The simplest stories can also contain extremely rich content, which requires the author to dig, think and set carefully in every link.
main character:
Lolita dual personality : when and why, what is the difference between the two personalities, what does the secondary personality do, what does the main personality do, what is the interaction between the primary and secondary, and what is the relationship between them (mutually) Struggle/dependency, which one is dominant, who tends to become stronger and who becomes weaker), when does the subpersonality dominate, and what characteristics does it look like when it dominates)
The male protagonist's dual personality: Has it been established in one step when killing his wife, or is it evolving slowly, and what kind of stimulation will awaken the second personality (is 2:05 when he kills his wife).
Which point in the first personality suggests the other side of the character (too friendly is also a hint, extremely tolerant of daughter's vexatiousness, but no one is completely out of temper).
What is the second personality, what are the motives and reasons, what are the emotions (pure evil is a little scary but very boring, when the favorite daughter can't evoke a little caring response at all, the audience will not Put any sympathy into this man). Let the second personality have a heart-wrenching motive (too much love for his wife/too much for a beautiful family) despite overreacting and wrong. Let the first personality be very tired, painful and tortured, and let people understand that he has a second personality to temporarily relieve himself.
Because the second personality is caused by extremely strong emotions, the motives for behavior should be extremely clear and consistent: between killing a wife, killing a new lover, and killing a daughter, there must be at least one literal unified reason, and this reason should also be the reason why the second personality is The reasons for formation, such as betrayal is not allowed, leaving me is not allowed, the relationship between people must be one-to-one and triangles are not allowed. (The second personality kills his wife and doesn’t show mercy to his daughter, so it’s the daughter who writes the confession words like “you killed her”? Personality? Or is it the third personality of the male protagonist?)
Suspicion: The first personality should have a little self-doubt before the truth is revealed (for example, he wants to show the female psychiatrist his record of his daughter's condition but can't find it), and the daughter should provide some ambiguous hints from time to time, not only Charlie Charlie rereads it (in the end, the screenwriter probably also thinks that his story is super simple, and he will solve it immediately if he gives some hints).
Interfering cues:
Neighbor man: Since we want to lead doubts to the neighbor man, we should act more like it.
The interaction between the neighbor man and the loli is a little more excessive (sitting with a genial face while watching the girl swinging.. This suspects that others are a little crazy). The wife's fear of the neighbor's man is even more exaggerated (there is a scene where his wife is horrified, "he's coming back soon, you can leave", but yesterday you pointed at your husband's nose and scolded him, and the husband was sitting on the sofa innocently and harmless to humans and animals .And since the male protagonist has binoculars, it is not natural to see the neighbor man who is suspected of domestic violence to his wife after returning.) The neighbor's memory of the dead daughter is even more morbid (leave some toys and put a few pictures, your neighbor is really normal and normal, the truth is that you don't deny it).
Give your neighbor a possible criminal motive: Want to possess your daughter in place of your own dead daughter? Let them be very close to Lolita, give Lolita's own daughter's toys, and dress Lolita as her own daughter, suspected of deliberately creating an accident and wanting to kill the male protagonist.
Key Man: It's a bit scary to want to open the door in the middle of the night, but you haven't come out before and after, and have zero contact with Loli, except "this person is not good, and the folk customs here are not very simple" basically has no effect on the story.
supporting role:
Mother of the heroine: There is no other information other than loving her daughter and cheating. It can be enriched a little bit. For example, when the daughter is eating, she says, "Mom will make me xx shape or specially add xx seasoning" (showing mother-daughter feelings), Daughter holding a rag doll that mom almost finished (indicating that mom may not be suicidal) or something.
New Love Girl: Give the male lead a reason to kill her. Why did the second character of the male protagonist want to kill her (it must be the same reason as killing his wife), and how to kill her (frightened and then falling downstairs, it looks so stupid, and it is not the same as killing his wife. I can't get on top of it, and the wardrobe is really far from the window, so it's hard to scare off. So I thought it was the male protagonist dreaming at first), why did my daughter agree to kill (is it forced or a second personality), why do I want to Let the daughter participate, and put it in the bathtub after killing it can be a little more ritualized.
theme:
The title hide and seek is a title that is very suitable for horror movies when you look at it, so you should make full use of it, let this mode run through the movie and fill it with fear.
ex: When Loli first saw butterflies, she could claim to play hide and seek with butterflies.
The second personality of the male protagonist plays hide-and-seek with Loli every night, and is caught with a terrible punishment (it looks like Lolita abuses/tricks herself).
The male protagonist thought his wife was playing hide-and-seek, but he bumped into her cheating.
The male protagonist kills everyone in a game of hide and seek.
When the male protagonist finally wants to kill the psychiatrist, he is shaken by his daughter using hide-and-seek skills at a critical moment (similar to the little boy in The Shining who uses his familiarity with the maze).
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After the basic framework is set up, there are countless things that can be enriched, but enrichment is not superimposed like decorations, but unified in the theme. Enrichment is not an arduous additional work. If there is love for characters, understanding of human nature, and pursuit of meaning, so that the story keeps turning in the depths of the heart, it can naturally take root and sprout.
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