For a feature script I'm writing, there is a twist. This is not the script I was asking for a logline before, so there is no confusion. I have a scene in mind that is a red herring scene to throw the audience off track, so the twist will be less predictable. The plot will make sense if I didn't have the scene, and it's really mainly there to serve as a red herring. Writers have said that if a scene is unnecessary I should delete it, but movies like The Usual Suspects and maybe even Memento have red herring scenes, that even if they weren't there, the plots would still make sense. So does the guideline still apply?
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Opinions on this type of scene.
- Thread starter harmonica44
- Start date
Red herrings, I think, work best when they tie into other elements of the plot.
Let's say, for example, that a police detective chases the red herring suspect to the detriment of his job, or the pursuit distracts the investigation so that the real killer can kill again. So when you say a red herring "scene," singular, it's questionable whether or not it really ties into the plot. A red herring is a false track of pursuit that takes time to resolve -- much longer than one scene.
"Usual Suspects" and "Memento" both use red herrings as the foundation of their entire plots -- not just for a single scene.
Let's say, for example, that a police detective chases the red herring suspect to the detriment of his job, or the pursuit distracts the investigation so that the real killer can kill again. So when you say a red herring "scene," singular, it's questionable whether or not it really ties into the plot. A red herring is a false track of pursuit that takes time to resolve -- much longer than one scene.
"Usual Suspects" and "Memento" both use red herrings as the foundation of their entire plots -- not just for a single scene.
Well in my scene these two villains, are talking about another villain. They talk about the character, not mentioning who it is, but the way they describe her, misleads the audience into thinking it's someone else. They are talking about what she will do, and how do deal with her. Now even if this scene were not in it, the audience still knows what the villains want to do with her and why. They don't need an explanation. But they talk about her in a way that misleads the audience into thinking she is someone else. Does that tie in the plot, even though it doesn't need it to make sense?
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I think you're talking about misdirection, not a true red herring, which I think of, in a script sense, as a person whom the audience is meant to suspect, but isn't actually the guilty party. Since you're not actually providing a second person (unless, like "Usual Suspects," you're going to create an entire fictional persona), this scene may or may not be worthwhile -- hard to say without seeing it in context.
But I'm of the school of thought that dictates that every scene should tie into other scenes. All scenes are either set-ups or payoffs; these can, for example, develop plot, character, exposition, theme, but preferably it does more than one. The best scenes often connect and develop more than one of these kinds of elements.
So if the scene you describe does only one thing -- which is a small moment of misdirection -- then maybe it's not worth keeping. If you can make that scene do more, then it will justify its existence.
But I'm of the school of thought that dictates that every scene should tie into other scenes. All scenes are either set-ups or payoffs; these can, for example, develop plot, character, exposition, theme, but preferably it does more than one. The best scenes often connect and develop more than one of these kinds of elements.
So if the scene you describe does only one thing -- which is a small moment of misdirection -- then maybe it's not worth keeping. If you can make that scene do more, then it will justify its existence.
Yeah that's what I was thinking. The two villains just talk about how to handle the other villain, that may cause them problems, but the audience will know that they are handling the villain and can easily guess why, even if the scene wasn't there. I can't think of anything else to add to the scene other than the misdirection.
Alright well I've removed the scene. Thanks for the input guys.
Alright well I've removed the scene. Thanks for the input guys.
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I just saw A Perfect Getaway again, and that movie has some scenes in that are for pure misdirection, and the plot would have made sense without them. A lot of people like that one as well as a fair amount of critics. I mean look at the scene where the two characters are talking about the picture of the people they see on the security cam footage, on their cellphone. You are mislead to believe that the people on the phone are two other characters that they are not. So does that scene work even though it could have been cut and no difference made?
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