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There may well not be a chance to make it right – you can’t go back next weekend and see a better movie or rent a version of the story that you’d like better. Fourth, that time-and-choice difference applies on the production end as well.
Few movies have their principal photography schedule last for four, six, or ten years (well, maybe Orson Welles’ last movie, but you know what I mean).
And by movie-making, I don’t mean only cinematography, acting, set design and all the physical processes that go into the process.
I mean narrative structure and the forms of entertainment.
I won’t go into all those lists of the basic plots, or into a discussion of common screenplay structures (and how they’re tweaked or played against for effect).
I just want to note that these things exist, even those the great majority of people watching the movies don’t notice them much. These days, they’re most pitched in terms of sequels and prequels, making the explanations even more telegraphic.
I think that the best way that I can deal with this analogy is to take on the various ways in which it breaks down.That’s why movies can be pitched in single lines to people who know a lot about them: “Star Wars, but underwater”. My point is that narrative entertainment is a very well worked out area.Heroes go on journeys, plucky young outcasts fight against the odds, lovers discover after misunderstandings and mistakes that they were actually right for each other all along.I’ve used this one myself; it leads off a talk that I put together a few years ago.The model for a movie studio is that not all your films are going to be hits, or even make money.