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Daniel_S

Daniel_S

I have three ideas, right now, I'm going to pursue writing just one feature length script. That doesn't mean I won't write the others. Two are actually doable as indie features in the near future, but that aside.. I just want to know what your thoughts are when you read each of these.

Forced to attend summer camp by his parents in order to 'find himself,' an introverted sixteen-year-old finds more than he bargained for when he makes a friend and a long buried secret is revealed.

Following the suicide of his best friend, all a teen has left of her is a voicemail. Everything is thrown into question when a new message from her appears on his phone.

A deep space colonization mission goes wrong when a stowaway is discovered and the crew realize the destination is not what is seems.
 
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I like the log lines. All have potential. When you pick one, and start fleshing the story out, your log line might change some.Don't be afraid to rewrite your loglines. The one that grabbed me the most was the second. But I think if you ask different people you will get different opinions as to which is the best based on their personal preference. Write the one that excites you the most.
 
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Daniel_S said:
I have three ideas, right now, I'm going to pursue writing just one feature length script. That doesn't mean I won't write the others. Two are actually doable as indie features in the near future, but that aside.. I just want to know what your thoughts are when you read each of these.

Forced to attend summer camp by his parents in order to 'find himself,' an introverted sixteen-year-old finds more than he bargained for when he makes a friend and a long buried secret is revealed.

Following the suicide of his best friend, all a teen has left of her is a voicemail. Everything is thrown into question when a new message from her appears on his phone.

A deep space colonization mission goes wrong when a stowaway is discovered and the crew realize the destination is not what is seems.
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The second one is the best option there, and it's pretty similar to an idea I've been playing with for a while (struggling to work out an ending).

The other two seem a lot more typical and run-of-the-mill. The first one could be anything, from family drama to coming-of-age to slasher flick to monster movie. The last one sounds like the first three chapters of any number of sci-fi novels.
 
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Alright, I'm going with number two. I have the third more thought out as far as plot points, and I'll write it at some point, but number two needs more thought. I'm going to work on characters and that will give me insight into what situations can arise along the way.
 
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If I may, what is your reasoning for your first statement? Also, in the logline, I probably should have written 'apparent suicide.' Nevertheless, I am interested to hear your reasoning.
 
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Daniel_S said:
If I may, what is your reasoning for your first statement? Also, in the logline, I probably should have written 'apparent suicide.' Nevertheless, I am interested to hear your reasoning.
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Been done to death, depressing topic, festivals are tired of suicide films, its also somewhat of a filmmaker creative cop-out.

You'd benefit greatly by having a film with more upsides.

I rarely encourage filmmakers here to sink big money into their films, but I rather see you spend extra money to make your space film than the suicide one.

Good luck.
 
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GuerrillaAngel said:
Been done to death, depressing topic, festivals are tired of suicide films, its also somewhat of a filmmaker creative cop-out.
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+1

honestly, i feel like i've seen all of these before, but that said, how often do i say the same about my own ideas? it's all about the execution!

the first one i wouldn't do because i never had a summer camp experience in the traditional manner, but that's me personally. my better question is: how are you at writing kids? they are far more complex imo

the third one though gets my blood flowing, (1) in that future production, you get to build a spaceship in your backyard! (2) it could very easily be a one to few location shoot (3) you will have a confined space meaning in your writing, you will get to know your characters so so so well. of course, all serious sci fi is difficult to write convincingly, but it would be fun and fairly doable *if you're careful*
 
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Alright. Thank you all. Personally, I like the third one the best.. Which is precisely why I'm shelving it for now. This will be my first feature script, and in time (hopefully not too much time,) my first feature. I have so much vision for the third, and I want to execute it after I've had some experience.
...Although.. sitting down and writing this stream of consciousness, I think i will go with the third. I'ts for a class, and I feel more strongly for the third as it stands. Just because I write it first, doesn't mean I can't write and shoot one of the others first, I mean, it's not like I'll be shooting any first or second drafts. Plus, it will mean more time to rewrite it as I go forward. Alright. disregard that first paragraph, I feel I've made a decision that makes sense. Thank you. (:
 
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GuerrillaAngel said:
The first one is not only affordable, but a decent film idea.
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I'm intrigued. What makes you think it's a decent film idea? It may well be, but based on what's in the logline there's very little there, and certainly nothing original or interesting (again, a finished script or more fleshed out idea may well be great).
 
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maz said:
I'm intrigued. What makes you think it's a decent film idea? It may well be, but based on what's in the logline there's very little there, and certainly nothing original or interesting (again, a finished script or more fleshed out idea may well be great).
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The 'long buried secret' could turn the film completely inside out giving the audience an unexpected ride. It's doable and affordable and can be cast with people close to the filmmaker's own age. It doesn't have to be a summer camp -- it could be a detention center, or perhaps forced to spend the summer with a weird uncle.

The key would be the "secret". And of course, a great hook to pull the audience through the set up.
 
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