Filmy has given some great pointers on structure and character development -- Quintessentiallism -- Dilemmas etc. Top quality stuff.
So, because just for once I'd like to beat him to the draw
I'd like to throw in two concepts that take an OK story and turn it into something world class.
Make it Poignant and Ironic
When we think in terms of plot, we think of the chracter's journey and struggle to achieve a goal -- this the back bone of structure.
However for a script to move up to the next level it needs to develop sub-plots where characters have the opportunity to change and grow as people.
So if the goal for the character is to ACHIEVE something via the plot -- then their job is to EXPERIENCE moments that are both poignant and ironic at the hands of the sub-plots.
The sub-plot should reduce the protagonist to tears (or for a guy, the moment that he has to choke them down)
The protagonist can also to be brought to a profound truth that makes him/her see herself with new eyes.
If you get it right, these moments touch the audience and turn the film into something that they'll treasure.
Irony is one of the most powerful vehicles in achieving these sub-plot points.
So, for example, in Crash
I think the key to these moments is that they need to reveal private griefs of the protagonist, in a way that only the audience and the protagonist are aware of the significance of the moment.
So, because just for once I'd like to beat him to the draw
I'd like to throw in two concepts that take an OK story and turn it into something world class.Make it Poignant and Ironic
When we think in terms of plot, we think of the chracter's journey and struggle to achieve a goal -- this the back bone of structure.
However for a script to move up to the next level it needs to develop sub-plots where characters have the opportunity to change and grow as people.
So if the goal for the character is to ACHIEVE something via the plot -- then their job is to EXPERIENCE moments that are both poignant and ironic at the hands of the sub-plots.
The sub-plot should reduce the protagonist to tears (or for a guy, the moment that he has to choke them down)
The protagonist can also to be brought to a profound truth that makes him/her see herself with new eyes.
If you get it right, these moments touch the audience and turn the film into something that they'll treasure.
Irony is one of the most powerful vehicles in achieving these sub-plot points.
So, for example, in Crash
the detective puts food in his junkie Mother's fridge, cuts a secret deal (at a very high price) to protect his absent Brother, but doesn't do the one thing his Mother asks of him -- find him.
So, when the Brother turns up dead and the Mother a) blames the detective for not finding the Brother and then b) chooses to believe that her dead son was the one who came back and put the food in the fridge -- Bingo!
The irony -- well, despite the fact he sacrificed his principles to protect his brother, he DIDN'T do the one simple thing he should have done.
Poignant -- well, because he didn't do that he has to eat the fact his love for his Mother is due to go unrecognised.
So, when the Brother turns up dead and the Mother a) blames the detective for not finding the Brother and then b) chooses to believe that her dead son was the one who came back and put the food in the fridge -- Bingo!
The irony -- well, despite the fact he sacrificed his principles to protect his brother, he DIDN'T do the one simple thing he should have done.
Poignant -- well, because he didn't do that he has to eat the fact his love for his Mother is due to go unrecognised.
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