The script is coming-along, real fine.
My idea. . . . .
Betelgeuse returns to earth, zapped-down by military-scientific misadventure as he’s forced to take-on “dead-end jobs” and make ends meet in the “Jerry Springer” countryside of all-American trash-feuds. Lydia Deetz returns, also—a death-rock urchin “a few years, older” who hosts a local, struggling curiosity show on public cable-access television with her band of “indie”/artist friends.
Betlelgeuse and Lydia share a connection across earth & aether and as Betelgeuse gains “a solid foot-hold” in this world, Lydia begins “to fade-out, herself” as the universe heads toward a world-ending paradox with the military in pursuit, “and things getting stranger, down here”, even as it’s up to her to save the city from being razed by greedy property-investors and take-over artists. . . . . while keeping her show from “getting canceled”.
What a log-line, and then it can be simplified further into something even more pithy, like the kind of thing you would read in “T.V. Guide” to describe what a movie “is”. Gotta think, if you have a living-room of friends interested in catching a movie, how do you best describe-it?
This, and other lessons from Blake Synder’s “Save the Cat”—which has about become “the Hollywood bible” of screenwriting. Ultimately, breaking a script down to a bunch of common sections, staging for success—and what most successful movies, share. It plays like a dream and seamlessly moves from one act to another, building tension and conflict. “The stakes”, in other words.
The author himself, put-out about 20 screenplays.
Hardly formulaic, because the outline can come in so many varieties if you’re a clever writer and in the right hands, you could have a masterpiece. If you ever wanted to write screenplays, or ever thought about doing-it, this is the book that about, closes-the-issue.
Check it out, definitely.