ADVANCE VIDEO PRODUCTION I

SCREENWRITING

WRITING SHORT FILMS

CHARACTER
 Character and Emotion - Who does what and why?
In films, the screenwriter doesn't have the luxury of time to tell the audience about the character.
The emphasis in film is on showing. The screenwriter must rely on action and behavior.

The strongest, fastest way into this fictional world is

when.
 the audience can relate to and identify with, through
the main characters or
 at the very minimum characters, we are immediately
intrigued with, and want to know more about.

In films, PLOT is CHARACTER and vice versa. Pressure is essential. Choices made
when nothing is at risk mean little. What happens only happens as a result of who
the characters are.
If you recognize that your character has played a part, however small, in creating
the situation he is in at the start of the screenplay, then all the resultant actions
and events can be seen as externalizations of his inner world, and the whole story
gains deeper significance i.e. truth over lie. Crash Bus (illegal alien & doctor)
Character design begins with the arrangement of the two Primary Aspects:
 Characterization
Is the sum of all the observable qualities, a combination of what makes the character
unique: physical appearance, style of speech and gestures, sexuality, age, IQ, occupation,
personality, values, how he/she lives etc.

 True Character
Waits behind the mask. Despite his characterization, at heart who is this person? Loyal
or disloyal? Honest or a liar? Loving or Cruel? Courageous or cowardly? Generous or
selfish?
True Character can only be expressed through choice in dilemma. How the person
chooses to act under pressure, the truer & deeper the choice to character.

The key to True Character is desire. A character come to life the moment we glimpse a
clear understanding of his desire – not only the conscious, but in a complex role, the
unconscious desire as well.

Behind desire is motivation. Why does your character want what he wants?
 Character and Emotion - Who does what and why?

At their best, short films explore the principal

character in relationship to another character or
the problem in the plot, and reveal to the audience
something interesting and unknown about him.
Sometimes the REVELATION SURPRISES even
the character himself.

Whatever the emphasis of the story, the audience

needs to feel that the main characters are REAL,
COMPLEX PEOPLE, even though we only see a
small part of their lives.
 Character and Emotion - Who does what and why?
In drama, characters, specifically the main
characters, must be active, committed to something
and forced to take action because of that
commitment. If they are not, drama will fail.
The most important things a screenwriter must
know about the protagonist are:
1. What does the character WANT and WHY
does he want it?
2. What does he NEED emotionally?
The want refers to the STORY GOAL; this creates
the action of the story and gives the plot direction.

The why relates to the protagonist’s conscious

MOTIVATION. The reasons he understand and
pursuit his goal.
 Character and Emotion - Who does what and why?

The Need refers to his unconscious

motivation. It comes from a depth of his
psyche of which he is ignorant. What he
unconsciously needs to become a whole. This is
what compels the hero to act in often irrational
ways.

In films, the protagonist’s need often opposes

his stated goal. Part of the conflict results from
the disparity between stated aim and the
subliminal need.
 Character and Emotion - Who does what and why?

I.e. “Life Lessons”

Beginning- We learn two things.
1. He has no new paintings for a big exhibition of his in
three weeks.
2. His assistant Paulette, with whom he is in love with, is
leaving him.

 WANT: To keep Paulette in New York

 WHY: He says he loves her
 NEED: Emotionally turmoil in order to paint. How do
we know it? Lionel’s response to every disagreement,
dispute and battle with Paulette. Wondrous results.
 Character and Emotion - Who does what and why?

Finding the answers to these three questions (want, why,

need) is not as simple as one may think. If the writer keeps
digging and thinking and thinking about the character,
trying to discover this psychological key, he will be
rewarded.

 A clear understanding of the character’s need will

usually increase the story’s intensity and deepen the
meaning of the conflict.

There are several ways to approach characterization, but

you must choose the best way for you. Separate the
components of his life into three basic categories.
 Physical Appearance
 Sociology
 Psychology
 Defining the Character

Physical Appearance Sociology Psychology

(study of his environment)
Sex Life
Age Class/Parents/Experiences
Morality
Clothes/hair/healthy Education
Personal Ambitions/Frustrations
Physical Attributes (Προσόν) Occupation
Temperament
Physical Defects/Athletic Home Life/Hometown
Complexes
Heredity Religion
Bodily Care Nationality Extrovert/Introvert

Political Affiliations Talents/Qualities

 Defining the Character

 You can also separate your character’s life into three basic components:

 Professional: Occupation? Does he like his job or not? Relationship with his
Co-workers and his boss? Salary?

 Personal: Marital status? If yes to whom? How long? Relationship? Divorce?

 Private: What does he do in his spare time or when he is alone? Hobbies? Pets?
Cast Design
In essence, the protagonist creates the rest of the cast. All other characters are in a
story first and foremost because of the relationship they strike to the protagonist and
the way each helps to reveal the dimensions of our hero.
Character A, for example, provokes the protagonist’s sadness and cynicism, while
character
B brings out his hopeful side.
C inspires his loving and courageous emotions
D forces him to cower his fear, then strike out in fury.
They are what they are principally to make clear and believable, through action and
reaction, the complexity of the central role.
 Character Background

1. where is the character from (background)

2. what was he doing just before this scene
3. what does the writer say about this character
4. what do others say about this character
5. what does the character say about himself

It focuses on specific past events that directly affect the protagonist’s

emotional involvement in the plot as the story unfolds. It should not get in
the way of the current story.
What we need to know is How the characters’ current behavior related to
his past life?
Who are they and what do they do? Are they happy or sad with their
lifestyle? Do they wish their lives were different? In what way?
 All dramatic characters interact in three ways:

1. They experience conflict in achieving their dramatic need.

i.e. they need money to buy the necessary equipment to rob a bank. How do they get it? Steal
it? Rob a person, or store?
2. They interact with other characters, either in an antagonistic, friendly, or indifferent way.
i.e. it’s more effective dramatically to portray a son of the bitch than a nice guy.
3. They interact with themselves. Our main character might have to confront and define his fears
in order to be overcome.
4. Ask yourself what do all people have in common?
(needs, wants, fears, insecurities, wants to be loved, to succeed, to be happy, healthy)
What separate us?
Our point of view – the way we look at the worlds. I.e.Your character maybe a student, and
would view the world from a student’s point of view. Is he an environmentalist? A racist? Does
he believe in fate, destiny, and astrology? Left or right wing?
5. What is your character’s point of view about his work? About his marriage?
 A Character’s idiosyncrasies and unusual behavior encourage the audience’s interest. We wonder, “Why
did he do that?” and we follow along, hoping to get some answers.

Attitude
 A way of acting or feeling that reveals a person’s opinion. Is based on one’s believe. I.e. A positive or
negative person? Enthusiastic about life or job, or unhappy?

Personality
 Every character visually manifests a personality.
 Cheerful, happy, shy, with humor, ..etc.

Behavior
 The essence of character is action – What a person does is what he is.
I.e. Dime –Rolls Royce

Revelation
 During the story we learn something about the character. Do not reveal everything from the beginning.
 Choices, Commitments & Actions
 The story shows the protagonist’s commitment, the consequences of taking action, and the
sacrifices made because of that choice. Define the Character.

 Many short films begin with the protagonist having already made a choice or decision.

 The decisions and Choices at the beginning and at the end of the story are the most
important and revealing about the character.
 Beginning- What he wants and commits to pursue it.

 END- in short films the choice often leads to the revelation of character on
which the story is based.

 For the choice to convey a real meaning there must be a personal cost for the
protagonist.
 TRANSFORMATION
 What seems is not what it is. People are not what they appear to be. A hidden nature
waits concealed behind a facade of traits. No matter what they say, no matter how
they comport themselves, the only way we ever come to know characters in depth is
through their choices under pressure.

 In feature films, one of the main characters must noticeable & convincingly be
altered by events. This need not always be the protagonist. Sometimes in
features and short films, the protagonist is the agent for change (his character and
action affect others, forces another major character to change).

 At the end of most film though, the hero is at a psychologically healthier position
than at the start. Because he meets the conflict, the protagonist is forced to make
choices. The result of these choices pushes him to discover qualities within him that
compel him to grow. This growth allows him to solve the problem and reach his
goal.
Character Objectives (Most Important!)
These are the main needs and wants of a character (what people want out of
life)
 SUPER OBJECTIVE (example: “Power over People”)
what is the primal motivation of the character - what are the main needs of
the character
 OBJECTIVES (example: “Wants to Dominate Character A”)
what does the character want (motives) - what are the active choices to
achieve the Super Objective
 MAIN ACTIONS (example: “What they DO to Character A”)
- what the character DOES… - to get what he WANTS… - to fulfill his
NEEDS
 NOTES ON OBJECTIVES

1. There can only be one objective per character – per scene

2. the simpler the objective, the easier it is for an actor to play it
3. objectives rise out of the character’s needs and feelings
4. objectives help actors react to each other – rather than just “say
the lines”
5. an objective should be an active choice for an actor
6. an actor should always play their objective in every scene