U64006 INTRODUCTION TO SCREENWRITING

1. U64006 INTRODUCTION TO SCREENWRITING • WEEK 3 • Characters: traits, dramatic function and narrative arc • Main plot, subplots and dynamics • Role of back stories and themes

2. 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. 3-ACT STRUCTURE – General pattern • Conflict: the hero takes on a problem • Crisis: the hero can’t solve the problem • Resolution: the hero solves the problem MAIN PLOT = ACTION LINE U64006 Introduction to Screenwriting

4. 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

5. 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

6. 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

7. CHARACTER FUNCTIONS AND PLOT • Motivation • Objectives (and threats) (goal-oriented characters) • Relationships with other characters • Role of the back-story U64006 Introduction to Screenwriting

8. 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

9. 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

10. TYPES OF CHARACTERS HELPER(S) • Usually (current or soon to be) friends or relatives or forced into role by events • They help because they care MENTOR • Knowledge, wisdom, skills, expertise to transmit • They help because they can MENTOR 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

11. TYPES OF CHARACTERS ANTAGONIST(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

12. 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

13. 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

14. CHARACTERIZATION • Ontologic traits (nature) • Cultural traits (nurture + experience) Present life of character = Now U64006 Introduction to Screenwriting

15. 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

16. 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

17. 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

18. 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

19. 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

20. 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

21. CHARACTERIZATION • Ontologic traits (nature) • Cultural traits (nurture + experience) Present life of character = Now BUT Script  Character’s arc  challenge/change? U64006 Introduction to Screenwriting

22. 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

23. THE FULL MONTY – ACTS 1, 2 & 3 75 80 85 TP3 Reversal Big climax (hint at resolution) U64006 Introduction to Screenwriting

24. DYNAMICS – Throughlines Money upfront Stage fright Custody (Inciting) Jobless Arrested Training Pride Stripped Sold out Money found Allies U64006 Introduction to Screenwriting

25. CHARACTERS & THEMES Theme: dishonesty Lejos Egri: Problem? Consequences? “Dishonesty leads to exposure” • Dishonesty • Leads to • 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

26. 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

27. 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

28. 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