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I've got a logline

I don't post here as often as I read, but that's about to change.

This is my rough draft logline to a Sci-fi I've been working on since November 2009. Let me know if it hooks you.

A selfish moon-born orphan is captured in an extraterrestrial invasion whose presence shatters the budding, altruistic society that raised him. While Earth's proud children return to dog-eat-dog in the face of the apocalypse, the orphan's experience with the aliens redefines his duty not only to Earth and his civilization, but to civilization throughout the galaxy.
 
You seem to have some great ideas. Very creative but grounded and practical as well. I can really get a feel for your story from the little scenes you've given. It's a world I want to see more of. I rarely say that, cos I think many modern filmmakers are creatively bankrupt.

I would look for Kubricks '6 Unsinkable Units' - 6 unforgettable scenes you really wanted to get into the viewers head. Take your 6 best things... Then set them on the floor and daydream for a week or two until a common thread comes and links them together.

I'm bookmarking this thread, it's a welcome break from working on my more Earth based project...

That's wonderful to hear! I've more or less been writing screenplays for 3 years now, and a teeny bit of validation every now and then really helps morale.
I've never heard of Kubrick's 6. I'm gonna look into that.
 
OUTER SPACE - ALIEN SOLAR SYSTEM

Endless stars twinkle. A blanket of scintillation for a rolling planet.

Glancing at your opening, it looks way too long and epicish for me. I got bored. What about the start of Star Wars?

"A small rebel ship, hopelessly outgunned, flees from a massive imperial star destroyer"

Immediately we know what's going on and we know who we're rooting for.

What interested me about your project was the human/robot society and the way you expressed the alienation:

I've taken the route of capitalizing on the idea of 'cleaning robots', consistently erasing evidence of human life on the moon. Foot prints, hand prints, dirt, trash. The place looks the same every day as if no one lived there at all.

(Nico is always eating something*Titan*, attempting to make a mess, subconsciously wanting to leave evidence that he exists,

and a Robotic Bar Keep (lovably buffoonish, but nonetheless a painful simulation of good company),

Fiberoptic hair, flashiness, covering up the fact that she's an animal etc.)

Those are the images that drew me into your world....
 
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I've never heard of Kubrick's 6. I'm gonna look into that.

http://www.visual-memory.co.uk/faq/index4.html

49 What are Non-Submersible Units?
"[Stanley] had a contempt for narrative, I was hooked on narrative. But he said to me: forget it, all you need for a movie is 6 or 8 non-submersible units."

Brian Aldiss


*******
Non-submersible units are fundamental story pieces, the irreducible core of a narrative when all the non essential "padding" has been stripped away. According to Brian Aldiss, Kubrick's collaborator on the scipt for AI, "One of the many sensible and perceptive comments he made over the years was that a movie consists of, at most, say 60 scenes, whereas a book can have countless scenes. So, he said, it's very difficult to boil down a novel to make a film, as he found with The Shining. Much easier to take a short story and turn that into a major movie. 'All you need is six non-submersible units. Forget about the connections for the moment [...] once you've heard this, you see how 2001 was constructed."


Following on from Aldiss' last remark, here is a breakdown of 2001 into its 7 non-submersible parts.
1/ The monolith visits humankind in its infancy

2/ An early man discovers technology (Moon Watcher smashes the bones)

3/ The monolith is excavated on the moon by astronauts and sends a message to Jupiter

4/ Humankind send a manned mission to Jupiter to investigate

5/ Advanced technology (Hal) endangers the mission crew

6/ Technology is defeated and the surviving cremember rendezvous with the aliens

7/ The Starchild is born

*

Also, bear in mind the scenes I highlighted are going to be a hell of a lot cheaper to film than all that space stuff. The 'painfully simulated Robotic Bar Keep' really got my mind working. I can see it as an echo of The Shining Bar scene...
 
In providing the "card table" example, I wanted to show you how back story can be compressed in action.

for example if we take this literally:

He finds a loophole in the bureaucracy in that the Riot Police will place new recruits wherever they need them (Nico's brother is a captain in the riot guard on Earth, and takes the brunt of the storyline in the renegade uprising later on). His brother is caught assisting the underground (The reason Nico is sent to Mars, creating relationship tension in the only family he has) in inciting riots to pump up his record, and consequently, force transferred down to the monotonous record keeping, where he is involved in the leak when the mars footage unexpectedly comes streaming in.

Were looking at rather poor visual material, even your words suggest dullness, "bureaucracy" and "monotonous" don't SCREAM to be on screen, if you know what I mean. :)

If we look at the "action" your suggesting for Nico in Act I..
Nico stands in line filling out form TX23-B in triplicate. He shuffles another step.. .. hey, Im going to get some popcorn.. let me know if I miss anything.. :)

Set up a VISUAL representation of the risk.. other wise, your going to have to EXPLAIN in painful detail, WHY its risky to be filling out form TX23-B in triplicate..

again, that RICH back story is awesome.. and I KNOW what drives you to have it so deep, keep at it, just dont let the wonderful IDEAS ruin a good story.
 
OK, I know you're not trying to recreate Star Wars, but look at the way that Lucas hid 'eternal themes'- things we can all relate to, in the first few scenes of Episode IV.

Rebel ship flees from Star Destroyer. (Big Guy Vs Underdog)

Threepio and R2 argue and split up on the sand dunes. (Friends arguing, "I never want to see you again.")

Luke argues with his guardians about leaving. (Rebel Kid Vs boring parents, small town boredom+ frustration)

Jawas sellling. (Used car salesmen)

Luke's Aunt and Uncle killed. (Revenge)

*

I know you only posted the opener... but the Star Wars plot summary is more immediate and engaging. Lucas made us able to relate to the strange new world by weaving themes in there that we all deal with every day. This, I think, was his genius, and what made so many people able to relate to Star Wars.

It's well known that Star Wars was based on a Japanese film and a fairytale, so if you're looking for a plot, why not spend a few weeks reading some fairy tales and steal one of their stories?

***

With 2001... a very different Sci-Fi flick, Kubrick hits you with stark, unforgettable images that engross you from the start. I'm not trying to say copy these guys, just pointing out that they have an immediacy and in-your-faceness that part of your story lacks...

Your ideas are really good, you just need to team up with a ruthless script doctor with a sharp razor.
 
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I went through your script and posted some points. Remember, I think some of your ideas are great...

OUTER SPACE - ALIEN SOLAR SYSTEM

Endless stars twinkle. A blanket of scintillation for a rolling planet.

With the lights of civilization peeking through a sparkling, dusty cloud cover, the planet soars away, revealing long lines leading to massive ships the likeness of ancient asteroids.

The asteroids tug the planet off into deep space, joining a stream of worlds evacuating the dense solar system.

***How do we know they're evacuating the solar system? Is there a voice-over?***

One planet still lies in orbit. Wispy clouds, green hugging its equator, blinding, sporadic pulses of light alluding to the utter emergency below the atmosphere.

Suspended in the sunshine, tethered to its surface, an asteroid ship thrusts, feeble, powerless on its own.

The minuscule vessels of the planet's inhabitants flee past the asteroid ship. An exodus glinting in the sun.

***The problem is there are no characters for me to get attached to. I don't care about any of these people at the moment. For all I know it could be a good thing that they're dying. ***

On the dark side of the planet, the pulses of light spread and grow into an intense strobe covering the surface.

***OK, but again, it looks like this'll be expensive to shoot. If you don't have a ton of money I don't know if it'll work.***

Fiery projectiles exit the atmosphere and fly into space toward the darkened moon; they're shooting at something.

A pitch black amoebic hole approaches the moon, blotting out the bright nebulae behind. Silhouetted tendrils writhe outward, wrapping into the moon's surface.

***Effective if done right, but there are too many players in the opening, I think. Who are the audience rooting for? What are the stakes?***

It cracks, breaks, ripped into flaming pieces, shedding a brief, dying light on THE TITAN, a shrouded beast.

The moon burns up entirely, devoured, and the Titan returns to invisible blackness, bearing down on the frantic planet.

***How do we know the planet's frantic? Shots of people running and screaming?***

Absorbing the harmless weapon's fire, its tentacles dip through the planet's atmosphere. A feast.

Coiling around the countryside, suffocating the green plant life, searing deep lesions into the surface. The titan wrenches the planet into burning, bite sized chunks.

***This is visually arresting, a scene that sticks in my mind. Maybe it should be nearer the start***

The asteroid ship drops its lines to the lost planet, dives away, passing the snail's pace exodus that begins to helplessly gravitate backward.

Each little vessel climaxes on the festering wall of darkness in a burst of exposing light.

***Too many adjectives. I would give the DP/CGI guys something more concrete.***

The asteroid ship screams from the system.

The lights dotting its surface dim away into hibernation as it finds its speed across the depths of space.

Looming behind, revealed in intermittent flames, the Titan's black abyss turns, follows.

***Why should I care about these people? Give me a reason to like them.B]


You know, I would compress that down to a few key points:

Tentacles Enveloping a Planet.
Voice Over or Title explaining it's an evacuation.
Chaos on the surface of the planet.
Frantic escape on the surface, crowds fighting fiercely over too few escape craft.
Important: Characters we care about scrambling to get into an escape pod.


*

Of course, there's bits and pieces that I missed, and I don't want to stifle your creativity, but the list I gave you is more filmmable and easier to understand.

A couple of good looking characters fight to get into the last few escape pods as the Titan's tentacles envelope the last free planet of Rigel 4.

There, we know what's happening....
 
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With my list, the producer and DP can immediately start visualising how the project will work, and get some practical scenes together. Plus, you have the hook of characters we care about, not just blobs of light.

You can come along later, and go... 'Hey, but it's essential to have a shot of ****, or *****. And then of course they can add that to the list...
 
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Thanks for all the help guys. I finished my first draft in December, so I've been revising it since then, and I think all that revision has led to entirely too much attachment to my opening passages, as they've been there the longest.
I'm pretty sure I could jump into Nico's story farther along the timeline, and skip some of the tedious set up regarding Nico's transfer to Mars in favor of implying a lot of what must have happened.
Pullin' out my big cutting razor this week.
 
I had to do the same for my recent project. I got the narrator to record 6 pages of material. On listening and editing I realised it was way too long, so I sliced the hell out of it mercilessly... I happened to see a Kevin Smith interview where he talks about being ruthless and it helped me a lot.

EDIT: You have a rare and enviable problem, way too much material, creativity and energy that you need to squeeze down. Much better that than the opposite.

Good Luck and keep posting.
 
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Thanks for all the help guys. I finished my first draft in December, so I've been revising it since then, and I think all that revision has led to entirely too much attachment to my opening passages, as they've been there the longest.
I'm pretty sure I could jump into Nico's story farther along the timeline, and skip some of the tedious set up regarding Nico's transfer to Mars in favor of implying a lot of what must have happened.
Pullin' out my big cutting razor this week.

Great example of killing your babies.. might I add that you are also emotionally attached to the altruistic society thread..... but that just my hard core right wing flapping. :)
 
Cool story.

The question of high concept to me is dead on target, it prompts the question of "What is the title?"

Lucas can have 300 characters on 600 planets in 20 installments across 50 years, and all we’ve ever really needed to know is Star Wars. What is your title that sums it all up?

You could maybe say:

“In a solar system doomed by the technological ideologies of alien invasion, one man must fight to save within himself the universe’s final natural resource.. Humanity.” (Insert title that sums it all up)

-Thanks-
 
OP

<<He's a man on the moon, orphaned from the planet he loves. Aliens are invading earth, is it time to help the world that abandoned him?>>

I think that has a nice hook & kick, plus your playing off the "Man on the Moon" and showing a bit of conflict in your story beyond just kicking alien ass (which isn't a bad idea).

Best!
 
“In a solar system doomed by the technological ideologies of alien invasion, one man must fight to save within himself the universe’s final natural resource.. Humanity.”

Holy crap dude. Nice.
The title I've been working with is Moonkinder.
I think it just has a nice ring and some implications of kindergarten on the moon, or a moon child, without being something so clear cut as 'Moon Guy'.
 
If you're not sure of a plot yet I would:

1) Just lie there and think of your 6 Non Submersible units. 6 epic scenes that people come out of the movie raving about. "OMG did you see the bit where he XXXXXX?" Then wait for a plot to develop around them. Don't force it.

2) Go through every scene with the Mamet tooth-comb/acid-test mentioned above. I think you should be able to write a line summarising each scene so people know what's up. "Aynva and Xyei scramble to the last remaining escape pod as Titan's tentacles envelope their home world."

3) Lie there and just visualise the world. Don't worry too much about a plot yet. Just roam around it in your mind and see what characters stick out. If you didn't have the headache of plot, and were just shooting a feature length doc, what scenes would you include?

4) After you've done that, look for the eternal story behind your world. Crucially, can this story be transposed to another time and place? Would it work in Medieval China for example? What are the abstract cores behind your story? (I guess this comes back to high concept.)

5) You seem to be interested in the idea of tyranny and uber-powerful governments. Maybe check out fairytales and fables about despotic kings + emperors.

6) Check out the 20 year anniversary hardback of the making of Star Wars. One of the best movie books I've ever read. A lot of people have noticed you have the same problem as Lucas. You have a massive world in your head and aren't sure where to start. I would have look at how he dealt with it.
 
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Alright. I've been thinking and thinking and revising day in and day out for a while, trying to boil down what exactly this story is about. It's tough as hell to decide what exactly I want to do with all this. I looked back at my 'Scenes I've cut' word document, and it's 97 pages long. It's almost as long as my screenplay. And I'm about to be cutting a whole lot more. Ugh.

I think I made an age old mistake of working on something for months before thinking it through. Lesson learned the hard way, but learned nonetheless. Working on scenes and dialogue and streamlining action is so much more satisfying than digging to the core of what I'm doing, I think I was avoiding it.

Anyways, I did some reading on what exactly the 'High Concept' really means, and I think I've got it.
An example of a title:
LURE or EARTHWORM or CRADLE ROBBING
To boil the story down into a few words:
Earth is used as bait.

To break it into a logline:
Earth will be the last meal of the last Milky-Way Titan, an apocalyptic surprise for our xenophilous space age civilization.

Now, It strikes me as a hell of a lot more catching than when I began, but before i break into my screenplay and crank out another revision inbetween my day job and sleep hours, I was hoping for a bit of feedback.
 
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Heck yeah man, you have it on the ropes now.
(Keep hitting it till it goes down.)

When you nail it, you’ll know it.
(To me it feels like right street/wrong house, but you are light years closer
,and it's only a matter of time and the task of perfecting it now.)

I consider high concept like what can be seen in a movie poster and instantly conveyed
(Jaws, Twister etc) and/or in a title that tells you what you get conceptually.
(Back To The Future etc)

-Thanks-
 
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Earth is used as bait.

To break it into a logline:
Earth will be the last meal of the last Milky-Way Titan, an apocalyptic surprise for our xenophilous space age civilization.

Yup, pretty good. I always read as a producer. Now I'm interested and I know exactly what's at stake. I think you pass the Acid Test. With a logline like that, you can start anywhere in the story. The Titan trying to devour Earth could come in the first scene or the end of the movie.

One thing, Titan is a bit of a cliched/unevocative title for a world eating entity. It's good because it conjures up an instant image, but I think you could find a better name for the baddie.
 
Thanks for the responses dudes! I'm hoping to have a working draft ready by June 15th to submit to the Big Break screenplay contest and now I think I might just make it.

One thing, Titan is a bit of a cliched/unevocative title for a world eating entity. It's good because it conjures up an instant image, but I think you could find a better name for the baddie.

Yea I was thinking of 'Leviathan' for a while too. I'm gonna do a little bit of research, find a good name for what this thing is described as.
 
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