U64006 INTRODUCTION TO SCREENWRITING WEEK 3 Characters: traits, dramatic function and narrative arc...
-
Upload
amberly-newton -
Category
Documents
-
view
216 -
download
0
Transcript of U64006 INTRODUCTION TO SCREENWRITING WEEK 3 Characters: traits, dramatic function and narrative arc...
U64006 INTRODUCTION TO SCREENWRITING
WEEK 3
Characters: traits, dramatic function and narrative arc
Main plot, subplots and dynamics
Role of back stories and themes
3-ACT STRUCTURE - Summary• ACT I – SETUP, pp.1-30
• What? Setting + info (hero)• How?
• Inciting incident / Disturbance conflict action/goal
• Turning point #1 (end of Act I – pp.25-27)
• ACT II – CONFRONTATION, pp.31-90• What? Obstacles and problems • How?
• Reversals, recognition, suffering• Mid-point (p.60)• Turning point #2 (end of Act II – pp.85-90)
• ACT III – RESOLUTION, pp.91-110(120)• What? Climax resolution• How?
• Initial problem solved/unsolved, goal achieved
U64006 Introduction to Screenwriting
3-ACT STRUCTURE – General pattern
1.Conflict: the hero takes on a problem
2.Crisis: the hero can’t solve the problem
3.Resolution: the hero solves the problem
MAIN PLOT = ACTION LINE
U64006 Introduction to Screenwriting
STORYLINES / PLOTLINES
• Main plot/Action line/Foreground story/Plot A
Vs.• Subplot(s)/Relationship line/Background Story/Plot B
• Both Main and Subplot(s) have their own 3-act inner structure (developed throughout the overall 3-act structure) and alternate.
U64006 Introduction to Screenwriting
STORYLINES / PLOTLINES
• Action line = series of events change on protagonist• External enemy/antagonist• More physical problem
• Relationship line = character relationships, internal changes• Through external behaviour of 2 (or more) chars.• Public interaction• Events in the action trigger conflict/problems in the
relationship line• Internal conflict
U64006 Introduction to Screenwriting
STORYLINES / PLOTLINES
• Relationship line internal 3-act structure of its own• Status quo of relation (or lack thereof)• Disturbance start of OR new status of relationship• TP1 big obstacle in the relationship• Act 2 several more hurdles• TP2 lowest point in the relationship• Climax moment of truth = emotional peak
NOTE – In “some” films, major plot points and climaxes in AL and RL “may” occur in the same event/scenes
U64006 Introduction to Screenwriting
CHARACTER FUNCTIONS AND PLOT
Motivation Objectives (and threats) (goal-oriented
characters) Relationships with other characters Role of the back-story
U64006 Introduction to Screenwriting
TYPES OF CHARACTERS
PRIMARY CHARACTERS Protagonist(s)/hero Antagonist(ic force)/villain
SECONDARY CHARACTERS Helper(s)/sidekicks/allies Mentor Mentor antagonist Messenger/dispatcher
BIT PLAYERS Minor characters
U64006 Introduction to Screenwriting
TYPES OF CHARACTERS
PROTAGONIST(S) Usually (but not always) only one * Film=protagonist’s story shown through
normality/disturbance/course of action Both in AL and RL * (e.g. Thelma & Louise) On screen most of the time Most interesting/developed character, who changes
most (except for superheroes) Drives the action / makes decisions Active, rather than passive/reactive (or weak) POV/identification Conflict (from antagonist) Established before AL can start
U64006 Introduction to Screenwriting
TYPES OF CHARACTERSHELPER(S) Usually (current or soon to be) friends or relatives
or forced into role by events They help because they careMENTOR Knowledge, wisdom, skills, expertise to transmit They help because they canMENTOR ANTAGONIST (Usually) Enigmatic/unpredictable/eccentric/dominant
outsider Wisdom born of pain Most interesting character when protagonist weaker or
passive Passive protagonist is in jeopardy Mentor antagonist causes and drives adventure
Does not change or grow No identification/POV
U64006 Introduction to Screenwriting
TYPES OF CHARACTERSANTAGONIST(S) Create conflicts, cause trouble major life change for
protagonist Wishes (at least initially) directly opposed to protagonist’s
One protagonist, but 2 or more antagonists At least one in AL (external enemy) One in RL (it can change over time) (internal conflict) Major and minor Human / non-human force (nature, social, etc. BUT human
agents) Enemies BUT also lovers/friends/relatives, etc.
AL antagonists Change little, barely stoppable Major AL antagonist(s) + minor agents (due to physical
distance) RL antagonists
Allow protagonist’s thoughts/plans/feelings to be known (via dialogue)
Usually end up friends/allies Prude/meek turns hero/aggressive (usually women)
extreme change in Act 2 unpredictability
U64006 Introduction to Screenwriting
CHARACTERIZATION
In film, a character IS what it DOES (or might do) Not what it observes Not what it thinks
What do you know about a character from their actions?
How would it react to: fear, danger, love, aggression, temptation, etc.?
What would it never do?
U64006 Introduction to Screenwriting
CHARACTERIZATION
Character chart Public life Private life Inner life Past and present
This can be done as a dossier describing a number of distinctive traits
U64006 Introduction to Screenwriting
CHARACTERIZATION
Ontologic traits (nature) Cultural traits (nurture + experience)
Present life of character = Now
U64006 Introduction to Screenwriting
ONTOLOGIC TRAITS (nature)
Gender: different attitudes, cultural reception
Race: upbringing, education, social life, aspirations
Class: lifestyle, income, ideology
Family: childhood/youth, relationships, personality
Name: identity, symbolism
YOU HAVE TO KNOW!
U64006 Introduction to Screenwriting
CULTURAL TRAITS (experience) Education: (linked to class, occupation), impact
on social life
Abilities (or inabilities): potential actions (audience wanting to know more)
Own family: husband/wife/partner, children, relatives conflicts (whatever resolution we have, it will affect relationships)
Sexuality: orientation (hetero, homo, bi, trans); attitude (choice of partner and sex life + ideology and morality in society); political sexual awareness; functional to story
Back-story: what happened to the character before the story begins (‘now’); affects what the character is and does now
U64006 Introduction to Screenwriting
NOW
Age: feelings, attitudes, relationships, abilities, possibilities, beliefs
Occupation: personality, desires, aspirations/ambitions, frustrations, assumptions (research)
Friends and enemies: relationships, action
Appearance: impression on others, physical details (body, face, hair), clothes psychology of character casting
U64006 Introduction to Screenwriting
NOW
World view: attitude, behaviour, conflicts, relationships, change
Beliefs: religion, faith, politics, ideals, ethics, morality (may drive the action)
General manner: serious, light-hearted, careful, arrogant, humble, whimsical, ecc.
Sense of humour: say and do + appreciation or not, type of humour, purposes
U64006 Introduction to Screenwriting
NOW
Tension levels: from complete relaxation to max tension (attitude towards life or reaction to situations)
Language: background, gender, sex, race, geography, style of speech (coherence, colour, verbal tics)
Pastimes and passions: what characters love doing or look forward to
Self-delusions: vulnerability, empathy
U64006 Introduction to Screenwriting
CHARACTER - SUMMARY
Ontologic: gender, race, class, family background, name
Experience: education, abilities, own family, sexuality, back-story
Now: age, occupation, friends/enemies, appearance, world view, beliefs, manners, sense of humour, tension levels, language, pastimes/passions, delusions
U64006 Introduction to Screenwriting
CHARACTERIZATION
Ontologic traits (nature) Cultural traits (nurture + experience)
Present life of character = Now
BUT
Script Character’s arc challenge/change?
U64006 Introduction to Screenwriting
CHARACTERIZATION
CHARACTER’S ARC
Protagonist’s (and other characters’) internal journey Emotional Psychological Spiritual
Caused by (and in response to) events in both the AL and RL
Throughout whole film Setting (furthest point from change) Climax (moment of final change)
The bigger the arc, the more dramatic the film
U64006 Introduction to Screenwriting
THE FULL MONTY – ACTS 1, 2 & 3
Reversal Big climax (hint at resolution)
TP375 80 85
U64006 Introduction to Screenwriting
DYNAMICS – Throughlines
Jobless
Pride
Custody (Inciting)
Allies
Training
Money upfront
Money found
Arrested
Sold out
Stage fright
Stripped
U64006 Introduction to Screenwriting
CHARACTERS & THEMES
Theme: dishonesty
Lejos Egri: Problem? Consequences?
“Dishonesty leads to exposure”1. Dishonesty
2. Leads to
3. Exposure
Open theme: questions and arguments about it unanswered (?) ambiguity
THROUGH: characters’ growth (what have they learnt) + subplots (what they could lose) + plot resolution (values embraced)
U64006 Introduction to Screenwriting
THE FULL MONTY - THEMES• Cultural stereotypes on men and women (challenged and reversed)
• Old role of men as breadwinners• Men are repressed, inexpressive and deceptive• Self-defeating, disappointing as fathers/husband• Cross-section representation: labour/management,
white/black, hetero/gay, lean/stout, older/younger• Gaz is the protagonist, but plot(s) and
shared problems make the story focus on men in general
• Women are pragmatic/practical• Women as the new breadwinners
• Reversal of stereotypes (and plot)• In order to succeed in their goal, men must
emulate what women used to do
U64006 Introduction to Screenwriting
THE FULL MONTY Q&A
• Whose story is this?• What have our protagonists got to gain or
lose? • What do they want?• What do they do to get it? • What do they do when they don’t get it (the
stripping gig)?• What do they get when they get it?• How do the audience feel?
U64006 Introduction to Screenwriting
HOMEWORK FOR WK 4
SEMINAR- Watch/Analyse Jane Campion’s “The Piano”- Prepare presentations (booked students)
- Story elements- 3-act structure (both action and relationship lines)- Characters (functions, arcs, dynamics, etc.)- Themes and symbolism
LECTURE- Watch “Shrek 2”
U64006 Introduction to Screenwriting