All right, I accept. As I have said before on Skype, I do apologize as well if my lecture did sound ridiculously judgmental. Sorry about that.
Time to get to business.
[go into serious mode]
For the beginning of the movie, I enjoy your little vision of how it should take place, Al-Bob; it was definitely amusing. However, that is the problem. I feel that a serious villain should act more than talk a lot. Your villain consistently expresses through words what he is planning to do rather than performing those actions.
It is in my opinion that a silent, cold, speechless (but not muted) villain in a dark cape and hat should be brought into play. Like I said before, the main villain does not necessary have to be entirely human; he could possess certain artifacts of tremendous power that would allow him and his crime ring to dominate and ultimately, overcome the superhuman capabilities of the Supers.
As to whether we should offer the underwater base to the main villain, I actually assumed that it was meant for Kid, but never mind, it would work better for Kid due to his in touch abilities of skipping from building to building - it is all just a magic act, nothing Super really.
Again, I don’t really like the whole Kid working for the bad guys scenario, it does not work very efficiently in providing Kid that sense of justice. If we would want an anti-hero, Mirage is good enough. Repeating this would simply be cliched and expected, something I seriously would not consider, especially after watching WALL-E. No offense.
Having Kid spying on the Supers, on the other hand, soubds like a great way for him to start off as a character.
I would need some time to think of a very deep plot, but till then, feel free (now) to go ahead without me.
I know, the irony.
Here are some ideas about the plot that I hope you guys would consider:
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Logical story lines: No characters ‘happening to be at some place at some time’ coincedentally without reason; any available struggle with conscience in any character must be evidenced with speeches or actions; villains do not make a mistake that would seem like the filmmakers whisper in their ears to let the heroes go so that the story could move on, etc, etc.
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Deep exploitation of every character as much as possible: Villain A is a ruthless mob boss, but he has three children and a lovely wife that he loves to the extent that he would sacrifice for each of them, even the whiny wife which consistently suggests that Villain A quits his job so that his life could be preserved, and that they could live a peaceful life. Villain’s Son A is a military officer, thus leaving him highly unsupportive of Villain A’s actions. Daughter B is a drug dealer with a heart (unlike her father’s cruel nature). She only deals with money, but never kills anyone. Despite so, her brother, Son A feels that it is Villain A’s fault that his daughter has been influenced by his life of crime.
It goes on and on, but every character should be exploited and given compelling and emotional back stories, even the most minor ones, and if possible, have intertwining story lines with other characters, making it one freaking awesome plot that just grips our throat so hard it suffocates us till our air supply runs out in a matter of seconds.
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The villains must not be Goofy’s offsprings: Amatuer villains are funny, but they suceeding in stopping the heroes, though not commonly seen, is a rather unrealistic act. However…
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The villains can be Spawns of Goofy, but must be in a sensible fashion: In 300, we see Ephialtes betraying the Spartan soldiers by joining the Persians and fighting the Spartans instead. This is sensible because the Spartans trusted Ephialtes - or at least their king, Leonidas, does - leaving the Spartans at a disadvantage.
Basically, examine each action of the villains before allowing them to perform them. Ask questions like: Does this make any sense? Or does it just make cents? Would the appropriate interactions the heroes should have move the story the way we want it to be moved? How do these actions affect the entirety of the story? Remember, in the NBC holy freaking crap of awesomness TV series, Heroes, even the smallest actions have the biggest consequences. Do something like that to get deep story lines.
But remember, we want to set a serious tone for the main villain, so I would suggest not to include any goofs for the villains, unless you want their leader to be Mickey Mouse’s clumsy canine friend.
- Kick-butt one-liners: One-liners are awesome, such as famous ones like, “I’ll be back,” or the not so glorious ones like, “Allow me to break the ice,” “Chill,” “Tonight’s forecast, a Freeze is coming,” and the all-so-terrifying final line from Mr Freeze of Batman & Robin, “Let’s kick some ice.”
As you can see, making the correct one-liners is very important, especially for an action movie. We would not want the entire movie to be filled with one-liners like the abovementioned disaster movie, but we should create some very memorable ones like Syndrome’s…
“And got busy!”
“You’re weak, and I’ve outgrown you…”
“And when everybody’s Super, haha haha, no one will be.”
“You are truly Mr Incredible.”
and my personal favorite,
“You can’t count on anyone, especially your heroes.”
The normal lines have to be great, too, so that we could learn more about the characters’ personalities and thoughts, but body movements such as those applied in WALL-E, works well, too, so we have a variety of choices for choosing here.
- Twist and twist and twist and…: Twists are always good, so adding a whole lot of them might make The Incredibles stand out if properly done with an unique plot line, such as Frozone betraying Mr Incredible, for example.
[stares at Samuel L. Jackson]
What? Just an example. No need to go Fury on me.
Oh, and I know what some of you are thinking, but don’t; Mr Freeze’s ice puns and Frozone added together equals
[add classic nuclear explosion scene here lasting twenty seconds]
That’s my two cents on that, Ominous ‘Not Fifty Cents’ Flare, signing off.
One more thing I would like to suggest; we should discuss this privately so that we could surprise the readers when we launch the sequel. It is going to be freaking awesome. It is going to be a movie event. It is going to cost them nothing, which is freaking ironic compared to the large amount of crappy movies out there in Holly-freaking-wood.
So, Al-Bob, I think it is best if you create a Skype account so that we could interact privately. If you feel you are in no position to do so, let us interact through private messaging, and we could use this thread for auditioning anyone who wants a piece of this motherload project, and to keep the people informed about the non-spoilers of the sequel project.
What do you think?