by Paul Pratt on July 30, 2013
For the life of me i wish life would hand me a break. I don’t live poorly by any means, but i got white people problems up to my neck. Slowly but surely, however, I’m getting a grip on them.
I also wish I could find a comfortable office chair.
So, last time on the blog I was discussing the details of a new series I’ve been brainstorming. I’ve been doing my best to outline the details of the creative process. These are my latest ramblings on the subject.
In my writing I’ve discovered the season one stuff is kind of a stretch. By that I mean season one isn’t that exciting. It could be, but I think it runs the risk of not being great. Things like that can kill a show quickly, especially in the infancy of season one.
When writing out the summaries I became extremely anxious to write season two and three because they had the most conflict. I was salivating for the opportunity. Conflict is the core of drama, so you want to be right there in it all the time. But, that desire made writing season one really, really tough. Even getting the pilot of the ground has been slow going. Honestly, it was driving me to loose interest because it wasn’t season two and three.
That’s a critical problem.
With that in mind I decided to radically reduce season one and merge it straight into season two. Originally, the first season would introduce us to our characters and they would embark on their plan of failure. Watching them fail would be the main dramatic arc, but I couldn’t reel in the family life correctly to adhere to my master plan. I didn’t want the main character’s wife to be reduced to a nagging bitch all the time. The audience wouldn’t see her as sympathetic. 50% of the show is about the family, so I need people to care about that part too, moreso as the show goes on.
What I’ve tried to do is eliminate a redundant season. Both season one and two were doing the same thing in my notes, but the dynamic had changed in season two in order to add more pressure on the home front, which takes us directly into season three. Now all of that will be running concurrently to hopefully deliver us an A, B, and an occasional C plot that will bring the season to a dramatic climax.
I think I may keep the reduced amount of seasons that has come s a result. If I decide to shoot this on my own, the fewer the episodes the better. I may end up doing four, six episode seasons to keep the series concise, and allow me to reduce the commitment of filming what will ultimately be a youtube channel series.
I guess this leaves me in a position to begin breaking the details of the pilot.
by Paul Pratt on June 26, 2013
I have another post I’m working on now in relation to my own work that is almost done. I know it’s been a few days. Sorry about that. My son was out of town with my parents for two weeks so my wife and I took time out to spend together. I guess you know this since you, my mother, are my only reader. Now that the boy is back home, business as normal will resume. As a quick distraction, I wanted to address something very important to me: Marvel Comic’s Cable.
Because I’m the only person who can write him properly, that’s why!
Sure, any person can write down a simple story, stick a man named Cable into it and cash a check. Cable needs care. He’s an extremely complex character and the foundations have already been laid in the comic books we don’t need to drift too far here, we just need a very well adapted version of that to do the character justice.
But, that is just the thing. How do you do him the justice he deserves?
There, I said it. Television. The unholy destination for comic book heroes. Cable’s story is long and complex and needs attention to detail and, for God’s sake, there are numerous details. Cable has become one of the most important characters in the X-Men universe and he is undoubtedly entwined to the X-Men.
But wait, you say “Fox owns the rights to X-Men! You can’t do that! You can’t include them.”
Well, that all depends. We would only need to reference the bulk of the X-Men mythos. I would need to be better informed of the agreement between Marvel and Fox, but I think an easy way around the issue would be this:
This story is the basis of your pilot or opening arc.
The characters in these issues are called Redd and Slym. We can have glimpses of a young Cable in a terrible future created by the mutant Apocalypse. The dream of peaceful coexistence between man and mutant is long gone, replaced only by total hatred on both sides. Humanity is not winning.
A young Cable is being raised by Redd and Slym. We see how their experiences with him through his hardships of this future have affected his current disposition and shaped his worldview. We explore how he grew from the techno virus ravaged boy in this story to the hard, but compassionate man he is throughout our series. The connection to the X-Men is not revealed, fans will already know, obviously, but curious observers and intent watchers will be rewarded with clues that will lead them to the truth.
Cable’s mission in the series becomes stopping Apocalypse from creating the world shown in this introduction. Over time, with more loose connections to X-Men, Cable will discover through much hardship that he is the ultimate weapon and the only hope for defeating Apocalypse (a functional immortal) once and for all across all possible timelines.
There is a lot of time travel with anything involving Cable. Television is needed to provide a solid groundwork for the character’s background alone. Television would also allow for the immense amount of mythology that has been built up around Cable himself, X-Men notwithstanding. There are some epic struggles possible in this series. There is room for a lot of introspective character work, possibilities for character ensembles, and even an occasional, seasonal, epic, action piece that broadens the scope of our premise.
Marvel. Seriously. Contact me.