Central Dramatic Argument

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  • Re: Central Dramatic Argument

    By trying to help others, the Dolphin has beached himself. This is becoming a tragedy. PLEASE, someone -- push him back in the water.

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    • Re: Central Dramatic Argument

      Originally posted by jtwg50 View Post
      By trying to help others, the Dolphin has beached himself. This is becoming a tragedy. PLEASE, someone -- push him back in the water.
      I'll push him back in... Like Hancock launched the beached whale back in like 30 minutes into that travesty of a movie made from a great script.

      KER-SPLLLLLLASH!!

      ... I just don't know my own strength.

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      • Re: Central Dramatic Argument

        Originally posted by BattleDolphinZero View Post
        Fvck you Craig and Racist Jeff.
        I've handed you the tools. It's not my fault that you're hitting yourself in the head with them.

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        • Re: Central Dramatic Argument

          Hey ATB: Now that Mazin has more or less declared you heir to the throne (as *the* most talented writer at DD), maybe you should just let the Dolphin bake in the sun, then step in and assume his abandoned slot in the hot-talent hierarchy. Chances are hard to come by in this business.

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          • Re: Central Dramatic Argument

            Originally posted by jonpiper View Post
            An example would help.

            And I'm not sure your second statement must always be true.The audience could be uncertain.
            I said "believes" to be a truth. Even Eastwood's assertion "deserve's got nothing to do with it" is believed by the character to be the truth. I don't think the character could function otherwise.

            Any theme where one side is clearly and obviously the truth is a shitty theme - the audience will know it before they walk into the theater.
            Nothing is clearly and obviously the truth. In fact, I think those would be the most interesting stories to write - about characters who think they got it all figured out.
            "I am the story itself; its source, its voice, its music."
            - Clive Barker, Galilee

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            • Re: Central Dramatic Argument

              Originally posted by BattleDolphinZero View Post
              I'm 45 pages into a script that is destroying me. It desperately needs some thematic stank. I'm close to bailing on it even though it could be good. I just don't know what the movie is "about." And in this instance, the lack of a unifying theme is dragging the story to the point that I just don't want to tell it. This was supposed to be my "commercial" spec. This thread has done nothing to solve my problem.

              Fvck you Craig and Racist Jeff.
              The theme of your script is "badass explosions." The CDA is "How badass should explosions be?"

              You're welcome.
              Chicks Who Script podcast

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              • Re: Central Dramatic Argument

                Originally posted by JeffLowell View Post
                Any theme where one side is clearly and obviously the truth is a shitty theme - the audience will know it before they walk into the theater.
                I'd rephrase that slightly.

                A good theme is one for which one can make a reasonable argument in support of either side.

                "Children must be protected from harm."
                "Children must be allowed freedom in order to grow."

                I can argue both sides reasonably.

                That's why these questions are matters of political debate.

                And the subject of movies like Finding Nemo.

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                • Re: Central Dramatic Argument

                  Originally posted by jtwg50 View Post
                  Hey ATB: Now that Mazin has more or less declared you heir to the throne (as *the* most talented writer at DD), maybe you should just let the Dolphin bake in the sun, then step in and assume his abandoned slot in the hot-talent hierarchy. Chances are hard to come by in this business.
                  I dunno about all that, but am I gonna pass up a chance to capsize a sailboat with a beached battle dolphin?

                  F#ck no I'm not.

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                  • Re: Central Dramatic Argument

                    Originally posted by emily blake View Post
                    The theme of your script is "badass explosions." The CDA is "How badass should explosions be?"
                    "Plus they all have guns."

                    Emily, that line of yours is now in my head like this one from the stateroom scene in A Night at the Opera - "And two hard-boiled eggs."

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                    • Re: Central Dramatic Argument

                      ATB: If there's one theme we can all take from Mazin, Lowell and BDZ, it's kick a$$ -- every time, all the time and any way you can. So... proceed accordingly. After all, you are now at the (blistered) feet of the master. Besides, the Dolphin was pretty much done for anyhow, since Lowell has sucked out his soul with all the manly criticisms.

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                      • Re: Central Dramatic Argument

                        Originally posted by Manchester View Post
                        "Plus they all have guns."

                        Emily, that line of yours is now in my head like this one from the stateroom scene in A Night at the Opera - "And two hard-boiled eggs."
                        Then my work here is done and I can go home.

                        Chicks Who Script podcast

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                        • Re: Central Dramatic Argument

                          Mazin. Lowell. Dolphin. Haas. Frazier. Agent.

                          Nevermind me. Just name dropping.

                          HH

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                          • Re: Central Dramatic Argument

                            Originally posted by BattleDolphinZero View Post
                            I'm 45 pages into a script that is destroying me. It desperately needs some thematic stank. I'm close to bailing on it even though it could be good. I just don't know what the movie is "about." And in this instance, the lack of a unifying theme is dragging the story to the point that I just don't want to tell it. This was supposed to be my "commercial" spec. This thread has done nothing to solve my problem.
                            Isn't theme/CDA tied directly to what your characters want and why they want it?

                            If you don't know what your characters want 45 pages in, theme might not be your main problem.

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                            • Re: Central Dramatic Argument

                              Originally posted by iggy View Post
                              Isn't theme/CDA tied directly to what your characters want and why they want it?

                              If you don't know what your characters want 45 pages in, theme might not be your main problem.
                              I'd say it's more directly related to how your character will, or refuses to, change to achieve his goal. In Die Hard, even if McClane could have rescued Holly without her assistance, he couldn't achieve his ultimate goal of winning her back until he accepted her as an independent woman.

                              If I were looking for theme, I'd look for what trait or belief is preventing my character from achieving his goal and how the story is going to press him to change to achieve it.

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                              • Re: Central Dramatic Argument

                                I find the 45 page dilemma common when I'm writing, and I'm currently experiencing one, also. (which explains my frequent posting on here)

                                I'm certainly not going to give advice to someone who doesn't need it, but I think it has less to do with any problem with what my character wants, or theme or CDA, and more with the execution since once you get past the first act, things tend to start having a life of their own. So it's a battle between keeping your characters on the path you outlined for them, but allowing them to "live and breathe", which means they end up staying true to their characters as opposed to what you're trying to make them do.

                                They've wandered off the path and into the forest, which can be a good thing, as long as I can steer them either back to the path, or maybe make a new one through the forest.

                                HH

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