Planes, Trains and Automobiles

analysis
#27

Speaking of consider/inconsiderate…

“I don’t appreciate the way you’re speaking to me.”

“And I don’t appreciate the way your company left me in the middle of fing nowhere with fing keys to a fing car that isn’t fing there. I also don’t appreciate having to walk across a highway and a fing runway to get back here and have you smile in my fing face.”

…

“You’re f***ed” :joy:

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#28

Oh also, what Considering in the very first scene with the boss taking forever looking over which design to do?! Haha. (Which btw, I never knew there was a post credits button at the end of the movie, back to that guy still stuck looking over the proofs?

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#29

I forgot about that one! He makes Neal late because he’s literally weighing his options. Great catch!

#30

So am I right in assuming your storyform is:

Martin is Logic
Del is Feeling?

Or is it:

Martin is Consider
Del is Reconsider

So the movie is about how weighing pros and cons is a bad thing???

#31

Is Consider only weighing pros and cons? We had gravitated toward “being inconsiderate”

Difference between Conscious and Consider
#32

That’s Conscious. Consider is actually the process of considering things.

Difference between Conscious and Consider
#33

Well, if it’s only weighing pros and cons then we have the wrong storyform.

I think we both saw being inconsiderate in the premise on Subtext. Is that an incorrect gist then?

#34

So @jhull, would you recommend we solve for the concerns first, and then skip down to the bottom?

We had been toying with Upper Right or Bottom Left

#35

Yes. If inconsiderate is there, I’m not sure that is correct.

I agree with the Genre - some kind of physical comedy, so the OS is definitely in the external domains

But I would probably look to other characters beside the primary two to figure out the actual OS problem

Think what:

  • potential cab rider
  • cabbie
  • hotel night manager
  • ticket counter lady
  • truck driver

What do they all have in common as far as generating conflict…

#36

They all have specific rules they have to follow that somehow inhibits them from helping, or posing limitations on the effort to help them.

  • cab rider: you gotta pay me more to take my place
  • cabbie: I’ll take you, but the long way to see the scenery at 2am
  • pick-up truck driver: you gotta let my wife carry your bags, and sit in the back with the dog
  • hotel night manager: I can’t take less money… I’m not the owner
  • ticket counter lady: If you don’t have your papers, you’re f**ked
  • truck driver: I’ll give you a ride, but you gotta ride with the cheese.
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#37

I think you pretty much nailed it.

#38

So… that all sounds like Preconditions.
Which would mean the OS is in … Learning?!

#39

What is the whole purpose of the story?

#40

I mean… it seems like John Hughes was mostly writing about this crazy journey that brought together two unlikely friends. Maybe learning that there’s more than meets the eye to someone?

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#41

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

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#42

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

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#43

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:

#44

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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#45

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.

#46

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.