I like folding in narrative.
One of the simplest folds is to have several characters that when added equal a whole one. Garcia does this well in his films on women, having multiple vignettes that set perimeter points. If you want a whole, multidimensional woman, you can fill in from those well chosen markers.
Another device is what we have here. One girl split into four archetypes: the needy athletic striver; the suppressed honest romantic; the one haunted by family and self-image problems and the geekly, lonely one.
Make no mistake, these are meant to be subconsciously perceived as one soul. They all share one pelvis, suggested here by "magical" pants that fit "perfectly." So far, not interesting, even though one of these actresses is very pretty and another talented.
Here's what clever students of scriptwriting need to pay attention to: this is a book that was written to be a movie. So you must have one of these girlparts be a writer. In this case it is the fat one, the female author's comment on herself. And another must be the filmmakerpart. Of course.
And we see the film literally being constructed by our talented miss who has to tolerate the stupidities of the commercial workplace.
So this is doubly folded: four perspectives into one: and another two perspectives into one the two that have Tibby in the story and the one who is outside the story bringing it to us.
This is clever construction folks. If you are offended by girlygirl cheap sentimentality and ordinary presentation, at least you will find the construction of this intriguing. Scripts are becoming ever more complex and capable in this way.
The DVD has the film Tibby made as an extra. Very nice to see that folded bit there.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
One of the simplest folds is to have several characters that when added equal a whole one. Garcia does this well in his films on women, having multiple vignettes that set perimeter points. If you want a whole, multidimensional woman, you can fill in from those well chosen markers.
Another device is what we have here. One girl split into four archetypes: the needy athletic striver; the suppressed honest romantic; the one haunted by family and self-image problems and the geekly, lonely one.
Make no mistake, these are meant to be subconsciously perceived as one soul. They all share one pelvis, suggested here by "magical" pants that fit "perfectly." So far, not interesting, even though one of these actresses is very pretty and another talented.
Here's what clever students of scriptwriting need to pay attention to: this is a book that was written to be a movie. So you must have one of these girlparts be a writer. In this case it is the fat one, the female author's comment on herself. And another must be the filmmakerpart. Of course.
And we see the film literally being constructed by our talented miss who has to tolerate the stupidities of the commercial workplace.
So this is doubly folded: four perspectives into one: and another two perspectives into one the two that have Tibby in the story and the one who is outside the story bringing it to us.
This is clever construction folks. If you are offended by girlygirl cheap sentimentality and ordinary presentation, at least you will find the construction of this intriguing. Scripts are becoming ever more complex and capable in this way.
The DVD has the film Tibby made as an extra. Very nice to see that folded bit there.
Ted's Evaluation -- 2 of 3: Has some interesting elements.