What it is:
Short animated film/video to be shown at youth oriented Christian
outreach services.
Target Audience:
Non-believer teens to twenty-somethings. Those that may be resistant to traditional Christian doctrine. The audience perspective is assumed to be
that of ones who perceive themselves as having been adversely “affected”
by their parents, authority, society etc. leading to a self centered victimhood.
Goal:
The Gospel and its traditional parables was written to an agrarian culture.
We will tell the parable of the seeds in a different way. The hope is that the target audience will be somewhat receptive to an abstraction that
provokes thought.
The film will be an animated modern metaphor of the sower
from Matthew 13.
Through an abstract analogy, we will show them how dire their
current course is. How it leads inevitably to death and an empty eternity.
So, when they encounter the name of Jesus, as they will when they view this film, how will they react? We want to make them aware that accepting the name of Jesus will change their lives in this world and the next.
After we get them to identify with situations and characters depicting the
types of soil from the parables, we want to leave the viewer with the question: “What kind of soil am I in today’s world? And who is this Jesus that changes?”
The film does not directly elucidate Christian doctrine in the traditional way
(explaining the saving grace of the Blood of the Cross, or who Jesus is in history, or why atonement is needed). Using some obvious but strong metaphors, it presents the fact that in an increasingly distracting world,
Jesus will change your fate in it and for eternity.
The greater purpose of the presentation is to spur curiosity and investigation into Christ’s saving message, not to explain what the message is
or even whom the person of Christ is.
Vehicle:
An animated CGI short (estimated 8-10 minute) depicting common human experiences in an abstract way. We want to create a “think piece” that will stir the mind and let the Holy Spirit do the rest.
Explanation will be the responsibility of the follow up ministry (yet to be outlined) to drive home the Scriptural message. Many opportunities for discussion will naturally proceed.
Plot Outline:
The audience sees through the eyes of an “alien” explorer piloting
some sort of craft through a strange world. We watch from his craft and through his 2 drones as they follow the experiences of multiple characters on their journey flying though life. It will become obvious that the wold he is exploring is our human existence.
The characters we follow are based on the Biblical soils in both humorous
and tragic ways that mirror a modern non-believer’s experience.
The world is a grey place, in fact the entire setting is in shades of
black and white.
Color is used only to accent our Spirit. The human characters start in color
and gradually turn grey as they fly through the world. The only dialog
between characters consists of variations and inflections of “blah, blah, blah” and the spoken Word “Jesus”. The contrast of gibberish to the spoken name
of “Jesus” will be stark for impact. The Word, “Jesus” brings color back into grey characters and changes their direction.
As the human characters experience transformation, so does the alien transition from that of a safely detached observer to one being physically affected by what he observes. This interaction causes the explorer to have to make life changing decisions to survive. The viewing audience, as casual observer, identifying itself from the point of view of the alien, will in turn be drawn into the decision making process.
Here’s an excerpt from “Nine-Act Screenplay Structure” by David Siegel:
“Act 0: Someone Toils Long Into the Night
A good story is a train wreck. A good train wreck involves two well-built trains speeding toward each other from far away.
The farther away, the more spectacular the impact. Time is the basis of legitimate conflict. One thing most money-making films have in common is a good bad guy, and good bad guys are not made overnight. In fact, the nemesis is rarely under
35 years old. Of the 200 top-grossing films of all time, 190+ have at least ten years of brewing conflict before the film opens. In all cases it is the nemesis (and sometimes also the protagonist) who has been working steadily for years and years, getting ready to execute the big plan. There may be centuries of turmoil and vested interests (prehistory), but the Nemesis is always a self-appointed individual. In E.T., Keys has been looking for an extra-terrestrial all his life. In The Godfather, the other families have been running drugs for many years – it’s too late to stay out.
Often, a seminal incident happened ten years ago to spark the conflict. In Batman, The Joker killed Bruce Wayne’s parents during a routine holdup. This started both The Joker and Batman on their inevitable collision course.
What to look for: The distinction between backstory and biography. Make sure to distinguish between prehistory – the general background of the place and time, biographies – personal histories that add dimension to the characters, and the true backstory–which plants and sows the seeds of conflict……..”
ACT 0
Decide what works for your characters? What doesn’t? What is the context of the story? Define your main character’s emotional intelligence as they navigate a world in flux they don’t fully understand. This is the pre-story before you start writing. How did the main character get to the place that the story begins?
ACT 1
Establish the opening image of the universe the main characters are stepping into. Who are we encountering and what matters to them right now? What are their concerns, conflicts and mode of action?
ACT 2
There is a change to the natural order of the main character’s schema. Something bad happens (inciting incident) and their energy drops. Something valuable it taken away. The main character experiences fear in learning to deal with the unfamiliar, so initial resistance ensues. What does your main character need to get them through the challenge? They either don’t know how or don’t want to act.
ACT 3
We don’t normally step into change, so our energy levels drop even more. Pain is our resistance to change and growth. We are creatures of habit no matter how damaging our behavior is. The main character experiences 3 bumps and a final push before they hit the critical velocity required for them to catapult them into their journey.
ACT 4
A further push to overcome further resistance and obstacles.
ACT 5
The main character gets lost. They chose the right goal for the wrong reason or the wrong goal for the right reason. They must decide what really matters and get back on track.
ACT 6
The main character must redefine their goal or strategy. They need to ask the right questions at the right time. Nothing has meaning or power outside the context of the main character’s goal.
ACT 7
The character now knows what they need to do. They’ve made the right choice to proceed with the unfamiliar with confidence but without all the necessary skills and knowledge.
ACT 8
The climax. The crescendo. The fledgling new character emerges and progresses into their new world awaiting their new adventure.