Save the Cat! The Last Book on Screenwriting You’ll Ever Need (08)


Another thing a good logline has, that is important in attracting studio buyers, is a built-in sense of who it’s for and what it’s going to cost.

Let’s take 4 Christmases for example. I’ll bet they’re going after the same audience that Meet The Parents and its sequel Meet the Fockers found. Both of these are medium-cost, four-quadrant pictures that seek to attract the broadest possible audience. From the elements I see inherent in the 4 Christmases pitch, it’s what the writers are trying for. They’re going to get two twenty-something stars to pull in the core target – young people – and they’re going to stunt cast the parents’ roles with stars the older crowd likes. Can we get Jack or Robin or Dustin? Well, sure! Look how well De Niro did in Meet The Parents!

I also know from the logline that the movie’s not expensive. Sure there may be a car chase or two and a Christmas tree fire (I’m guessing) but basically it’s a block comedy – so called because it lakes place… on the block. There are few “company moves” where cast and crew have to travel. It’s cheap. If I’m an executive who’s looking for a general audience, medium budget (depending on the stars) Christmas perennial, this sounds just about perfect for my needs. I know what I’m dealing with in terms of audience and cost.

Send it over!

And someone obviously did.

That’s a whole lot to ask from one lousy line of description, don’t you think? But it’s right there.

Does your logline contain that kind of information?


Yêu điện ảnh và nhiều thứ khác

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