I have went with a completely new approach with a treatment for a screenplay i have been trying to write for years.
I basically changed the tone and made the charachters a lot younger and smarter than they originally were the oldest person in the core group of closely knit charachters besides the family elders, and a prick of an agent who works for every agency is about 25.
The story revolves around a group of young geniuses, after whom severely botch a dangerous NASA/Private tech institute funded experiment are hired to help the military raise the wreck of the HMHS Britannic in order to retreive the cure for a deadly engineered virus that had been kept top secret until north koreans shot down the probe that was to send the virus samples on a one way rip to the sun, in exchange for not going to prison for the havoc they caused.
Originally the story was a disaster lite thriller that was action oriented and the main charachter was a "every person" It was basically sort of like an "airport" movie from the 70's with some side action happening on the ground during the first half. I thought there were too many of those types of movies by now so I changed it. A lot.
I basically made it dark and serious, and put a lot of the bad stuff that i dealt with as a kid as a way to shape the secondary main charachter into who he is and why he is soon so jealous of the main Female charachter. (who is the lead), when she gets closer to a slightly older, and mentally unstable scientist, of whom he unknowingly ripped off the design of the device they are building from, without ever knowing he had.
The two men's animosity grows to a head at the turning point of the story which i am concerned about since it happens halfway through. That's when the experiment does wrong. Device blows up damages the lab and the skyscraper it's under and EMP's half the city.
Ihave the north koreans onscreen for one scene at the beginning where they hack the probe aand bring it crashing back to earth and we see later a drone strike towards the end.
I am worried about a lack of action sequences. There's a breakout from a mental hospital in the third act, and a quick shootout between the scientist and some marines. And that's it.
I had a street race written near the beginning to establish the Brother of the main charachter, but the climax of which makes him unlikeable, and it was to also establish why one of the charachters mentions turning his car into a Ionic drive hybrid concept car. (the competing racer's ar is clipped by a train spins out and plows through a wall and he just pauses, watches then drives home non chalant)
It was originally featured in the story too as something cool for the charachters to build and set up some military oriented plot elements. But i didn't want it too seem like I was going too "america is so great and powerful". type of story.
Is it alright for there to be a lot of streamlining in regards to the story of the virus and the Britannic. I establish that the British engineered the virus as a way to fight the germans, but it was too deadly, so they quickly made a bunch of the cure. Placed it in untra thick steel boxes and transported on two ships, one of which didnt make it.
I also establised that the military already Re-attached the 100 feet of bow that was damaged (in real life they would cut it off but in a movie everything has to be a little larger than life so the effects will be awesome) but they douldn't figure out how the ge tthe whole ship up, and all their calulations resulted in hull failure.
I had an idea for a climax near the end that too place at the skyscraper and it was going to be a John Q type hostage situation that featured our unstable scientist mowing down six cop cars with a machine gun as the main charachter begs him to stop. It was going to be a very found footage oriented sequence with footage from news choppers and peoples camera phones and camcorders, and survailence cameras augmenting the movie footage.
I basically changed the tone and made the charachters a lot younger and smarter than they originally were the oldest person in the core group of closely knit charachters besides the family elders, and a prick of an agent who works for every agency is about 25.
The story revolves around a group of young geniuses, after whom severely botch a dangerous NASA/Private tech institute funded experiment are hired to help the military raise the wreck of the HMHS Britannic in order to retreive the cure for a deadly engineered virus that had been kept top secret until north koreans shot down the probe that was to send the virus samples on a one way rip to the sun, in exchange for not going to prison for the havoc they caused.
Originally the story was a disaster lite thriller that was action oriented and the main charachter was a "every person" It was basically sort of like an "airport" movie from the 70's with some side action happening on the ground during the first half. I thought there were too many of those types of movies by now so I changed it. A lot.
I basically made it dark and serious, and put a lot of the bad stuff that i dealt with as a kid as a way to shape the secondary main charachter into who he is and why he is soon so jealous of the main Female charachter. (who is the lead), when she gets closer to a slightly older, and mentally unstable scientist, of whom he unknowingly ripped off the design of the device they are building from, without ever knowing he had.
The two men's animosity grows to a head at the turning point of the story which i am concerned about since it happens halfway through. That's when the experiment does wrong. Device blows up damages the lab and the skyscraper it's under and EMP's half the city.
Ihave the north koreans onscreen for one scene at the beginning where they hack the probe aand bring it crashing back to earth and we see later a drone strike towards the end.
I am worried about a lack of action sequences. There's a breakout from a mental hospital in the third act, and a quick shootout between the scientist and some marines. And that's it.
I had a street race written near the beginning to establish the Brother of the main charachter, but the climax of which makes him unlikeable, and it was to also establish why one of the charachters mentions turning his car into a Ionic drive hybrid concept car. (the competing racer's ar is clipped by a train spins out and plows through a wall and he just pauses, watches then drives home non chalant)
It was originally featured in the story too as something cool for the charachters to build and set up some military oriented plot elements. But i didn't want it too seem like I was going too "america is so great and powerful". type of story.
Is it alright for there to be a lot of streamlining in regards to the story of the virus and the Britannic. I establish that the British engineered the virus as a way to fight the germans, but it was too deadly, so they quickly made a bunch of the cure. Placed it in untra thick steel boxes and transported on two ships, one of which didnt make it.
I also establised that the military already Re-attached the 100 feet of bow that was damaged (in real life they would cut it off but in a movie everything has to be a little larger than life so the effects will be awesome) but they douldn't figure out how the ge tthe whole ship up, and all their calulations resulted in hull failure.
I had an idea for a climax near the end that too place at the skyscraper and it was going to be a John Q type hostage situation that featured our unstable scientist mowing down six cop cars with a machine gun as the main charachter begs him to stop. It was going to be a very found footage oriented sequence with footage from news choppers and peoples camera phones and camcorders, and survailence cameras augmenting the movie footage.
