Planes, Trains and Automobiles

I would also say, learning what is truly important during the holidays.

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So then was my first instinct about non-acceptance right?! Haha.

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That quad feels really good with Evaluation / Re-Evaluation. I was away from my computer so I couldn’t check the storyform. Luckily, it’s the same as Groundhog Day. :smile:

Production seems good for Del. I like Appraisal as his issue. “What you see is what you get.”

Conceiving feels nice for RS concern. Especially getting the wrong idea. “He stole it!” “When we put our heads together we don’t get anywhere”

I think this feels better than what we had. :thumbsup:

Just wondering. Which one of these sounds more like Planes, Trains, and Automobiles?

Give up rejecting everyone and you can learn what is most important during the Holidays.

or:

You can learn what is most important during the Holidays when you get out of your way and give up rejecting everyone.

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The second. Hmm. I went with my gut about stop based on the drama feeling.

I guess Neal does make sense as a be-er. He’s always biting his tongue until he can’t take it anymore and blows his lid.

Del is the one doing things that push Neal out of comfort zone. Plus, looking back at the whole movie, he is homeless.

That feels more accurate.

Right? I mean, Martin’s problem is that he is an a–hole, straight and simple. Re-appraisal works great because the whole time he’s rethinking his career, and then Candy’s Repulsion is pretty obvious.

I think is a case where you can look at the top to find the Genre (physical comedy), then get the bottom by the Element (Non-acceptance, which probably would’ve been easier if Consider wasn’t listed as considerate), and then look at the Issues above to understand the flavor of that particular Element.

In other words - Neal(Martin)'s rejection - is it more a factor of Attraction, or more something to do with Re-appraisal?

And then I would check the Premise, like above, to double-check.

In regards to Start/Stop, he’s not actively being an a–hole screwing people over, he just doesn’t step up and is an a–hole by default.

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I agree with everything you said. Repulsion feels amazing for Del. So does Proaction. “You called home, I called the Braidwood Inn.”

I was trying to hone my Start / Stop “heaviness” sense. Guess I still have aways to go. :smile:

Neal definitely isn’t actively an ass though. It’s more like he wants to be left alone.

I think making that switch feels great!

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I like this a lot, and I like the second Premise you suggested too.
What is the difference there? Including the Concern?

This seems like a great example of the difference between Start and Stop.

Would it be accurate to say Stop characters actively portray that chip on their shoulder… Start characters may have a chip, but it would only materialize when provoked?

I saw this too! Comparing the two movies now, it TOTALLY feels similar.
A lot of similar things even happen in the stories–which I’ve noticed is a trend in stories with similar based structures.

It’s only the growth. Which means the MC and IC domains would swap.

Now that we flopped domains, it’s the same storyform as Edge of Tomorrow. Try that factoid out at your next dinner party. :smile:

Oh, we’re putting Neal in Mind? I missed that.

Start/Stop changes the order of Objective and Subjective Premise Element:

  • Start -> Obj to Subj
  • Stop -> Subj to Obj

“get out of your way” is Be-er in Action (Do-er in Decision would be same)

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Yeah. Neal has the bad attitude. When you think of all of Del’s stuff through the whole movie, it comes from his being homeless and without a family (Universe).

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Looking at Neal’s signpost order… how is the first signpost Memory?

Signpost 1: MEMORY - ???
Signpost 2: PRECONSCIOUS - Exploding at Del, and others
Signpost 3: SUBCONSCIOUS - Appealing to his own good nature
Signpost 4: CONSCIOUS - Realizing the current state of affairs

Well, he does forget his gloves. :smile: That’s actually a good catch. Memory would feel stronger for me in the fourth signpost when he’s on the train remembering his family and then Del.

Maybe we should discuss the story driver.

Maybe that deliberation by the boss that makes him late is a hint at a decision driver?

When people think of Memory, they always default to remembering or forgetting. I’ve found suppression to be more indicative of this viewpoint. Basically, bottling it all in (Kevin Bacon scene)

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Ahhhh… So basically everything in the first act is that, right?

  • Waiting to speak up about the ridiculous boss
  • Kevin’s Bacon stealing his car
  • Tripping over the trunk and internalizing it
    (Though… he does explode and go after the Cab with Del in it, right?)
  • But then it continues… he tries to brush off the first interaction with Del which about remembering where he saw him. But more to the point–he’s suppressing how upset he was about it all.
  • He doesn’t say anything to either of the people on the plane who are sleeping on him…

I wish Suppression was more prominent in the definition of Memory, because you’re totally right–the default is to go to Memories or Forgetting.

Also, the more I look at Del, I really like Repulsion a lot more than Impulsive Responses. Yes he did a few impulsive things, but the real meat of it is that they were repulsive.

  • The socks on the plane
  • The disgusting bathroom
  • the noises in bed
  • hands between two pillows
  • socks in the sink
    etc. etc.
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So, he’s bottling everything up, then he’s blowing up, then he starts opening up and feeling, and he’s finally more aware.

Sounds like the movie I saw.

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That totally removed a roadblock I’ve had in outlining something. Thanks, Jim!

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