE UNDERLINE END--> that he can now <!--EZCODE ITALIC START--> communicate<!--EZCODE ITALIC END-->.

                        Resolutions abound but no happy ending is in sight!

                        (Was SIXTH SENSE perfect? Not hardly. There are some very noticeable errors in the script - so what! Geeze! It ain't rocket science, it's a film! I was consumed by eight year old Cole Sear's story! - And then some! Did I cry for him? Damned straight I did; for his mother, too!)

                        C'mon, Brendon! Isn't it for APPLAUSE! Isn't that why we love to see our <!--EZCODE ITALIC START--> children<!--EZCODE ITALIC END--> - our characters and their stories - appear on the silver-screen??? Don't you want your <!--EZCODE ITALIC START--> children<!--EZCODE ITALIC END--> to be loved? To be remembered? I do! That's why I write: It's my legacy to my real children. I want to hear applause for my characters and for <!--EZCODE ITALIC START--> their<!--EZCODE ITALIC END--> stories.

                        (They deserve it - I'm just their scribe!)

                        One quick word for the <!--EZCODE UNDERLINE START-->investors<!--EZCODE UNDERLINE END--> whom - it appears - that you somehow detest.

                        Your films will ride on the backs of the investor's concerns about R-O-I - return on investment. We won't ever get to see "Your" script unless there is a banker somewhere between us!


                        Killiam Tierney
                        [email protected]


                        • #27
                          Re: Inner conflict

                          I utterly agree with Killiam. Purely on the basis of him having such a wonderfully gaelic name.