Post by actinguy1 on Aug 4, 2017 20:22:05 GMT -8
(There's also these three. Do we need these anymore? These describe the location where the story is told. It should either be done BETTER, more in-depth, or deleted altogether. What do you think?)
Personally, I don't use them -- it's just something that slows me down on my way to the next fun thing (choosing my next project, casting the project, and releasing the project to watch the returns come in are the real 'fun' parts -- I don't want to spend "too" much time outside of these three areas. But of course they're clearly important to some people, so I'd suggest just leaving it as is: optional.
(OPTIONAL: You can select a Primary and Secondary setting. Do you think this is necessary? Does it add to your understanding of the story's plot? Should there be MORE of these so you can really set the story? If we expand this HOW do I quantify the setting locations? Or do I not need to quantify them, are they just used to help explain the story?)
This is another one where it's just slowing me down on my way to the fun.
(OPTIONAL: An additional Villain. Do you use this? Should this be more prominent? Is this a major story attribute in your opinion? Should it be expanded?)
Same. As a general note, where you can be 'extremely' detailed on things like settings and extra villains, etc, I think it actually creates problems when you try to randomize or otherwise "quickly" generate new projects. "Okay...this is a sci-fi/outerspace movie set in...the sewer system below London...where the additional villain...is a heatwave." Whereas just "Sci-fi/outerspace movie" was more than sufficient for me to come up with a movie concept, without it being contradicted by the other options.
(1. The last two, Primary Audience and Secondary Audience are used in conjunction with Genre to help later in the Marketing Department. Do you want to expand this in any way? Can you think of something that would help make this easier to quantify for the Marketing Department?)
I'm okay with keeping this as is -- it ties to marketing, which generates the money (IE The Fun).
(2. I want to expand Foul Language to various types of Foul Language. Crude, Mild, etc. Any suggestions? You will be able to have all the different types available in every story.)
I'd be fine with this being a scale of zero to 5. Zero is no foul language. Five is...Boondock Saints?
(Okay ... so my thinking is that I will expand the Source Material Attributes to include as many things as we think are necessary to EXPLAIN the story without requiring a storyline. What do you think about that?)
Again, I would emphasize "top line" attributes instead of incredibly detailed ones that get in the way of getting to The Fun -- and that screw up randomizations.
(The idea is that all the studios will have film vaults with hundreds of movies they've already made. The talent will all have work histories when you buy your studio (or get hired to run an existing studio).)
LOVE this...though I wonder how it will play out for "real world" talent files...
(We're going to tackle Role Requirements in a separate thread ... but ... do you think some of the story attributes cross-over in any way? Do any of the story attributes determine Role Requirements? And SHOULD the story attributes determine the role requirements?)
I'd really love to get rid of role requirements, generally speaking. Give me gender, age, and 'genre' -- that's about it. Or at least an option to "one click" randomize the rest.
(Do I need to know exactly who and what is required for sequels?)
Nope! This was the one thing I didn't like in HM3. I can see needing to know what is required if I'm filming all the movies at once -- but there has to be some flexibility if I'm writing the scripts later. Lots of examples of characters coming and going across multiple sequels just based on who was available/interested in doing the next story.
Personally, I don't use them -- it's just something that slows me down on my way to the next fun thing (choosing my next project, casting the project, and releasing the project to watch the returns come in are the real 'fun' parts -- I don't want to spend "too" much time outside of these three areas. But of course they're clearly important to some people, so I'd suggest just leaving it as is: optional.
(OPTIONAL: You can select a Primary and Secondary setting. Do you think this is necessary? Does it add to your understanding of the story's plot? Should there be MORE of these so you can really set the story? If we expand this HOW do I quantify the setting locations? Or do I not need to quantify them, are they just used to help explain the story?)
This is another one where it's just slowing me down on my way to the fun.
(OPTIONAL: An additional Villain. Do you use this? Should this be more prominent? Is this a major story attribute in your opinion? Should it be expanded?)
Same. As a general note, where you can be 'extremely' detailed on things like settings and extra villains, etc, I think it actually creates problems when you try to randomize or otherwise "quickly" generate new projects. "Okay...this is a sci-fi/outerspace movie set in...the sewer system below London...where the additional villain...is a heatwave." Whereas just "Sci-fi/outerspace movie" was more than sufficient for me to come up with a movie concept, without it being contradicted by the other options.
(1. The last two, Primary Audience and Secondary Audience are used in conjunction with Genre to help later in the Marketing Department. Do you want to expand this in any way? Can you think of something that would help make this easier to quantify for the Marketing Department?)
I'm okay with keeping this as is -- it ties to marketing, which generates the money (IE The Fun).
(2. I want to expand Foul Language to various types of Foul Language. Crude, Mild, etc. Any suggestions? You will be able to have all the different types available in every story.)
I'd be fine with this being a scale of zero to 5. Zero is no foul language. Five is...Boondock Saints?
(Okay ... so my thinking is that I will expand the Source Material Attributes to include as many things as we think are necessary to EXPLAIN the story without requiring a storyline. What do you think about that?)
Again, I would emphasize "top line" attributes instead of incredibly detailed ones that get in the way of getting to The Fun -- and that screw up randomizations.
(The idea is that all the studios will have film vaults with hundreds of movies they've already made. The talent will all have work histories when you buy your studio (or get hired to run an existing studio).)
LOVE this...though I wonder how it will play out for "real world" talent files...
(We're going to tackle Role Requirements in a separate thread ... but ... do you think some of the story attributes cross-over in any way? Do any of the story attributes determine Role Requirements? And SHOULD the story attributes determine the role requirements?)
I'd really love to get rid of role requirements, generally speaking. Give me gender, age, and 'genre' -- that's about it. Or at least an option to "one click" randomize the rest.
(Do I need to know exactly who and what is required for sequels?)
Nope! This was the one thing I didn't like in HM3. I can see needing to know what is required if I'm filming all the movies at once -- but there has to be some flexibility if I'm writing the scripts later. Lots of examples of characters coming and going across multiple sequels just based on who was available/interested in doing the next story.