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Everyone insists on how important a pitch is. But as for myself, I think every writer needs four different and necessary pitches.
First is the install pitch, the initial appeal of a conflicting contrast, a fresh situation around someone in relation with three essential entities : us, his world, and a vital necessity.
In a movie, the revelation of the backstory can be mind blowing or a miserable burden in the telling : how much, when, what for, from whose point of view, at what progressing rythm (Chinatown) or unique intensity (Runaway Jury, Psycho) is the ultimate identity and vision of the writer.
To some extent, the mastery of backstory is the central crossroad of the craft, the right path to any story, and the most personal artistic signature of the writer.
Let’s be clear : while the message of stories and even our intention as writers are most of the time noble and sincere, the « craft » is mainly about trickery, cheat, duplicity.
And it’s fun !
There, in L.A., an enthousiast team led by Karen Gilmore and Joshua Dos Santos, passionate about movies and screenwriting, and runninng this delicious website Reel Artsy, dedicated to « quirky, awkward, offbeat indie films. »
Twitter and the passion for movies were the key to connect.
It could be easy to blame it on education, as it is commonly admitted. Blame it on parents, on culture, on social traditions. On individual limits or psychological flaws. On shyness and personal weakness.
Thruth, it seems to me, is that it relates to so much deeper layers of the human and animals minds.