George Johnston's Lounge Discussions

I concur ...

@ Kristen , i Liked the idea of pulling down the pants , but wouldn't that be forcing some into an emotion they have not been into , what if opposite sex is wired , she picks a dagger then cut off your D, but any way it all depends on the chracter triats your dealing with , where they are and who they are ,if they are coming on deadly street , of course they will understand that pull over the pant down must match and next thing is tight hag after a couple of good hours of sex after all they mind less of losing the contact , whether it was good , but that's what they do always , but if its this executive woman who makes several calls home to put right a romatic dinner with long time husband every time they have to make love again and on staged show , then i doubt if , she can match the pant down instruction if not pullinng the revolver off your wrist line and shoot you right in the pivot of whole body structure . Merry Xmas if you Believe in Jesus Christ .

Is it logical that the two characters would fall in love? You get to choose who they are, so give them a backstory (explained or not) that makes it logical to you that they would fall in love. It can be as ridiculous as you want, as long it moves you to create the right story. Maybe his friends teased her in high school but he never did – now she’s a hottie and appreciates he was the only one who wasn’t a jerk. Maybe he had a special needs brother and she used to volunteer at the home he lived in. Maybe she meets him after being told by a psychic that she was about to meet the man of her dreams…so she forces the concept herself. I’m not saying to do any of these things specifically, I’m just saying that it has to make sense in your mind before it can make sense in a script. Once you feel it, you can write it much better :) …just my opinion :)

WIthout knowing the particulars, I would work the attraction, but have something(s) that is (are) keeping them apart. For instance, in the script I just finished (set in the 1890s), there's a social class difference that the man (rich) is willing to ignore but the woman (working class) is too keenly aware of at first ... Then circumstances drive the together so they have to ignore them in order to survive ... Make sense?

Good point Rick. My thought is that the romantic film genre has a structure - boy meets girl(1-10), boy has problem with girl falls in love(11-30), boy loses girl-his own fault(31-45), boy gets girl back(46-60), boy loses girl again - her doing(61-75), boy gets girl back. boy loses girl again - outside force(76-90), boy gets girl back(91-95). Boy learns lesson, confronts outside force. Boy girl live happily ever after(96-the end). Why not a structure for other genres?

Substitute "group of people" for "boy" and "horrors" for "girl," and that's pretty much a horror script ... Maybe ... I may be a little glib here, but that's pretty much it ... :) ... I'm working on some historical screenplays, which are a tough sell because of the costuming, sets, and f/x ... Historical has bigger complications ...