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When during a famine a loving Eskimo grandmother is abandoned by her migrating family, she reflects on her past life and faces death, which is inevitable. Or isn’t it?
Two other points comes to my mind why it is better to focus on the struggle to survive rather than the reminiscing in the logline.1]The struggle for survival constitutes a strong visual story line. ?Without knowing anything else about the story, it immediately evokes specific?images of what it takesRead more
Two other points comes to my mind why it is better to focus on the struggle to survive rather than the reminiscing in the logline.
1]The struggle for survival constitutes a strong visual story line. ?Without knowing anything else about the story, it immediately evokes specific?images of what it takes to survive in the Arctic.
Reminiscing — not so much. ?Reminiscing about what? ?What’s the visual on that?
2] The struggle for survival through a harsh winter is a strong indicator as to where the story is going. ?It’s obvious, needs no elaboration.
And again, in contrast reminiscing — where is the story going with that?
>>>for never doing enough for people in your environment who die.
Okay, but even when we do enough — people are going to die anyway, all of us eventually. What matters, then, is the quality of our living and of our dying.
Your protagonist is a grandmother. ?Which means she has successfully nurtured the survival of 2 generations of her family in a harsh, unforgiving environment. ? No small feat. ?I suggest that in the end, the story ought to pay homage to her accomplishment.
See lessWhen a senior Barrister?s reputation is threatened by Alzheimer’s disease, he must enlist his estranged Barrister son, to secretly help him conduct a murder trial.
I agree. This is an interesting idea. I like it a lot. As Richiev and dpg suggested, perhaps the son could be the protagonist. It also addresses the points raised by Nir Shelter ?about ?the premise and 'what's the point?' When the audience goes on the journey through the son's POV we ?learn: 1. whyRead more
I agree. This is an interesting idea. I like it a lot.
As Richiev and dpg suggested, perhaps the son could be the protagonist. It also addresses the points raised by Nir Shelter ?about ?the premise and ‘what’s the point?’
When the audience goes on the journey through the son’s POV we ?learn:
1. why he’s decided to help his father. Perhaps the son wouldn’t be where he is now if it weren’t for his father. Maybe a sense of guilt?
2. how important it is for the father to maintain his reputation and win this case. ?Knowing his father is unwell and he has little time before his dementia worsens and he becomes completely incapacitated, winning the case is a way to make amends as well as having his father retire from law on a reputation high
2. understand why father and son are estranged (maybe it was the son’s fault and this is why the son is doing this for his father, it’s an attempt to reconcile.
Alternatively, during the murder trial, and over the course?of the film, the audience see both POV’s of the father’s and the son in relation to their father/ son relationship and how they became estranged – maybe there are some plot twists and “I didn’t see that coming” moments and the audience question the motives for both father and son – all this set against a backdrop of murder trial which thematically mirrors the story of the main characters.
In the?TV series Broadchurch, there was a?barrister who was losing her vision (which no one knows about) and her colleague/solicitor reads and records legal documents which she listens to before she faces the court. Your story reminds me a little of this dynamic. While the barrister in Broadchurch was not the main character, it created this race against time feeling as you see the deterioration?of her eyesight?which forces her to confess that her vision is impaired.
See lessWhen a shy teenager finds herself torn between her life-long best friend and a potential new love, she discovers one of them is a projection of her mental illness.
The logline seems to gives away the Big Reveal, something a logline should never do. If the audience has to wait until the 3rd act to find out that one of them is a figment of her imagination, what is to keep them interested in the story until then? ? What is her objective goal up to that point? ? TRead more
The logline seems to gives away the Big Reveal, something a logline should never do.
If the audience has to wait until the 3rd act to find out that one of them is a figment of her imagination, what is to keep them interested in the story until then? ? What is her objective goal up to that point? ? That is what the logline should be about.
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