NSC

Conscious vs. Unconscious Desire

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Question: When McKee talks about the conscious desire being a contradiction of the unconscious desire, would you relate this to the mid act 2 reversal / change in approach? Or would this be true from the very start of the story, script or life of the protagonist? Answer: Let’s start with quoting exactly what it … Read more

Exciting Coincidence?

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“A strong inciting incident is an event that happens to the protagonist, never an action by the protagonist“, I said. Then I asked you for exceptions, i.e. strong Inciting Incidents that are actions by the protagonist. Now have a look at the first three responses I received: 1.) THELMA & LOUISE, 2.) PULP FICTION and … Read more

Killing My Darlings

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This blog started when a certain analysis of Michael Mann’s THE INSIDER sparked my frustration. Discussing BLADE RUNNER in a story workshop recently, I felt I was close to doing the exact same thing. To this date I don’t fully agree with her INSIDER analysis but Linda Aronson taught me this: to learn story, you … Read more

The Story Revolution

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Nafa – Choctops Meeting: 18/2/08 (Report by John Haly, Thank you to Tony Chu) Karel -a Belgian producer and script consultant – founded OZZYWOOD Films and The Story Department (which is a unique Australian blog and online resource for screen story theory). Karel headed production and programming at London’s Digital Broadcasting Company and was a … Read more

Logline: Definitions

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Let’s start by saying what it isn’t. It is not a tagline. It is not really a one-paragraph synopsis either. (and it’s definitely not a slug line) The Australian Film Commission says: “filmmakers are often asked to supply a one sentence version of their film story. This one sentence should give the most concentrated version … Read more