As a horror writer I'm interested in capturing the darkness that causes the most fears. Reality has it place but the hidden fear of what the hell is going on is the kicker that has many coming back. For me the obvious and slight of sheer terror knocks a lot people's pressure up. The gasp of air before the knob twist, the peek around the dark corner or the sound when there's no one else in the house is nothing without an awesome villain with secrets hidden throughout the film leading to questions. Here's why films like Evil Dead, Texas Massacre and Hollewen have found themselves repeating the same structure of leaving you asking questions. Like what's in the book, in the house or drove a person to kill beyond humanly possible. Even if your story dies with all not making it out, there can be a hint of more to come. By placing along the path of your story to your ending lay shadows of possiblities. Imagine it from words, visual or even tempo of the film and like the "cha-cha cha-cha" low tone at the end you know it's not over.
LOL, seeing the way the industry is set up who knows where it may end. Think about how do you franchise your idea in merchandise, sequels, spin-offs and character presentations for public interactions. These are all part of today's screenwriting I see coming into reality on indie productions. Screenwriting has become more than paper and words it ha's become a marketable franchising financial industry in it's own lane. It's taken me awhile to figure it out but I want to know what are your thoughts on writing with more in mind than a signal script?
I tend to ramble on so forgive me if I am not clear. I get so geeked trying to get it all out.
I think you stated it best. A horror movie is nothing without an awesome villain. That would imply an antagonist that makes me suspend my disbelief. Happy writing.
I was asked to write treatments for additional features based on my script. I have never written a multi-feature arc. It would be fun.
For the franchise I'm hoping to craft, I'm spending the time to generate the right monster/villain.
You have to have some closure (almost all horror has the denouement of escape or success) but you don't have to have complete closure. Halloween: She survives and Mike Myers goes out the window and dies...or does he when we look out and he's gone. Alien had complete closure, however it had an open universe to add all the other sequels. SAW has some closure but some completely open 'not so fast" type potential. There are multiple ways to do it. Sometimes the unanswered events/scenes that aren't closed in the screenplay are basis for franchises. The key is writing a complete story arc that has closure but also the potential for franchise.
Closure is in the eye of the storyteller and the audience. Then it good vs. bad.
So, you want to write a tent pole, huh? They're tough. Have you developed your base story line in a circular or linier style with an up, down or ambiguous (my favorite) ending. Keep in mind that you're the writer - you're not the marketing department nor are you the production company. Let me warn you; if you try to do everything by yourself - your project will suck. Then you'll get discouraged and disappointed - no one person can do it all.
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Here is another thought. If we say a franchise is like a serialised TV show, where characters and stories flow. Then we can use the differences between TV and Features as a metaphor. When you write a feature it is about the story. When you write for TV it is about the world. The world has to be able to support and carry many stories.
The concept of a franchise based on character creation and product creation running parallel Gambit in a scripts. Keeping in mind of those before me like Walt Disney, Steven Spielberg and Hanna Barbera I see the common goal and footwork to gain traction with the plight I have taken on. So yes I do need help in creating my vision, we all do.
I actually think it is a waste of time to write specifically for a franchise. Write a great story and if the money people think they want to visit the well a second time they'll ask. I have seen a lot of films that had a less than stellar ending because you could see they were leaving it open for a franchise or second season.
Gambit was a comic book character long before the movie; he was introduced in Uncanny X-Men in the late-80s or 1990s. In that case, The X-Men is technically the franchise to which Gambit belongs. :)
So knowing that, it should be enough to change the world we live in. To settle for the same old because it's the same old is an old way of thinking. Much like adjusting from the world being flat we need to reevaluate are worth in our projects. Steven Spielberg is just one template. James Cameron has now become another. It is not impossible to move beyond the line that they've drawn
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I feel as a horror screenwriter, you have to think of a cool villain as in Jason, Candyman, Chucky and... etc. Then create a fertile that inspires people to visit that sick, twisted, unholy place. Hellraiser terrified me as a boy. My irrational fear was that a gold rubix cube would open the portal to hell. It could go anywhere. 9 Hellraisers later...
Its suppose to be fertile setting.