Inside Dwight

   For me, like I said, an idea is its execution. You want an example, do you? Too bad. Examples aren't candies, to be handed out willy-nilly. Oh, all right.

   I've got an idea for a film, let's call it Inside Dwight. A relatively small group of people, all living inside this guy, "Dwight", whose insides are represented by rooms of a house. Think Osmosis Jones but as a neo-sincere indie flick. Yeah, that's high concept.

   Exploring the issues of "inside" and "outside." So you have Dwight live inside a space that is both, or neither, hallways opening into forests and occasionally blank white featureless expanses. Have a character feel like an "outsider" (thus the angst and the Wes Anderson-ness.) Emphasize this theme further subtly in dialogue which could be seen to refer to this slantly: have a scene where they have to move a table or something, it's easier to lift something holding it near the center. Give me a place to stand, and I will move the world. Is it possible to be neither outside nor inside? Or is that just how it feels for one of the characters? Expand on that idea of spaces: the vaguer question of why we live where we live and be where we are and even exist in space. So you have Dwight exist inside himself.

   The end plot may seem kind of trippy (well, the premise was kind of open to that,) so we justify it and ground it, through dialogue and character choices. What makes a character "outside" or "inside." The mentality of why we think of "us" and "them." From here we see a plot begin to emerge, and we establish the archetypes that deal the most with the central theme. The entire film has been built either to emphasize the central point or to take the strain off of it. It may seem artificial when explained that way, but that's just called construction. It is built up carefully, albeit organically, one process leading to the next.