nycineaste
Well-known member
finally got my feature length outlined, it was a real challenge. the way i learned to do it is that I watched tons of movies and outlined them in order to learn how to "fill up" 90 mintues with beats/CRISES/PROBLEMS- ( In line with lajos egri I think of each beat as a crisis problem)
Here's what I figured out:
- brainstorm "complicating" Crises, things that can make the central story crisis WORSE, more complicated. In my arthouse superhero movie, this ended up being bringing in a cop to cause trouble for the hero ("youre a walking weapon- I got my eye on you", and the superheroes powers going haywire (hes a magician, the story is a loosely inspired by dr strange).
- I figured out that movies are by nature, multi-plot, in a way. I looked for subplots that could broaden and deepen the story. I added internal dissension between the bad guy and one of his minions. also the hero has a developing sidekick(an ironic nod to superhero conventions), I realized I can add in beats with her being picked on, etc. Ithink of the strip club scene in kill Bill 2. It doesn't do much as far as the central revenge plot, but it makes Bud a three-dimensional character. Also Bill telling the pae mei tale is a little story in crisis/climax/resolution that deepens the three (him and kiddo).
in planet terror (not that its incredibly well written, but still):
you got
-the dissension between the military factions.
- the love story, cherri and wrays past
-cherri quits her job, feels like a failure
- jeff fahey wants to make good BBQ (tiny subplot, but funny)
-crazy baby sitter twins! (another tiny but funny crisis)
- The cops dont trust Wray wont give him a gun (subplot!)
-fergies trying to get to Dakota, but car heating up
-and of course, the biggest subplot which is the hatred between Josh Brolin and wife dakota
big RR/QT lesson is to "build fun stuff into the story" ..the thing with "dakotas" syringes is just so cool and memorable....
thanks for listening to my ramblings
if anyone has any other tips on how to fill upa feature, feel free speak up. please no goofy arguments about writing theory --they get so lamely dogmatic and un-useful. im talking specifically about filling 90-120 minutes with new and different SHOCKS, SUSPENSE, and all the PROBLEMS/CRISES/CONFLICTS/BAD STUFF that makes a movie...
Here's what I figured out:
- brainstorm "complicating" Crises, things that can make the central story crisis WORSE, more complicated. In my arthouse superhero movie, this ended up being bringing in a cop to cause trouble for the hero ("youre a walking weapon- I got my eye on you", and the superheroes powers going haywire (hes a magician, the story is a loosely inspired by dr strange).
- I figured out that movies are by nature, multi-plot, in a way. I looked for subplots that could broaden and deepen the story. I added internal dissension between the bad guy and one of his minions. also the hero has a developing sidekick(an ironic nod to superhero conventions), I realized I can add in beats with her being picked on, etc. Ithink of the strip club scene in kill Bill 2. It doesn't do much as far as the central revenge plot, but it makes Bud a three-dimensional character. Also Bill telling the pae mei tale is a little story in crisis/climax/resolution that deepens the three (him and kiddo).
in planet terror (not that its incredibly well written, but still):
you got
-the dissension between the military factions.
- the love story, cherri and wrays past
-cherri quits her job, feels like a failure
- jeff fahey wants to make good BBQ (tiny subplot, but funny)
-crazy baby sitter twins! (another tiny but funny crisis)
- The cops dont trust Wray wont give him a gun (subplot!)
-fergies trying to get to Dakota, but car heating up
-and of course, the biggest subplot which is the hatred between Josh Brolin and wife dakota
big RR/QT lesson is to "build fun stuff into the story" ..the thing with "dakotas" syringes is just so cool and memorable....
thanks for listening to my ramblings
if anyone has any other tips on how to fill upa feature, feel free speak up. please no goofy arguments about writing theory --they get so lamely dogmatic and un-useful. im talking specifically about filling 90-120 minutes with new and different SHOCKS, SUSPENSE, and all the PROBLEMS/CRISES/CONFLICTS/BAD STUFF that makes a movie...