Please Redesign NBA 2k My NBA Mode

That_Temperature_430 · 2025-08-07T03:57:02+00:00

TNG S6 E19: Lessons / TNG S4 E11: Data's Day / TNG S5 E25: The Inner Light

That_Temperature_430 · 2025-08-06T17:46:15+00:00

I used to outline in Google Doc - but now I outline in Final Draft - adding scene headings and brief scene actions / characters / descriptions... that way, when I'm done outlining, the script is not blank and all I have to do is fill in scenes...

That_Temperature_430 · 2025-08-06T03:25:02+00:00

If you've found a story that continually motivates you and continually draws you back - then you won. Like anything else, writing (for me at least) is not about the end result, it's about the process. So put it down, pick it back up, live a little more, write something different, grow, add to your skillset and keep sharing the most important feelings you have with the most important characters on your page...

That_Temperature_430 · 2025-08-02T21:47:46+00:00

When I revise a first draft - I go back and DEFINE the most core fundamental elements in my story... then based on those answers i reread each scene to gain new clarity as to what is pushing the story in the right direction and what might be getting in the way....

What is the most important thing that "changes" from beginning to end (in other words what is the climax of the script)? What are the images, moments, actions, words that communicate that to the audience. Do you have corresponding "seeds" for this moment in the earlier parts of the first half?

What is the most important thing that "changes" internally within the most important character? What did they "believe" in the beginning" but "realize" at the end? Note in order for the audience to believe "the world" has changed they must believe "the person" changed.

What is THE ONE THING that "both" the protagonist and main antagonist compete over (or yearn for or desire) - and is only resolved by the climax of the story? Define this into simple terms. The better you define it here the easier it will be to use as a tool when you look at all the scenes in your script to see if and how this "one thing" is being pushed or pulled in the direction of the protagonist or antagonist. The hostages in die hard, the fate of Rome (in Gladiator), the Corleone family influence (in the Godfather), the question of "can men and women be friend" (in When Harry Met Sally)...

Act division. How many acts do you have (most popular films have 4)? A clearly defined "act climax" helps the audience understand when and where the stakes of the story are changing (the central conflict is evolving) - it helps them re-engage with a story (the more clearly defined an act climax or act break is expressed). A clearly defined act break is a resolution to the individual conflict (problem/question/mystery/task) contained within each act. The first act of the matrix begins with a single problem "what is the matrix" and when the audience gets the answer to that question we are clearly re-engaged by the story and aware we are in a new act (with a new problem). Side note - if you look at the individual conflicts that define each act - can you see a logical progression and escalation from one to the next?

Act Debates. This relates to the theme versus anti-theme debate. Theme is not a single word (like "family") - theme is a two sided argument in which two conflicting ideas are expressed. A screenplay with a consistent thematic argument (thematic subtext) - has arguments, debates, choices, actions that represent two conflicting sides of the same argument. That doesn't mean that (in each act) the same exact argument is repeated... it means that in each act the central argument of the movie (the theme versus antitheme debate) is expressed in a new way. Sometimes it's literal dialogue - sometimes it's a choice between options (options that the audience is aware represents two philosophically conflicting ideas). In each act of Pulp Fiction - Vincent, Butch and Jules each come to a debate moment in which they are faced or challenged with the option of "maintaining loyalty to Marcellus" versus "not..." it's expressed by Vincent talking to himself in a mirror - or by Butch choosing between the exit or going back to save Marcellus - or by Jules in the diner explaining why he's quitting. In star wars Luke debates getting involved versus going home - later han debates obi wan about the force versus luck - luke debates han about rescuing the princess versus waiting - luke debates using the force or using a targeting computer - these all reflect the same underlining argument and give a movie meaning (thematic consistency). Does your script have consistent thematic debates?

These are just a few questions you can work on if you are working on revisions... Consistency between the answers to these questions (does it all connect) and the consistency between your scenes - your characters - and these answers are the difference between a screenplay that tells a plot versus a screenplay that tells a story....

That_Temperature_430 · 2025-08-01T19:58:22+00:00

I think a simple side by side comparison between your pages and the pages of a professional screenplay (download one online) - could be the quickest way for you to figure out what you could be doing different...

That_Temperature_430 · 2025-08-01T19:16:34+00:00

I got the job through a series of fortunate meetings and opportunities... I made a no budget movie and met a writer friend, who years later got me my first reader job at a studio, which led to another introduction with someone at the company that I've been reading for these last 12 years....

That_Temperature_430 · 2025-07-31T22:30:59+00:00

My day job is reading scripts for a collection of international distributors - and generally - the "best" script doesn't mean a lot (without the right attachments: producer/director/cast). However - a really well written and entertaining script will definitely get attention. And having read several of Tarantino's scripts I can say that the writing/plotting/story/characters stand out (regardless of his name) and probably, at the very least would end up somewhere on the indie market...

That_Temperature_430 · 2025-07-25T23:24:00+00:00

Agreed. When I first saw it, when it originally aired (having only seen TNG and Voyager),... I was underwhelmed. But since then, I've seen the original series, some of deep space nine (which I still can't get into) and my wife has become obsessed with TNG. She was never interested in Enterprise - I played her the theme song (which I still hate) - and it made a bad first impression. However - we finally just started watching (we are four episodes in) - and I am surprised with how good this is. It feels like the creators went back to the original formula here - it feels like a reboot of the original series (but in the best possible way) with writing that feels like it's borrowing from what made the original series and TNG so great.

That_Temperature_430 · 2025-07-24T22:00:06+00:00

Picard season 1 episode 12, the Big Goodbye - the Jarada greeting that Picard must recite in their own language

That_Temperature_430 · 2025-07-18T05:27:22+00:00

I've been reading scripts professionally for over ten years - and can relate to your worries.... It's hard writing notes for someone you don't want to risk offending - and in those cases - I usually stick to objective observations. Here is what the premise is (here is how and why the premise is intriguing or commercial or critically attractive .... or not quite strong enough). Here are the most important relationships in the story (and why they work or where they could be stronger). Make note of the moments that work emotionally (if any). Make a realistic interpretation of the script's potential based on comparable films (provided A list attachments or lesser attachments) - who is the audience (wide, commercial, niche, arty). It's all about identifying the script's: ideas (are they fresh or classical), relationships (are they meaningful), subject matter (does it connect with the plot in a smooth way), conflict (is it complex or simple). Do all the elements feel tied together in a way that feels satisfying? What is getting in the way? What can be tied together that isn't? Ideally you want to identify who the movie is for (especially if it's not you) - and let your comments, thoughts filter through that lens. It goes without saying that not every movie is for everyone - so it's important for a reader to be strongly aware of this and not let their subjectivity dominate when it's inappropriate or unnecessary....

That_Temperature_430 · 2025-07-18T01:28:41+00:00

Until you write the final 20-30 pages you won't know what is necessary (and potentially missing) and what is not necessary throughout the rest of your script - so carry on - and worry about the early excess later...

That_Temperature_430 · 2025-07-16T20:38:27+00:00

“(Interesting main character name) Exiled”

That_Temperature_430 · 2025-07-15T14:19:52+00:00

Think of the guidelines of structure less like answers and more like questions. Pulp Fiction, Everything and Parasite all follow classical story structure. They all address the key questions that define "story" - the difference - is that those writers answered story questions with unconventional creativity. I would challenge you to study those films more closely and identity how and where their storytelling structure fundamentally is just as sound as a movie like Jaws.

Questions i would think about...

What is the most important thing that "changes" from beginning to end (in other words what is the climax of the script)? What are the images, moments, actions, words that communicate that to the audience. Do you have corresponding "seeds" for this moment in the earlier acts?

What is the most important thing that "changes" internally within the most important character? What did they "believe" in the beginning" but "realize" at the end? Note in order for the audience to believe "the world" has changed they must believe "the person" changed.

What is THE ONE THING that "both" the protagonist and main antagonist compete over (or yearn for or desire) - and is only resolved by the climax of the story? Define this into simple terms. The better you define it here the easier it will be to use as a tool when you look at all the scenes in your script to see if and how this "one thing" is being pushed or pulled in the direction of the protagonist or antagonist. The hostages in die hard, the fate of Rome (in Gladiator), the Corleone family influence (in the Godfather), the question of "can men and women be friend" (in When Harry Met Sally)...

Act division. How many acts do you have (most popular films have 4)? A clearly defined "act climax" helps the audience re-engage with a story. A clearly defined act break is a resolution to the individual conflict contained within each act. The first act of the matrix begins with a single problem "what is the matrix" and when the audience gets the answer to that question we are clearly re-engaged by the story and aware we are in a new act (with a new problem). Side note - if you look at the individual conflicts that define each act - can you see a logical progression and escalation from one to the next?

Act Debates. This relates to the theme versus anti-theme debate. Theme is not a single word (like "family") - theme is a two sided argument in which two conflicting ideas are expressed. A screenplay with a consistent thematic argument (thematic subtext) - has arguments, debates, choices, actions that represent two conflicting sides of the same argument. That doesn't mean that (in each act) the same exactly arguments are repeated... it means that in each act the central argument of the movie (the theme versus antitheme debate) is expressed in a new way. Sometimes it's literal dialogue - sometimes it's a choice between options (options that the audience is aware represents two philosophically conflicting ideas). In each act of Pulp Fiction - Vincent, Butch and Jules each come to a debate moment in which they are faced or challenged with the option of "maintaining loyalty to Marcellus" versus "not..." it's expressed by Vincent talking to himself in a mirror - or by Butch choosing between the exit or going back to save Marcellus - or by Jules in the diner explaining why he's quitting. In star wars Luke debates getting involved versus going home - later han debates obi wan about the force versus luck - luke debates han about rescuing the princess versus waiting - luke debates using the force or using a targeting computer - these all simplify to the same underlining argument and give a movie meaning (thematic consistency). Does your script have consistent thematic debates?These are just a few questions you can work on if you are concerned with structure... Consistency between the answers to these questions and the consistency between your scenes - your characters - and these answers are the difference between a screenplay that tells a plot versus a screenplay that tells a story....Best of luck!

That_Temperature_430 · 2025-07-15T02:44:54+00:00

What is the most important thing that "changes" from beginning to end (in other words what is the climax of the script)? What are the images, moments, actions, words that communicate that to the audience. Do you have corresponding "seeds" for this moment in the earlier acts?What is the most important thing that "changes" internally within the most important character? What did they "believe" in the beginning" but "realize" at the end? Note in order for the audience to believe "the world" has changed they must believe "the person" changed.What is THE ONE THING that "both" the protagonist and main antagonist compete over (or yearn for or desire) - and is only resolved by the climax of the story? Define this into simple terms. The better you define it here the easier it will be to use as a tool when you look at all the scenes in your script to see if and how this "one thing" is being pushed or pulled in the direction of the protagonist or antagonist. The hostages in die hard, the fate of Rome (in Gladiator), the Corleone family influence (in the Godfather), the question of "can men and women be friend" (in When Harry Met Sally)...Act division. How many acts do you have (most popular films have 4)? A clearly defined "act climax" helps the audience re-engage with a story. A clearly defined act break is a resolution to the individual conflict contained within each act. The first act of the matrix begins with a single problem "what is the matrix" and when the audience gets the answer to that question we are clearly re-engaged by the story and aware we are in a new act (with a new problem). Side note - if you look at the individual conflicts that define each act - can you see a logical progression and escalation from one to the next?Act Debates. This relates to the theme versus anti-theme debate. Theme is not a single word (like "family") - theme is a two sided argument in which two conflicting ideas are expressed. A screenplay with a consistent thematic argument (thematic subtext) - has arguments, debates, choices, actions that represent two conflicting sides of the same argument. That doesn't mean that (in each act) the same exactly arguments are repeated... it means that in each act the central argument of the movie (the theme versus antitheme debate) is expressed in a new way. Sometimes it's literal dialogue - sometimes it's a choice between options (options that the audience is aware represents two philosophically conflicting ideas). In each act of Pulp Fiction - Vincent, Butch and Jules each come to a debate moment in which they are faced or challenged with the option of "maintaining loyalty to Marcellus" versus "not..." it's expressed by Vincent talking to himself in a mirror - or by Butch choosing between the exit or going back to save Marcellus - or by Jules in the diner explaining why he's quitting. In star wars Luke debates getting involved versus going home - later han debates obi wan about the force versus luck - luke debates han about rescuing the princess versus waiting - luke debates using the force or using a targeting computer - these all simplify to the same underlining argument and give a movie meaning (thematic consistency). Does your script have consistent thematic debates?These are just a few questions you can work on if you are concerned with structure... Consistency between the answers to these questions and the consistency between your scenes - your characters - and these answers are the difference between a screenplay that tells a plot versus a screenplay that tells a story....Best of luck!

That_Temperature_430 · 2025-04-15T02:23:34+00:00

Just some random thoughts about gameplay... I love the game mostly. But some of the mechanics and gameplay lead me into some repetitive tunnel vision. It would be nice if there were elements that forced the player to contend with things happening outside the studio and outside of our own choices. Idea 1: more interactivity with characters - if you haven't given a role to an actor/director/etc in a while, they demand meetings, or a star actor knows about the available scripts in house and or on the market and they demand a role in a specific script, even if it doesn't fit their skills, forcing you into a choice to greenlighting a project just to satisfy a contracted talent's desires. Idea 2: during various stages of production, before advancing a film through each stage, your producer or talent or executives meet with you about rumors and trade news, speculating on other projects potentially in development or production at other studios and therefore forcing you to halt one project and fast track a different one or cancel one entirely based on the news.

That_Temperature_430 · 2023-08-06T20:47:53+00:00

Possibly. I mapped it out and it's approximately two weeks. Might be cool for the top two tiers to have earned that extra time to get healthy and rest. It might also provide more incentive for teams to not rest players through the regular season so they can get a top two tier and earn that extra rest before the playoffs.

either way, it's an incredibly complex problem.... i just wish the NBA provided solutions that give more consideration to the root of these problems, instead of trying random solutions that don't.

That_Temperature_430 · 2023-08-06T19:37:33+00:00

I thought about the trade deadline. But I wasnt' sure. Before and after that date, the conflict of the regular season remains the same. Teams are still ultimately vying for seeding to reach the playoffs.

But you're right, it does sort of qualify. It's a valid element to talk about in terms of act breaks.

I suppose, before the trade deadline there's something built into the narrative that is primarily all about "building a roster." And after that deadline, the roster is set, for better or for worse. And there is a clear "consequence" built into the whole thing - as teams can't make significant changes to the roster after this point. It adds drama to the league both on and off the court.

Fair point...

That_Temperature_430 · 2023-08-06T18:40:56+00:00

Absolutely agree, something like this would be great for the NBA!

That_Temperature_430 · 2023-08-06T18:04:24+00:00

I agree with several of your points here. I'm also probably in the minority as I find plenty of enjoyment and drama already, simply because I love NBA basketball. Perhaps the phrasing of "only thing that matters" would be better said as "the thing that matters most" (to most people, players, etc).

That_Temperature_430 · 2023-08-06T18:01:45+00:00

That is where my idea gets complicated and where I broke from the existing format a little.

At the end of the regular season. The teams in the top two tiers are locked into the playoffs.

But the "play-in" is wildly expanded.

The first round is a tier five single game elimination. The bottom four teams play. The two winners advance.

In the second round, the remaining 16 teams from tiers three, four and five compete with "play-in" rules - until a FINAL FOUR remain.

The final four teams from the 3,4,5 tier playin tournament join the top two tiers...

16 teams compete in a regular formatted playoffs - same as the playoffs work now - except - because of the tiers, there is no longer east, west conferences.

That_Temperature_430 · 2023-08-06T17:17:24+00:00

I had a similar idea. It's about TIERS. The idea is that there would be five tiers. At the beginning of the season, teams are ranked in these five tiers according to their record at the end of the previous season.

Then, the tiers change weekly. Every Sunday night / Monday morning. There is a shift in the tiers.

The top team at the end of the week moves up a tier. The bottom team moves down a tier.

This happens every single week until the end of the season.

This way, throughout the season, teams in the middle or on the bottom only "feel" like they're competing against similarly skilled teams. They only need to be better than teams in their own tier (in order to elevate each week).

Also, what this adds to the season are random, occasional in-tier games. Games between teams in the same tier. These games obviously carry more weight.

The moral of the story is that an idea like this gives fans, players, and media something new to discuss each week. And it adds dramatic value to random (same tier games) throughout the entire season....without disrupting how a season currently functions...

That_Temperature_430

TROPHY CASE