OK
If you're in a story with a ghost in it, don't turn your back on the ghost if you're planning on turning back around to say something important to it. IT WILL BE GONE. At least for a couple scenes.
Especially if the story you're in is called THE TWILIGHT ZONE.
Dammit. What is so hard about this?
For Crying Out Loud
Improvisors behaving badly.
Moderators: arclight, happywaffle
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- beardedlamb Offline
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- arclight Offline
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hujhax was lamenting that many of the nice people involved in the ASG (Austin Screenwriters something-or-other) have an awful time with dialogue, mainly exposition without narrative arc.
I blame a combination of film school and studio management 'territory markers' for your ghost problem. These people probably have little performance experience and the management types are there to make gratuitious changes to show they're in charge and important, much like a chihuahua that needs to mark every tree and hydrant. Chihuahuas have the advantage of being trainable, plus it's not a crime to put them down if they cause trouble.
Regardless, if my character is someplace and a ghost pops out, the character is going to have a realistic reaction such as being frozen with fear, panicky and flailing, or scared shitless and running like hell. Cinematically, I prefer the riveted in place standing in a widening pool of urine reaction because it's subtle, realistic, and increases the tension. If I had the presence of mind to talk to the ghost, I wouldn't turn my back on it unless I was running from it telling it to leave me the fuck alone. Unless the ghost and I already had a pretty well-established relationship and I was ticked off at the ghost, I can't imagine turning my back on a ghost.
I blame script meetings, self-important studio wonks, and screenwriters who've never set foot on a stage and had to come up with dialogue in real time. Humph.
I blame a combination of film school and studio management 'territory markers' for your ghost problem. These people probably have little performance experience and the management types are there to make gratuitious changes to show they're in charge and important, much like a chihuahua that needs to mark every tree and hydrant. Chihuahuas have the advantage of being trainable, plus it's not a crime to put them down if they cause trouble.
Regardless, if my character is someplace and a ghost pops out, the character is going to have a realistic reaction such as being frozen with fear, panicky and flailing, or scared shitless and running like hell. Cinematically, I prefer the riveted in place standing in a widening pool of urine reaction because it's subtle, realistic, and increases the tension. If I had the presence of mind to talk to the ghost, I wouldn't turn my back on it unless I was running from it telling it to leave me the fuck alone. Unless the ghost and I already had a pretty well-established relationship and I was ticked off at the ghost, I can't imagine turning my back on a ghost.
I blame script meetings, self-important studio wonks, and screenwriters who've never set foot on a stage and had to come up with dialogue in real time. Humph.
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- Evilpandabear Offline
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Ghosts = deus ex machinas, or something like that. Yes, they give insite to the MC's internal thoughts, but often times IMPs play them as snippets that then leave, rather than are consistant permations of a distraught mind.
More ghosts! More life after death!!! More everything beyond the norm AS the norm!!!
More ghosts! More life after death!!! More everything beyond the norm AS the norm!!!