How do you keep contained movies engaging?
Contained Thrillers seem to be a genre that never goes out of fashion. But being contained is not just limited to thrillers. It’s a way of telling stories on a lower budget, regardless of genre. So – while allegedly easier to make / get made – limiting a story to a single location also limits the tools that maintain an audience’s interest. Changing audience or character point of view, intercutting between locations or characters are all much harder (if not impossible) in contained films. So how do good contained films hook their audience and keep them?
In unravelling this locked room mystery, Stu & Chas look at three scripts form different genres: LOCKE – a drama; THE ONE I LOVE – a romcom or psychological thriller depending if you’re Chas or Stu; and EVERLY – an exploitation action movie. They also discuss films including BURIED, PHONE BOOTH, THE DISAPPEARANCE OF ALICE CREED, CUBE & CUBE 2, INFINITE MAN and BOXING DAY.
- Locke by Steven Knight (Script)
- The One I Love by Justin Lader (IMDB)
- Everly screenplay by Yalo Hannon, story by Joe Lynch & Yale Hannon (IMDB)
- Boxing Day (IMDB)
- The Infinte Man (IMDB)
- YouTube: Buried – Trailer
- YouTube: Phone Booth – Trailer
- YouTube: the Disappearance of Alice Creed – Trailer
- YouTube: Cube – Trailer & Cube 2: Hypercube – Trailer
- ScriptShadow – GSU!!! (Goal, Stakes, Ugency)
- Wikipedia: Pathetic Fallacy & LiteraryDevices.Net: Pathetic Fallacy
- The Guardian: Covenhithe (short story) by China Miéville
- Draft Zero: DZ-05: Shifting audience point of view and heightened emotions
- Grant Nebel on Story Intensity Over Time & Forms of Storytelling on Television
- Pete’s Blog: A Thousand Men : TV for Writers
- The Screen Director Podcast produced by Ben Mizzi
- Patreon.com : Recurring funding for artists and creators
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