Looking for "Real Time" Films

rayw

rayw

I'm looking for films which take place MOSTLY somewhat, not strictly, in real time.
Can take place over the course of a few hours or all day/night long, I don't care.
Maybe on a stretch something that takes place from one day to the next.
Nothing that takes place over days and days!

So far, what I've googled:

  1. 11:14
  2. [Rec]
  3. 12 Angry Men
  4. 16 Blocks
  5. 25th Hour
  6. 88 minutes
  7. A Single Man
  8. Assault on Precinct 13
  9. ATM
  10. Before Sunrise
  11. Before Sunrise
  12. Before Sunset
  13. Blair Witch
  14. Burried
  15. Carnage
  16. Clue
  17. Conspiracy
  18. Crank
  19. Crank: High Voltage
  20. Dazed and Confused
  21. Devil
  22. Die Hard
  23. Do the Right Thing
  24. Dog Day Afternoon
  25. Four Rooms
  26. Glengarry Glen Ross
  27. Hard Candy
  28. High Noon
  29. House on Haunted Hill
  30. Kidnapped
  31. Mallrats
  32. Miracle Mile
  33. My Dinner With Andre
  34. Nick of Time
  35. Night on Earth
  36. Odd Man Out
  37. Phone Booth
  38. PVC-1
  39. Quarantine
  40. Quick Change
  41. Reservoir Dogs
  42. Rope
  43. Run Lola Run
  44. Secret Honor
  45. Shuttle
  46. Silent House
  47. Snake Eyes
  48. Speed
  49. Tape
  50. The Breakfast Club
  51. The Exam
  52. The Negotiator
  53. The Set-Up
  54. The Taking of Pelham One Two Three (original)
  55. Timecode
  56. Titanic
  57. Training Day
  58. United 93
  59. Wet Hot American Summer

Anyone think of any more?
 
Evil Dead
Dusk Til Dawn

The Man From Earth

It's A Wonderful Life

Possible A Christmas Carol, but that's got some longer flashbacky material. That count, maybe?

Ferris Bueller's Day Off :lol:


.
 
D.O.A. (both versions)

The Running Man

Three O'Clock High

Elephant - maybe, but maybe the flashbacks go back too far? Dunno

Prince of Darkness
Halloween

**New Edit** Falling Down
 
Last edited:
Well, for actual real-time movies, a list has already been made.

For movies that take place in a short period of time, but are not actually real-time, I guess pretty much any Die Hard movie qualifies, and not just actual Die Hard movies. You've also got Die Hard on a Boat, Die Hard on a Train, Die Hard on a Bus, Die Hard on Another Boat, Die Hard on a Plane, Die Hard in the Mountains, Die Hard on Another Plane, Die Hard in a Hockey Rink, and many others.

To be completely honest, I'm kinda looking forward to Die Hard in the White House, and Another Die Hard in the White House.

I'm not gonna list specifics, but I think the vast majority of slasher horror flicks fit the bill.

Does Hangover count? Technically, it takes place over many days, but that's just the 1st act. The 2nd and 3rd acts (which is what people are there to see) all take place in one day.

Harold and Kumar Go to White Castle?
Open Water?
Monsters?
Monsters, Inc?
Wall-E? (again, only the 2nd and 3rd act qualify)
Honey, I Shrunk the Kids?
 
Updated list:

Code: 
MPAA 	TITLE  	 	 	 	ELAPSED TIME 	BASIC STORY, STORY TYPE, CLOCK TICKING Y/N - WHY/WHAT?[LIST=1]
[*]R 	 	11:14 #
[*]U 	12 Angry Men			1.5hrs	Jury members reconstruct prosecutor's case, experience film, guys in room until decision made, no clock ticking
[*]PG13 	16 Blocks				2hrs	Cop rescues con in evasion about town from bad cops, experience film, Antags  chase Protags around town, clock is ticking - Court date + MTA locker cleanout
[*]R  	25th Hour
[*]R  	88 minutes			2hrs	FBI profiler investigates harrasser about town, mystery film, Protag runs about town, clock is ticking - 88 minutes
[*]R 	 	A Single Man
[*]PG 	Alice in Wonderland			6hrs	Alice rescues Hare & Hatter from red queen, experience film, Protag runs about fantasy world, no clock ticking - Things happen when they do
[*]PG 	American Graffiti
[*]R 	 	Assault on Precinct 13		8hrs	Cops and cons battle bad cops from defunct precint bldg, attrition film, Antags pursue Protags, clock is ticking - Sunrise
[*]R  	ATM
[*]PG13	Battle: Los Angeles			18hrs	Soldiers battle alien invaders, experience film, Protags pursue Antags through city, clock begins ticking ACT III - Before aliens coordinate stronghold
[*]R 	Before Midnight
[*]R 	Before Sunrise			8hrs	Couple discuss life events, experience film, Two peeps blabbin', clock is ticking - Airplane departure
[*]R 	Before Sunset			3hrs	Couple discuss life events, experience film Two peeps blabbin', clock is ticking - Airplane departure
[*]R 	The Blair Witch Project		24hrs	Teens lost and pursued by spirits in woods, experience film, Antag pursues protags throuh forest, no clock ticking - Things happen when they do
[*]R 	Buried				1.5hrs	Man determines situation & options in box, mystery+experience film, clock is ticking - Running out of air + battery
[*]R 	Carnage
[*]PG13	Cloverfield			2hrs	Friends goto rescue GF amid monster attack, experience film, Protags run through city, clock begins ticking ACT III - Nuke NY
[*]PG 	Clue
[*]R 	Collatoral				3hrs	Taxi driver held hosatge by assassin, experience film, Protag endures Antags agenda, clock is ticking - Before sunrise
[*]R 	Conspiracy
[*]R 	Crank				2hrs	Man hunts antidote for exotic poison, experience film, Protag runs about town, clock is ticking - Before poison kills him
[*]R 	Crank: High Voltage			2hrs	Man hunts heart for reimplantation, experience film, Protag runs about town, clock is ticking - Needs heart ASAP
[*]R 	D.O.A.
[*]PG13 	Date Night			4hrs	Couple pursued and investigate criminals, experience film, Protags run about town, no clock ticking - Things happen when they do
[*]R 	Dazed and Confused
[*]PG13 	Devil				2hrs	Building security tries to free four trapped in elevator, mystery+attrition film, Protags at solution impasse, no clock ticking - Things happen when they do
[*]R 	Die Hard				4hrs	Cop confronts theives in building, attrition film, Protag & antags chase each other inside building, clock is ticking - Before thieves kill hostages & take bearer bonds
[*]R	Do the Right Thing
[*]R	Dog Day Afternoon
[*]R	Dusk Til Dawn			12hr	Group takes refuge in vampire bar, experience film, Protags defend inside bar, clock is ticking - Survive until daylight
[*]R	Evil Dead #
[*]R	Falling Down
[*]PG13	Ferris Bueller's Day Off 
[*]R	Four Rooms
[*]R	Glengarry Glen Ross #
[*]R	Halloween
[*]R	Hard Candy #			2hr	Girl tortures rapist murderer, experience film, Protag tortures Antag, no clock ticking - Things happen when they do
[*]R	Harold and Kumar Go to White Castle
[*]U	High Noon
[*]PG	Honey, I Shrunk the Kids
[*]R	House on Haunted Hill
[*]NR	Irreversible
[*]NR	Kidnapped
[*]R	Mallrats
[*]R	Miracle Mile
[*]G	My Dinner With Andre
[*]R	Nick of Time
[*]R	Night on Earth
[*]U	Odd Man Out
[*]R	Open Water			16hrs	Scuba couple abandoned in GOM, experience film, Protags paddle in GOM, no clock ticking - Just wait until rescue or death
[*]R	Phone Booth
[*]PG13	Premium Rush			2hrs	NY bicycle couriers pursued by bad cop, experience film, Protags evade antags about city, clock is ticking - Deliver parcel before deadline
[*]R	Prince of Darkness
[*]R	Project X				16hrs	Teens organize & host escalating house party, experience film, Protags deal w/ situation, no clock ticking - Things happen when they do
[*]NR	PVC-1 #
[*]R	Quarantine			2hrs	People trapped in infected building, attrition film, Protags evade antags in building, no clock ticking - Things happen when they do
[*]R	Quick Change #
[*]R	Reservoir Dogs			2hrs	Criminal group recalls day's events, experience film, Antags blab in garage, no clock ticking - Things happen when they do
[*]U	Rope
[*]R	Run Lola Run #
[*]U	Russian Ark
[*]NR	Secret Honor #
[*]R	Shuttle				2hrs	Shuttle passengers captive on shuttle, attrition film, Protags at mercy of antags, no clock ticking - Things happen when they do
[*]R	Silent House			4hrs	Woman psych-trapped in haunted house, experience film, Protag trapped in house, no clock ticking - Things happen when they do
[*]R	Snake Eyes
[*]R	Speed
[*]R	Tape
[*]R	The Breakfast Club
[*]R	The Condemned
[*]R	The Descent			6hrs	Spelunkers pursued by monsters, attrition film, Protags evade antags in cave, no clock ticking - Things happen when they do
[*]R	The Man From Earth #
[*]R	The Negotiator			3hrs	Police argue and attack @ municipal building, mystery film, Protag defends against antags in building, no clock ticking - Things happen when they do
[*]	The Raid: Redemption		2hrs	SWAT team invades apartment building of hostiles, attrition film, Protags defend against antags in building, no clock ticking - Things happen when they do
[*]R	The Running Man
[*]U	The Set-Up #
[*]R	The Taking of Pelham One Two Three	1.5hrs	Hostage ransom on subway, mystery film, Protags meet demands of antag in subway, clock is ticking - One hour to meet demands
[*]PG13	Three O'Clock High #
[*]R	Timecode #
[*]R	Titanic
[*]R	Training Day 
[*]R	United 93
[*]R	Wet Hot American Summer #
[/LIST]

Any others come to mind?

I really appreciate your contributions, guys. :cool:



richy said:
In the not actually real time but taking place in a short period of time category
Click to expand...
Close enuf! ;)
Thanks, Richy
(Pretty sure I'll not find 'Smack My B!tch Up' at the county library or free online, so... :lol:)
 
Last edited:
In the not actually real time but taking place in a short period of time category:

Smack My B**ch Up
Irreversible
Collatoral
 
Progress so far on breaking down films that take place in (near) real time:
https://docs.google.com/spreadsheet/ccc?key=0AsBznn8D13zOdFBOY2Q3RGlva0pDMWJ0anhKa214VGc&usp=sharing



The idea behind this is to understand how stories are crafted that take place in an abbreviated period of time with the ultimate goal of writing some of our own for the purpose of filming something as close to real-time as possible to cut down on production expense.

Yeah, yeah, yeah, I can already hear the arguments about "what looks like two or three hours in 'movie film time' really takes two to three (or more!) weeks to shoot!"

Understood. But...

But I want to explore the idea of "what if... "

What if... I/you could write a story where the final cut is between 90 - 110 minutes that took <120, 240, 360, or 480 minutes to shoot?
Could you craft a feature length film that takes roughly only double, maybe triple, the final run time to shoot?
Could it be crafted?
Could it be shot?
Could you shoot a feature length film in three or four or six hours?
Could you plan that?
Like a stage play?
Could you?
Is it possible, even if difficult or unlikely?
(I say "NAY!" to the naysayers!)

I believe it could be done.
And this is where I begin, if only to prove myself wrong. :yes:



EDIT:
Imagine a stage play production of Devil, Before Sunset, Buried, Hard Candy, Quarantine (this would look cool on a three story three-wall set!), Reservoir Dogs, Silent House, The Raid: Redemption (same set as for 'Quarantine', but waaaay more difficult to execute!), or 12 Angry men.
Think of how broadcast stage shows, like awards shows and sing/dance/magic shows, are shot by fixed and mobile cameramen.


GuerrillaAngel said:
Dr. Strangelove belongs on that list underlined in red.
Click to expand...
You got it! Except for the "underlined in red" part. ;)
 
Last edited:
Has anyone listed Day, Night, Day, Night yet; and does it count? 48 hours might not be what you are looking for.

rayw said:
Progress so far on breaking down films that take place in (near) real time:
But I want to explore the idea of "what if... "

What if... I/you could write a story where the final cut is between 90 - 110 minutes that took <120, 240, 360, or 480 minutes to shoot?
Could you craft a feature length film that takes roughly only double, maybe triple, the final run time to shoot?
Could it be crafted?
Could it be shot?
Could you shoot a feature length film in three or four or six hours?
Could you plan that?
Like a stage play?
Could you?
Is it possible, even if difficult or unlikely?
(I say "NAY!" to the naysayers!)

I believe it could be done.
And this is where I begin, if only to prove myself wrong. :yes:
Click to expand...

I think it could totally be done. On the extreme end of the spectrum, there was a truck commercial several years ago (Jeep, or maybe Toyota, I can't remember exactly and having trouble finding it) where they tossed a <truck> over a cliff (possibly waterfall). IIRC there were in excess of 35 cameras rolling on the stunt since they only wanted to do it once. Extrapolate that out to your film. Everything pre-lit, camera (fewer and likely mobile) in position as the action traverses the set. Of course that is the exact opposite of "saving money in the process."

So let's think about this from a 0 budget perspective. I just shot a short film where the director wanted (originally) to shoot exactly as you describe, complete with the poor actress having to rush from once place to another in order to go out a window and come in a door - for example. The idea was that since he wanted the piece to feel like a single long take and he had experience with stage direction, why not?

I talked him out of it by explaining that we didn't have the resources to light (or dress, we were effectively working in an unused house, totally empty) the entire house properly, and that any error at any point in the process would mean starting over from scratch - unless we planned for cuts which could be hidden by technique. Much easier to shoot it traditionally and plan the seamless cuts and motion that way. If nothing else, to give ourselves multiple takes.

On the one hand, you're approaching it from a different angle. On the other hand, the concept is the same. The longer you stretch out choreographed events the more room for error there is. Lighting is almost certainly out, unless your entire film is taking place in 1-3 rooms and you have some level of budget for a day of staging and a day of pre-light. (and enough lighting and grip gear to handle the job)

Another way to approach this, would be to write the film so that it is almost entirely exterior. Sure, would be great to have grip gear to make it prettier - but there's a lot that can happen under the dappled light of a forest in 90 minutes. Also, give me a couple good grips with some bounce cards, negative fill, and silks that can be hand-held and you would be amazed at the results. It's great to have the big soft-goods frames and the crews to build the safely, but a little hollywooding goes a long way.

The script is the key. Otherwise the whole thing is just "too see if it can be done." For example, I have an interesting visual concept for a short film that would need to be shot on successive mornings at the same location. Shooting days would be short (there's a morning version of "magic hour" that just works for this location) since the limitation is natural lighting. I'm no writer or director, but I recognize that story is key. The visual concept and, for lack of a better work, technical exercise is great and all, but without story it's just a technical exercise. Similarly, I want the story to occur in approximately the time it would take to view, but I would want to be able to traverse a few interlocking stories in that time span.

Simplification should also be a priority. Follow all the low budget "suggestions." No Kids, No Crowds, No Weather, No Stunts, etc. Stage production is very character driven, and I think to pull off your idea your script would need to be as well. Are you trying to count rehearsal time into your production day window?

Anyway, an interesting idea, looking forward to seeing where this goes.

In a way this reminds me of the challenge of affording to shoot 16mm in college. "My finished piece is going to be ~5 minutes long, and I can only afford 10 minutes of film - ok, everything in 2 takes or less it is!"
 
Last edited:
David.rhsc said:
Has anyone listed Day, Night, Day, Night yet; and does it count? 48 hours might not be what you are looking for.
No one has, and although the story does take place over a greater time period than this search criteria calls for I do see how it could easily be adapted to such.

Everything pre-lit, camera (fewer and likely mobile) in position as the action traverses the set.
Yep.
A whole lotta pre-planning, choreography, blocking, and practice.

Of course that is the exact opposite of "saving money in the process."
Yeah, well...
There's several different ways to go about accounting for how money is spent. ;)
On very small, zero-budget operations just getting everyone on set at the same time seems to be a challenge enough.
I was thinking that if the primary cast could rehearse the entire production enough times to honestly get it down pat that would go a long way towards keeping things moving right along when the crew is also there.
Run a few dry rehearsal go-throughs with both cast and crew and many of the bugs can be worked out.

So let's think about this from a 0 budget perspective... I talked [the director] out of it by explaining that we didn't have the resources... and that any error at any point in the process would mean starting over from scratch - unless we planned for cuts which could be hidden by technique.
Spot-on points and something to plan ahead for.

Much easier to shoot it traditionally and plan the seamless cuts and motion that way. If nothing else, to give ourselves multiple takes.
When I recently rewatched 'Silent House' I was only able to spot maybe two or three places where the cuts were, otherwise the director did an excellent job planning.
And FWIW, I wouldn't really have such an obsession on making it "appear" to be shot all in a single take.
That would fall under director's artistic discretion, and little to no marketing value would come of it.
I've not a problem with cutting in brief closeups and cut outs to stitch together the better shots from several takes.

Furthermore, I think there's a huge difference between acting for stage (not just the theatrics necessary for long distance stage-to-audience viewing) and acting for film.
Stage acting demands a comprehensive manipulation if the entire script whereas traditional scene acting for film tends to be short term regurgitation of no more than a page (or two at most) of lines+actions.
"Getting into character" seems to be a greater challenge for film actors than for stage actors to maintain.

The longer you stretch out choreographed events the more room for error there is. Lighting is almost certainly out, unless your entire film is taking place in 1-3 rooms and you have some level of budget for a day of staging and a day of pre-light. (and enough lighting and grip gear to handle the job)
Yep.
Something to plan for ahead of time.

Another way to approach this, would be to write the film so that it is almost entirely exterior... Also, give me a couple good grips with some bounce cards, negative fill, and silks that can be hand-held and you would be amazed at the results. It's great to have the big soft-goods frames and the crews to build the safely, but a little hollywooding goes a long way.
Agreed.
It seems "off-camera sound management" of the BTS crew moving about doing their tasks becomes one of the challenges.

The script is the key... The visual concept and, for lack of a better work, technical exercise is great and all, but without story it's just a technical exercise. Similarly, I want the story to occur in approximately the time it would take to view, but I would want to be able to traverse a few interlocking stories in that time span.
Yep.
There's a HUGE HUGE HUGE difference between writing for pie-in-the-sky production and writing for self-production/direction.
This is where writer/producer/directors need to consider not only budget and asset resources but to also weave in consideration of time constraints for cast & crew.

Simplification should also be a priority. Follow all the low budget "suggestions." No Kids, No Crowds, No Weather, No Stunts, etc. Stage production is very character driven, and I think to pull off your idea your script would need to be as well.
Yep, yep, yep!
There's big difference between planning a short-batch run and a long-batch run.
It doesn't do much good to make a FUBAR screenplay go "as efficiently as possible" when it would make much more sense to craft a story from the get-go that could be made to run as efficiently as possible.

Currently, design wise, the biggest issue is "What kind of situation can be created that is compelling - BUT - the Protagonist(s) can't very well call the cops to just take over the situation.
If you can figure out that situation or circumstance in this modern age of cell phones, 911, <5min po-po response times then you have a fighting chance.

With zero-budget filmmaking it's not too difficult to blow through several hundred dollars just assembling a proper police uniform+ accouterments.

Criminals.jpg
= $$$ perhaps better spent elsewhere in production.

Are you trying to count rehearsal time into your production day window?
DEFINITELY!
Rehearsal time is perhaps the second most critical element AFTER the screenplay design itself.
Stage plays, broadcast awards, and magic shows aren't performed five or six lines at a time then break for half hour while the next scene is set up with lights and cameras.
"Roll! Roll! Roll! Let's keep this big pig rolling, folks."

Anyway, an interesting idea, looking forward to seeing where this goes.
You and me both!

In a way this reminds me of the challenge of affording to shoot 16mm in college. "My finished piece is going to be ~5 minutes long, and I can only afford 10 minutes of film - ok, everything in 2 takes or less it is!"
Yes. Very similar.
From my personal vantage point the primary consideration is "I can get everyone on set for one day. How do I get this feature length film shot?"
Click to expand...

I guess the thing I keep thinking of repeatedly is if I know a feature length film COULD possibly pull in $3, 4, 5 maybe 10k in distribution fees - WHAT - can I do to keep the production cost of the feature itself under $3k?

For an example, I can only guess at how much Troma pays producers for distribution rights, which is pretty irregardless of actual production costs.
http://www.imdb.com/title/tt0834897/ 'Bigfoot' may have cost an estimated $40k to produce.
http://www.imdb.com/title/tt0765488/ 'Yeti: A Love Story' may have cost an estimated $0.2 to produce.
Now, how much do you think each of these producers were paid by Troma to distribute these films?
I'll take a wild guess that it's no more than a few thousand dollars.
One producer lost money on that distro deal while the other made money.
Just a guess, though.

So...
What can I do - as writer/producer/director - to keep my feature film production costs down?

Perhaps just plan a better feature from scratch. :yes::no:
 
Last edited:
Screwit.
I think I'll take a public stab at roughing out a feature length film based off/inspired by the 'Day Night Day Night' story.

I'll review my previously drafted notes, then check out the DVD from my local library again (Yeah, I go there often), and then cogitate on a similar "Die Hard on a _________"-like scenario that will plug into my 'Two Constraint, Three Act Structure' formula template.

20130320TwoConstraintThreeActStructure-2013-Compact_zps7a6632d5.png


Code: 
ACT I
	Here's the Situation	
	It Just Got Worse	
	FIRST CHALLENGE	
	Hope	
	Might Lose It...	
	FIRST CONSTRAINT, Got it!	
ACT II, Part I	
	First Lesson
	Second Lesson
	Third Lesson
ACT II, Part II
	Last Lesson Lead's to...
	Oh, No!	
	It's All Okay, Now	
	Total Loss. Story's Done, Unless..
ACT III	
	SECOND CONSTRAINT, Solution!	
	SECOND CHALLENGE	
	Build to Outcome
	Build to Outcome	
	Outcome Achieved!

I'm already thinking about several domestic terrorists building an ANFO truck bomb then getting it to it's destination.

However, I've already a stack of DVDs to watch from my '(Near) Real Time Films' list to watch - on top of regular sh!t to do. (Plus another 'Cartoon Template for Short Story Craft' vid I'm working on.) Ha!
 
Last edited:
I think the very nature of a domestic terrorist themed film would naturally fall under the double genré of drama-thriller.

To that effect, the bombers' target can be either hard or soft, but the prospect of hitting a soft target should have a greater emotional effect - if executed well, of course.



I'm also debating on whether the 'Planning' aspect of the film should conclude and transition to the 'Execution' aspect should be at the symmetrical halfway point or at the ACT III begin point.

I'm leaning toward the ACT III is the 'Execution' stage of the story

(Preferred)
Planning
ACT I
Here's the Situation
It Just Got Worse
FIRST CHALLENGE
Hope
Might Lose It...
FIRST CONSTRAINT, Got it!​
ACT II, Part I
First Lesson
Second Lesson
Third Lesson​
ACT II, Part II
Last Lesson Lead's to...
Oh, No!
It's All Okay, Now
Total Loss. Story's Done, Unless..​

Execution
ACT III
SECOND CONSTRAINT, Solution!
SECOND CHALLENGE
Build to Outcome
Build to Outcome
Outcome Achieved!​
​

vs...

Planning
ACT I
Here's the Situation
It Just Got Worse
FIRST CHALLENGE
Hope
Might Lose It...
FIRST CONSTRAINT, Got it!​
ACT II, Part I
First Lesson
Second Lesson
Third Lesson​
​
Execution
ACT II, Part II
Last Lesson Lead's to...
Oh, No!
It's All Okay, Now
Total Loss. Story's Done, Unless..​
ACT III
SECOND CONSTRAINT, Solution!
SECOND CHALLENGE
Build to Outcome
Build to Outcome
Outcome Achieved!​
​




2012 04 02 00:39 UPDATE
"Protags" will be the bad guys.
Like engineers working on a horrible machine, the protags will be working to achieve a horrible goal - however - the goal as story writer and director is to get the viewer to want for them to achieve their incremental immediate goals even while disapproving of the ultimate goals.

The bad Protags will suffer losses on the way to achieving their goal.
The bomb will fail.
The central or last survivor will die. Alone. And having achieved nothing of any value.

Question: Have him die in the truck or outside? Hmm...
Die alone alone - or - in public alone? Hmm...

And I'm not too happy about NOT having any traditional Protag/Antag conflict.
Maybe I can think of something along the lines of a division within the terrorist group.
Maybe a philosophical debate between hitting a hard target and a soft target. Hmm...

A argues a hard target will be more difficult but more practical.
B argues a soft target will be easier and have greater emotional benefit.
Hmm...

Some circumstance must occur where the agreed upon plan is changed. Hmm...

Truck will be a minivan.


2012 04 02 01:31 UPDATE
MPAA rating would be R due to adult themes and violence.
I really want to see how far I can go with a group of people planning a horrible act - yet they eschew drinking, drugs, and foul language. There's certainly no need for nudity.
http://www.mpaa.org/ratings/what-each-rating-means
"An R-rated motion picture may include adult themes, adult activity, hard language, intense or persistent violence, sexually-oriented nudity, drug abuse or other elements, so that parents are counseled to take this rating very seriously."​

I want this to be an "attrition film", members of the party die one by one.
  • Some guy's going to die because he doesn't follow directions and gets blown to bits removing a faulty package charge from the minivan.
  • Someone else will die as a BATF informant dumped into a 55 gallon drum of something unpleasant.
  • I'm going to spring for a nosy cop to get popped.

I have 'Cloverfield' loaded on the DVD player right now.
I think there's only four or five friends that die in that. http://en.wikipedia.org/wiki/Cloverfield
  1. Jason on the bridge
  2. Marlena gets bitten and explodes
  3. Hud is chewed up by the monster
  4. Rob &
  5. Beth by nuke
Lily is evacuated via helo somewhere in there.

So... maybe I'll just kill two terrorists, dummy + informant, and the cop.
The two remaining members are somehow have a falling out resulting in one being left behind and the driver practically dying anyway.

Now, that would be nice: driver dying of injuries gets to destination, the bomb fails to detonate, but he's too injured to fix anything, and dies alone in his stolen minivan amid a crowd of happy people celebrating what he wants to destroy.
Niiiiiiice. :)

It will be linear in form: Locations A-B-C-D-etc. No random jumping around a city in some arbitrary fashion.
- House
- Garage
- Road trip
- Destination

And I'm trying real hard to think of a romance angle on this. Something better than a relationship over the phone. But...

Time constraint: Yes. The clock is ticking.
There is a large, populous event that the minivan bomb needs to be at by a given time.


2012 04 02 01:41 UPDATE
Nope. I believe I could do this with an MPAA PG13 rating.

http://www.imdb.com/title/tt1767382/parentalguide?ref_=tt_stry_pg
Nope. I'm back to being an R rated film. :lol:


2012 04 02 02:16 UPDATE
I like to make my names nice and simple to remember.
https://docs.google.com/spreadsheet/ccc?key=0AsBznn8D13zOdDRkSUhfdGNxSk5ILUs0QVlyNzJXUWc&usp=sharing
I have four Protagonists: A, B, C, & D + a police officer
A - Al
B - Ben
C - Cole
D - Dan
Police Officer - Pam Bedead​
Simple.

Al dies first, then Ben, then Cole and Dan will have at it. Dan will be the last survivor, although mortally wounded.

Police officer Pam coming to nose about the property (due to a report of an explosion [Al] by neighbors) is going to bring in the 'Oh, No!'
Her death will be the 'It's All Better, Now.'

Total loss will be when Cole and Dan have their little shoot out. (Gunfights are cheaper and easier to produce than physical altercations.)

FIRST CONSTRAINT will be to acquire some critical element of the bomb or van part to make it operational.
SECOND CONSTRAINT will be to have the last terrorist standing depart the garage to deliver the bomb.

Planning
ACT I
Here's the Situation - Four terrorists are going to deliver a bomb in a stolen minivan
It Just Got Worse - Some critical element of the bomb or van part to make it operational is missing
FIRST CHALLENGE - Acquire the missing/damaged/broken part.
Hope - It's on the way or they know where to get it.
Might Lose It... - There's an obstacle...
FIRST CONSTRAINT, Got it! - Acquired the critical element of the bomb or van part to make it operational.​
ACT II, Part I
First Lesson - Discover yet another bomb part is missing or will fail, running out of time to fix, decision to remove that element
Second Lesson - Al and Dan remove it from minivan, Al moves it to back yard, it detonates because he doesn't follow directions
Third Lesson - Others rush to finish the bomb, Ben severely injured in accident​
ACT II, Part II
Last Lesson Lead's to... Ben discovered to be BATF informant, Ben killed by Cole
Oh, No! - Police officer Pam comes to nose about the property due to explosion report by neighbors
It's All Okay, Now - Cole shoots Pam, she's almost dead, Cole and Dan put her in the back of the minivan
Total Loss. Story's Done, Unless.. Cole and Dan's long brewing argument leads to their gunfight​

Execution
ACT III
SECOND CONSTRAINT, Solution! The last terrorist standing departs the garage to deliver the bomb.
SECOND CHALLENGE - Dan's gotta get the bomb to the event (festival/parade/ball game/whatever)
Build to Outcome
Build to Outcome
Outcome Achieved! The bomb fails to detonate, Dan's too injured to fix anything, and dies alone in his stolen minivan.​
​

Just a few blank spots to fill in there. ;)
 
Last edited:
This is great, Ray. Thank you for sharing. This could be interesting for us, you sharing your story's development, n all. Full disclosure, the whole skin the cat, detailed outline way of developing a story turns me off, makes my head hurt. Hell, I do suspect it's necessary, though. But, perusing what you have so far, despite the fact that they didn't have an ANFO truck bomb, what you're thinking of reminds me a lot of the Mumbai terrorist attack. And that's an interesting (and of course horrible) story. I'd recommend considering some of that tale to inform what you're trying to do. I'm not intimately familiar with exactly what happened in that instance. But from what I've heard, didn't it go down something like the bad guys going down by "attrition"?
 
Last edited:
You must log in or register to reply here.
Back
Top