I want to open a movie with a dude in a handcuffs with two goons above him- FREEZE FRAME: "This is me. You're probably wondering how I got into this situation?" Cut to two seconds earlier of him being pulled into room. HIM: "Yup, dragged in through that door and shoved down."
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More over, it often puts a stamp on the fact that you can't actually come up with a story that has conflict at the start, so you just hide and tease and hint at, and are probably hiding a lack of function in your story in general.
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Can it work sometimes? Yeah sure, of course. It works in Iron Man because it's a way of emotionally telling the audience "don't worry, this cocksure jack ass is going to pay for his behavior soon" and it ONLY lasts like twenty minutes of screen time.
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Again, everything has to be ingrained in dramatic story function. Don't hide under artifice. HULK OUT.
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Oh because people already bringing up Breaking Bad. They were probably better at playing with it that anyone. Sometimes it was poetic, sometimes functional, sometimes total misdirect... but the thing to notice most of all is how they mostly phased it out as the series went on :)
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On the other hand opening a movie with just a handcuffed dude being thrown into a room is a pretty strong start imo
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Oh totally, just need.... the rest... haha.
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Breaking Bad has an effective use of in media res in the Pilot. There I think it was useful here in setting expectations of what sort of series it was. Otherwise, it's a LOT of set up before it gets to the intense parts.
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Then there was Alias that used it way too much.
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I've also read too many scripts in which, about two pages after the flash-forward ends, it's entirely clear how the characters ended up in the flash-forward... and you still have a whole pilot script (or more) to read before the show catches up with you.
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One of the best uses of flash forward has to be the photograph scene at the start of CITY OF GOD.pic.twitter.com/bFhDUx5H8m
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