achimkoenig
Mitglied
Lory I can make no head or tail of it. I'm supposed to study that blamed film, right I admit it's a good one.
He sat in his living room staring at the tv. His wife came in. -Why do you have to study any film at all, I wonder. Couldn’t you just start writing something and see how it goes?
–But I think if you just analyse a film that pleases you, maybe there's the secret right in it, you know.
I suppose if you can do it, you should try. See Lory, that’s right. I mean what happens in this movie here?
-Well, ya, a man comes with his Ciera, says he needs a job done.
-Ya, I see what you mean. Its all there right from the beginning, right?
That’s right all right. See if I was to just find a different subject and do the same thing.
Ya, like when you go shopping..
Ya, I see what you mean, wait, what do you mean..
Well, you could go shopping and have an ulterior motive.
Yes, yes, lory. I think you ARE with me, see what I mean? So, what could such a reason be?
Well, I don’t know, maybe you owe someone something
Yes, and the thing carries the key for the rest of the story.
Hm…don’t scare me. Wait a minute. The car is not just a car. The man owns it and he wants something for it.
Ya, something illegal.
Ya. Are we clever enough just to think along these lines here? I don’t know jerry, lets see if we can take it step by step. Ya, so you go to the shop. You have something and someone you’ll meet there has something you want. Ya, and don’t forget in the film, lundegaard had the car and the wife, and money, and he needed something, more money. He invests. Ya. In a crime. To get more money. See, these are all pretty general ideas, but if you copy them its just too close to the storyline of the film. Ya, all right, but we haven’t even started. I don’t like this idea about the shop anyway, what can happen in a shop, except collusion with the owner. Ya, I think we were trying to find a scene like the first one from the film, not the second one. Because, I think, the beauty of it is its like a hologram of the whole film. Right Ya, as I said, the car can make you ask, just from watching that scene, who is it for, who owns it. And later on you learn how essential it was to everything. Ya, just like everything in the film. Ya, so what if we show something and the viewer can ask themselves, who owns it and what’s going to happen with it? Ok, so I call you when I think of something. Turns everything off and lies on the sofa. He lies on his back for 10 minutes with a pillow on his eyes, his lower arms on them, he shouts, lory I think I have to even deconstruct this car scene Ya? Ya, because I can’t think of anything as complex off the top of my head. Ok, maybe write down components, you have movement, you have a valuable thing that is meant for someone… Ok, I will, but I have to find the secret to deconstruction first. See you He lies back onto his back Lory says, coming from the garden. You know, maybe you could think. The car, what can you do with a car…. Ya, let me just work this one out. A mother takes her baby to the registering office. The baby is the car. Ya, but she could have left it at home. Ya. But I follow the car scene as best I can. Ya, but So she needs to take the baby like the car is needed in the car scene She cannot leave it at home Well in the car scene the car is needed so the criminals can move, no they could have taken another car. The car is the payment. Ya, so the baby is the payment. What’s that got to do with the registering office? I don’t know. Well and moving the baby around is no good either. So let’s suppose it’s needed at the registering office. Maybe as a proof. Maybe they are used to saying, there is a baby when there isn’t. But that makes it complicated. You bring in elements that have nothing to do with the plot, you see that’s why I study the film, because there is nothing that’s foreign to the plot, and least of all, in the initial scenes. So you have to think of something and make it essential to the plot. Yes that’s why I was trying do deconstruct the car scene. I better let you, then. So a woman with many babies drives it from Minneapolis to Fargo. There she meets with two women- Don’t forget, the baby is just a means to an end, just payment for something else. Ya, maybe… Ya, and after stealing the storyline, what do I do? You just use your own story, and steal from it what you need, this time analysing it from a different angle… Ya… So they meet with a couple but I’ve been thinking, those who get the baby maybe they aren’t all bad, maybe they are stupid like jerry but essentially well meaning. That’s what I can feel in my heart now here. So you’re saying the couple will have to do something in return. Why don’t they just adopt a baby if they can’t have one. I don’t know, maybe they can’t. Yes it will all be about developing the characters, what they have and don’t have, and what they want. So showalter just wanted money. And he is unscrupulous. Jerry has a problem, he needs money, he thinks he’s come up with a good idea. From the start I see an object of value being moved. It don’t matter if it’s being moved. Just think of something of value.
He sat in his living room staring at the tv. His wife came in. -Why do you have to study any film at all, I wonder. Couldn’t you just start writing something and see how it goes?
–But I think if you just analyse a film that pleases you, maybe there's the secret right in it, you know.
I suppose if you can do it, you should try. See Lory, that’s right. I mean what happens in this movie here?
-Well, ya, a man comes with his Ciera, says he needs a job done.
-Ya, I see what you mean. Its all there right from the beginning, right?
That’s right all right. See if I was to just find a different subject and do the same thing.
Ya, like when you go shopping..
Ya, I see what you mean, wait, what do you mean..
Well, you could go shopping and have an ulterior motive.
Yes, yes, lory. I think you ARE with me, see what I mean? So, what could such a reason be?
Well, I don’t know, maybe you owe someone something
Yes, and the thing carries the key for the rest of the story.
Hm…don’t scare me. Wait a minute. The car is not just a car. The man owns it and he wants something for it.
Ya, something illegal.
Ya. Are we clever enough just to think along these lines here? I don’t know jerry, lets see if we can take it step by step. Ya, so you go to the shop. You have something and someone you’ll meet there has something you want. Ya, and don’t forget in the film, lundegaard had the car and the wife, and money, and he needed something, more money. He invests. Ya. In a crime. To get more money. See, these are all pretty general ideas, but if you copy them its just too close to the storyline of the film. Ya, all right, but we haven’t even started. I don’t like this idea about the shop anyway, what can happen in a shop, except collusion with the owner. Ya, I think we were trying to find a scene like the first one from the film, not the second one. Because, I think, the beauty of it is its like a hologram of the whole film. Right Ya, as I said, the car can make you ask, just from watching that scene, who is it for, who owns it. And later on you learn how essential it was to everything. Ya, just like everything in the film. Ya, so what if we show something and the viewer can ask themselves, who owns it and what’s going to happen with it? Ok, so I call you when I think of something. Turns everything off and lies on the sofa. He lies on his back for 10 minutes with a pillow on his eyes, his lower arms on them, he shouts, lory I think I have to even deconstruct this car scene Ya? Ya, because I can’t think of anything as complex off the top of my head. Ok, maybe write down components, you have movement, you have a valuable thing that is meant for someone… Ok, I will, but I have to find the secret to deconstruction first. See you He lies back onto his back Lory says, coming from the garden. You know, maybe you could think. The car, what can you do with a car…. Ya, let me just work this one out. A mother takes her baby to the registering office. The baby is the car. Ya, but she could have left it at home. Ya. But I follow the car scene as best I can. Ya, but So she needs to take the baby like the car is needed in the car scene She cannot leave it at home Well in the car scene the car is needed so the criminals can move, no they could have taken another car. The car is the payment. Ya, so the baby is the payment. What’s that got to do with the registering office? I don’t know. Well and moving the baby around is no good either. So let’s suppose it’s needed at the registering office. Maybe as a proof. Maybe they are used to saying, there is a baby when there isn’t. But that makes it complicated. You bring in elements that have nothing to do with the plot, you see that’s why I study the film, because there is nothing that’s foreign to the plot, and least of all, in the initial scenes. So you have to think of something and make it essential to the plot. Yes that’s why I was trying do deconstruct the car scene. I better let you, then. So a woman with many babies drives it from Minneapolis to Fargo. There she meets with two women- Don’t forget, the baby is just a means to an end, just payment for something else. Ya, maybe… Ya, and after stealing the storyline, what do I do? You just use your own story, and steal from it what you need, this time analysing it from a different angle… Ya… So they meet with a couple but I’ve been thinking, those who get the baby maybe they aren’t all bad, maybe they are stupid like jerry but essentially well meaning. That’s what I can feel in my heart now here. So you’re saying the couple will have to do something in return. Why don’t they just adopt a baby if they can’t have one. I don’t know, maybe they can’t. Yes it will all be about developing the characters, what they have and don’t have, and what they want. So showalter just wanted money. And he is unscrupulous. Jerry has a problem, he needs money, he thinks he’s come up with a good idea. From the start I see an object of value being moved. It don’t matter if it’s being moved. Just think of something of value.