Challenge: write a one-sentence logline for Paddy Chayevsky's NETWORK. Or CITIZEN KANE. Or FARGO My question: are there some films that simply cannot be reduced to one or two sentences? It seems to me that certain films/genres lend themselves more easily to nice, simple, tight loglines. Thoughts?
Screenwriting : Loglines for complex screenplays by Stephen Williams
Loglines for complex screenplays
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Do you have an example of a film that can't be reduced to one or two sentences? Check out the IMDb database, there is a exhaustive list of films that all have been described in one or two sentences. Or, is your question more about is it harder to write simple, tight loglines for certain films/genres? I find all loglines challenging. I write, play with them for hours, ponder and place them in my workplace to help me keep focused on the story. I'm looking at one now. :-)
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They will eventually be reduced to a sentence for TV listings, the synopsis in the Cannes & AFM sales guides, etc. The logline may not do the film justice, but it will still exist. The difference between me trying to get reads for a script and Chayefsky is that my name isn't before the title on a bunch of films and live TV plays. And the Coen Bros aren't trying to sell scripts, they are looking for funding for a film (with director attached). I just want someone to read my script and buy it or meet with me and offer me a chance to adapt YAHTZEE! into a faeture film... and for that I need a logline,
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The death of a controversial newspaper publisher starts a hunt for the secret of his last words.
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good one, Gregory!!
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brilliant, Gregory
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And here's one for NETWORK (from IMDB): "A television network cynically exploits a deranged former anchor's ravings and revelations about the news media for its own profit."
I guess I'm just whining. Yes, it's hard to write a good logline but it certainly isn't impossible, even when the story is convoluted and complex.
Again from IMDB (for Fargo): "Jerry Lundegaard's inept crime falls apart due to his and his henchmen's bungling and the persistent police work of the quite pregnant Marge Gunderson." Meh. Serviceable but not so good (in my humble opinion).
I think it's interesting that in the NETWORK IMDB logline there is no mention of the William Holden character, the ostensible protagonist. That's because the film is primarily an expose about the institution of television.
Really, Peter? That's interesting. I've always consider Max to be the protagonist because (1) he is the one who changes; (2) we see the story through his eyes; (3) in the end he leaves (evil) television. I think of Finch as the catalyst, much like the Tim Robbins character in Shawshank.
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In Shawshank though, it is Andy Dufresne who takes action towards a desire. He would be the protagonist. Can't remember Network well enough to comment.
That's very interesting Gregory. I never saw it that way. I've always seen Red as the protagonist because (1) he narrates, and (2) he changes in the end, leaving the "comfort" Shawshank (as opposed to Brooks, who kills himself) and taking the risk to go to Mexico to start a new life.
I enjoyed reading this, Peter. You said a mouthful--I need time to dissect it all!