I was reading the latest review of a script on scriptshadow. It was a thriller and in the review it was mentioned that their was no real goal in the script. And that other movies like The Hand That Rocks The Cradle and Single White Female also have no real goal. It was stated that in such movies the relationships between the characters are enough to drive the story. My question is that do you think more movies can be successful by following this approach? And what other films can you think of that are built like this?
Scripts with no real Goal
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Re: Scripts with no real Goal
i'm thinking no real goal stands for thrillers where the antagonistic goal is not something we want and cheer for and b/c it's a thriller the protagonist is just reacting to the actions of the antagonist. does that make sense? put it in those movies SWF and Cradle... and it kind of makes sense. the protagonist doesn't have a goal in these stories except to escape the antagonist.
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Re: Scripts with no real Goal
Though I haven't seen either film in ages, usually there *is* a goal for the protagonist as well - often relationship oriented - that is resolved in order to resolve the crazy person with a knife problem. It's just overshadowed by the person with a knife story.
But the antagonist's goal is usually the most important thing in any film - regarless of genre. In a rom-com the antagonist may be the love interest's new boyfriend or girlfriend (HIGH FIDELITY and MY BEST FRIEND'S WEDDING and MY GIRL FRIDAY and...) or there may be a force of antagonism - a disease, a storm, a shark, a bank forclosure, etc.
- BillFree Script Tips:
http://www.scriptsecrets.net
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Re: Scripts with no real Goal
Originally posted by ricther View PostI was reading the latest review of a script on scriptshadow. It was a thriller and in the review it was mentioned that their was no real goal in the script. And that other movies like The Hand That Rocks The Cradle and Single White Female also have no real goal. It was stated that in such movies the relationships between the characters are enough to drive the story. My question is that do you think more movies can be successful by following this approach? And what other films can you think of that are built like this?
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Re: Scripts with no real Goal
There is also a goal in "The Boy Next Door" which was the script reviewed.
Main character is lonely and wants to find intimacy again after the divorce. It isn't spelled out so clearly in the script, such as in "I'm lonely..." but we watch her do things that hint at trying to rebuild herself after the end of her previous relationship. Which is where the boy comes in...
and when he does, the main characters goal turns into, get away from the blackmail and impending doom from having slept with a crazy student.-chris
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Re: Scripts with no real Goal
Originally posted by ricther View PostI was reading the latest review of a script on scriptshadow. It was a thriller and in the review it was mentioned that their was no real goal in the script. And that other movies like The Hand That Rocks The Cradle and Single White Female also have no real goal. It was stated that in such movies the relationships between the characters are enough to drive the story. My question is that do you think more movies can be successful by following this approach? And what other films can you think of that are built like this?
Don't regard analysis from people who don't know what they're talking about.
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Re: Scripts with no real Goal
Originally posted by ricther View PostIt was a thriller and in the review it was mentioned that their was no real goal in the script.
It was stated that in such movies the relationships between the characters are enough to drive the story.
One definition of a story is: a protag with a problem that he or she must solve. Which means the protag must have some kind of real goal. What other definitions are there?
Your story can be built around the relationships between characters, a character driven story, but there must be a story, a protag with a goal. Otherwise your script is only a series of well acted relationship scenes and you have no story.
The way I see it, and I'm still trying to understand this whole process, there is no law against writing a script without a story. The question is, does a screenplay require story in order to sell?
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Re: Scripts with no real Goal
Originally posted by jonpiper View PostWhat does he/she mean by "there is no real goal in the script" and "the relationships between the characters are enough to drive the story."
One definition of a story is: a protag with a problem that he or she must solve. Which means the protag must have some kind of real goal. What other definitions are there?
Your story can be built around the relationships between characters, a character driven story, but there must be a story, a protag with a goal. Otherwise your script is only a series of well acted relationship scenes and you have no story.
The way I see it, and I'm still trying to understand this whole process, there is no law against writing a script without a story. The question is, does a screenplay require story in order to sell?
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Re: Scripts with no real Goal
I know what you mean. But I don't think those kinds of movies originate from spec scripts written by unsold writers trying to break in. I think the kinds of mindless movies you refer to originate in the minds of studio execs
If you're an unsold, unproven writer, like me, who wants to sell a spec script, your screenplay must have a story, and that means a protag with a goal. It can be character driven or action, but it must have a story. The stronger the story the better.
I may be full of s***, but that's what I think.
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Re: Scripts with no real Goal
richter,
here's the synopsis for Hand Rocks Cradle --
-- "Peyton Flanders seemed to be the perfect nanny, but secretly she was out to wreck the lives of the family she was supposed to be helping. Before becoming the nanny, Peyton had a miscarriage, and blamed it on Claire (the mother). Claire suspects nothing, having never met Peyton before. Written by Rob Hartill"
In the first muthafvcking sentence Rob Hartill drops a "goal."
Whoever wrote that review is not skilled enough to be writing reviews for public consumption.
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Re: Scripts with no real Goal
Originally posted by BattleDolphinZero View PostIn the first muthafvcking sentence Rob Hartill drops a "goal."
But I think the question is between *protagonist's* goal (or seemingly lack) and *antagonist's* goal.
Pretty easy to figure out what James Mason's goal is in NORTH BY NORTHWEST, but what about Cary Grant's goal? To go to the theatre with his mother?
(I know his goal - but I've also seen the movie a zillion times.)
- Bill (not Boll)Free Script Tips:
http://www.scriptsecrets.net
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