Truth to Power // Edition #5

Truth To Power Title Card So. What did we do in screenwriting. Well. Apart from the fact that some "terrible" acting conspired with one lesson of giving characters a purpose and objective in scenes being achieved and a revisionary period of time was dedicated to solving what Shadbolt wanted to work on for a film took place - one would argue that nothing happened. That one person, is me.

How the Fuck is this gonna fit, Shadbolt?

Yes. This one question is now coming into my mind after giving it sometime to float around since our lesson last Monday. See, given the requirements or guidelines that shan't be sacrificed - as decreed by Shadbolt and Gillies, the pieces of the jigsaw puzzle doesn't seem to go together so well.

One idea, being potentially the most successful and the only idea that could be commissed successfully, is the French World War I story of Le Quesnoy. Not only do I favor this story over the other idea, but the fact is that when it comes to historical accounts being dramatised, there will always be a keen interest from a wide and plentiful demographic audience who are interested in watching accounts that haven't been necessarily told through the convention of film*. That, and no one really pays attention to Le Quesnoy - but rather tends to focus on the Battle of Galipoly - as more people died there, and failed their campaign, whilst those in Le Quesnoy succeeded.

*documentary was made, but not dramatic film/tv.

The other idea, which wouldn't have worked was the Chinese Blockbuster Love-Flick/Historical Account of this one ex-kiwi who fought in WW1, then went to be a prominent member of the Chinese Communist Party - who nobody in our current generation knows about. Not even the youth of China knows this bloke.

In fact, I was a bit confused at the end of the lesson on Monday as we ended up with a Hybrid of both ideas - rolled into one. This simply doesn't work as you'd effectively have two stories in one probable feature-length film. That or you would have to masterfully craft a story where both stories begin and end at the start and finish of the film. Effectively, we need to seek guidence from those who created Cloud Atlas, who managed to sync 4 or 5 different time-lines together though the devices of soundtrack being consistant and all of the characters in each time-line being connected through one object of sorts (didn't watch film, will do in near future).

I will say though - the angle of Rewi being gay in a country where homosexuality was probably both frowned upon and sentencable to death would have made an incredibly interesting branch of the story to have included. Then again, the Chinese market probably wouldn't be up for such a progressive piece of work. We need to think about them, because that's where the money is - but the problem is, we don't know who they are or what they want.

Terrible Example (or "Thanks Gillies. Don't use my Markers Again")

Will finish this off rather abruptly by saying that although the example was pretty bad - because of the particular taste in entertainment of The Dynamic Duo™ - there could have surely been another way of demonstrating that meaningful character objective/purpose within a scene.

That's it for this week.

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