![]() ![]() (The shot from the trailer with the four guys dropping in from the ceiling appears to be from this opening sequence.) Later a man is arrested before he ever commits the crime, but not before an exciting and riveting sequence that will have you on the edge of your seat. The story opens with a woman's voice as she whispers, "Murderer," and with it is set in motion the inevitable. It stands up on its own two-legs without the help of its "high concept." An interesting idea is indeed a part of this story (the ability to see into the future and stop a murder before it occurs), but it is a narrative that is driven by its characters, more specifically by the needs of its important characters. When I first looked at it I thought it was a manuscript. The script tipped the scales at 153 pages. Scott Frank's script, with some help from Jon Cohen's Novemdraft, has reinvigorated science fiction storytelling with a fresh perspective. The MINORITY REPORT script, and the subsequent movie, will inject a little life into what I think has been a tired genre of late. ![]() It was an entertaining movie because it was working on more than one levelwhich helps to elevate the drama.ĭo you remember when movies like DOG DAY AFTERNOON, THE CONVERSATION, and THE FRENCH CONNECTION were actually made for intelligent and complex adults who didn't mind a little thought process while their buts were planted in movie theater seats and they stuffed popcorn into their pie holes? It was about the characters every bit as much as it was about the grand concept of the story. An intelligent, sophisticated, and entertaining Sci-fi story, but most importantly one that explored the nature of the human spirit. GATTACA, written and directed by Andrew Niccol, comes to mind. The characters in Sci-fi movies usually are only there to service the concept, and the ideas that make up the Sci-fi landscape. They usually start with some new idea or concept about the future, and go from there. That's not usually how Sci-fi movies are born. ![]() What I mean is, he doesn't start with a premise, or a cool idea, he starts his thinking process with interesting and unique characters and builds a narrative from there. By his own admission he's a "character" screenwriter. On the surface screenwriter Scott Frank ( GET SHORTY, OUT OF SIGHT, LITTLE MAN TATE) would appear to be utterly the wrong guy to write a Sci-fi movie. No major plot twists are discussed, nor is the ending. #Minority report movie script freeThe history of unmade movies is expansive (Kubrick’s “Napoleon,” for instance), and just one look at a list of best films never made is enough to realize how many potential masterpieces are sitting on the back burner indefinitely.Ĭheck out some of IndieWire’s most desired unmade movies in the list below.NOTE: This is a SPOILER FREE review of a shooting script. If you’re busy-bodies like Ridley Scott and Guillermo del Toro, you have more unmade projects than one can count with two hands. Nolan’s unmade Howard Hughes movie is no isolated occurrence, as the majority of auteurs working in Hollywood have at least one passion project that has slipped through the cracks over the course of their careers. Christopher Nolan has directed one of the most beloved film trilogies in history (see “Batman Begins,” “The Dark Knight,” and “The Dark Knight Rises”) and has brought to life many of Hollywood’s most original visions, but what if his most prized script never got to see the big screen? Enter Nolan’s Howard Hughes biopic, which could have been a reality had Nolan not gotten swept up in Batman and Martin Scorsese not proceeded with his own Hughes movie with Leonardo DiCaprio.
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