Hi folks!
I'm liking Graeme's idea of the protagonist's fantasy version of the truth. It covers quite a lot of the recommended ideas from last weeks class like 'empathizing with the character', 'something unexpected happening', 'leaving the audience with an impression' and so on. It also gives us the opportunity to give discreet clues throughout (i think).
So here's a brief outline which mixes things up a bit, really just for for the purpose of the homework/class exercise, I'm not sure these ideas are any good :/
Boy finds father dead. (What can we do to trigger the fantasy? how can he begin to think his father's death was a result of something more dramatic?) Flash forward to young man. He is an FBI/CSI type guy at the peak of his career. Hiis dad was victim of a serial killer who is still on the loose. The serial killer taunts him. We find him very confident and courageous whilst he pursues his nemesis. He finally catches the killer but we then realize he actually works a very mundane office job, the serial killer is actually a bullying work colleague who he stands up to?
Cool, yeah i like the idea of hiding clues within the fantasy to the real truth.
ReplyDeleteAs for triggering the fantasy, I imagined flashing forward from the "young boy discovers father" scene, showing time elapse (clocks going forward, seasons changing, sorry I know these are cliches but I'm sure there is a way of doing it), so we're locked into this idea that this is the "real" future.
Then I thought, as the detective fantasy get's really ridiclulous, we flash suddenly back to him as a young boy, perhaps sitting with the ambulance guys or in hospital getting told the real truth about his Dad?
Glad we've got a good few ideas flying around.