Day 1: Putting The Character To The Test – MY COUSIN VINNY

[Paul McGregor]

Assignment Week 3 – Day 1

What makes these characters great from a writing perspective is how we see them going into a future that neither wants (at least at the beginning.)

Andrew’s Journey:

Introduction: Alarm clock goes off and he’s late for work.

Act 1 Turning Point: His boss, Margaret, tells the big boss that she and Andrew are going to get married. News to him!

Midpoint: If he doesn’t agree to the Proposal, he’s going to lose his job.

Act 2 Turning Point: His family takes the wedding for granted – it’s going to happen.

Climax: They kiss and their facial expressions suggest that maybe this could be a real marriage after all.

Ending: In each other bare arms.

Margaret’s Journey:

Introduction: Disliked and feared by everyone in the office.

Act 1 Turning point: She learns her visa has expired; her position is at stake.

Midpoint: She thinks up the marriage proposal to avoid extradition.

Act 2 Turning Point: If Andrew doesn’t accept, he’s going to lose his job.

Climax: They kiss in front of the family (each think, “Perhaps there is something between us.”)

Ending: In each other arms – even though it was just an accident!

What makes Andrew great from a writing point of view is that the writer grabs our sympathy for him from the get-go, with the alarm going off and he’s late for work. We’ve all been there.

The writer goes on to portray Andrew in a subservient position (On the phone: “Hello, Margaret Tate’s office.”) that he is rebelling against. He allows only the occasional expression of his rebellion. e.g. When Margaret asks if his family told him to quit the job because he had to work over the weekend and miss his grand-mother’s 90th birthday, he answers, “Every day.”

The writer gains our sympathy for him in every scene. He is the underdog, but he is not all subservience. What is only hinted at in early scenes comes out in full force when he swerves the motor-boat, throwing Margaret overboard, and we are delighted when he does that.

In Margaret, the writer has managed to produce a dislikable person but one who does not lose our sympathy totally. The humor in the scenes plays an important part in this. She says, “You can’t fight a love like ours”, just as she is turning her lips away to avoid a real kiss.

She is also very smart and comes up with the idea of the proposal in the blink of an eye. Then she goes from being the victim (of potentially losing her job) to turning the tables and suddenly it is her underling, Andrew, who could lose his job, if he doesn’t go along with the proposal.

We know that this tough businesswoman is going to crack. We see it first with the kiss in front of Andrew’s family.

END

[Sandeep Gupta]

Actually, Hal has analyzed this movie in great detail in some earlier (FCF?) lectures. So instead of reproducing what would arguably be derived insights without the movie, I am going to try and use this trailer as a complete movie. Also, a lesson is hiding here. I noticed like the Lost assignment (hopefully not lost on us,) the trailer left me wanting more. And I *know* the story!

For this I will presume just these facts I “know” from the full story without having seen the movie. MARGARET has not had a real family and has a crisis of conscience appropriately in the A3. ANDREW — i know this guy — actually tolerated her, in spite he is strong and secure. Nothing else causes his compliance except that he adores her and maybe just more Canadian than she is : )

By the trailer alone, other than the contrasting intros, the turning points for both coincide. A1 turns by placing the distressed lead in a more distress, A2 turns bringing them closer and acknowledging their feelings. In this interpretation the mid-points for both are not simultaneous. At his mid-point Andrew begins to take control of the situation, probably culminating in tossing her into the Bering–Chuckchi. For Margaret possibly it is when she realizes she has real feelings for him.

Ending of course is their happily ever after? We know it from the poster even if she has him by his tether.

Climax is tricky. For Margaret, it is likely the crisis of conscience and breakdown upon an overwhelming longing for that full family dynamic she had never experienced. For Andrew, from the trailer it is not clear. I am sure he got there other than marrying the girl he adored, and as a peer that he is actually.

For one, I had never considered planning characters with the counterpoint and co-location or not, at these major points. Can’t unsee it now, and it seems too big an opportunity to leave to chance. So much meaning can be embedded in it.

In terms of the scenes of Lost we watched W1D4, it’s like we were shown S1, S2, and bam, for S3 — which we figured and ached to see — we had to come to theatres. I don’t know if it is primal, but I still want to know “for sure” how he actually agreed, how they got there. And I am not even one for gossip even from my close friends. Looking forward to more articulated insights on the trailer and how this was achieved, if y’all please.

Also — gratefully acknowledging Larry’s note I saw in forwarded emails to me today. Due to that note, I felt less apologetic writing this one.

[Sandeep Gupta]

Presuming both W3D1 answers go in here, and the title of this one will be changed to The Proposal and Silence. Also, this clip is really not that complete, right? But knowing this course what are C&H trying pointing us towards?

The Silence of the Lambs characters CLARICE and DOCTOR don’t have parallel or contrapuntal arcs like I abstracted in the assignment for The Proposal. I had to read the script for this movie in a previous class as I didn’t have the stomach to watch it. If Hal put it here, there probably is something to find. So frankly, this late in the evening I am trying to play hooky for this assignment, and not returning to the script to study the co-location. If one of you convince me with your insights, I might consider daring the movie on one otherwise wasted afternoon.

Regardless the contrast between The Proposal and The Silence of the Lambs is quite instructive. Clarice goes from timid but determined rookie to wannabe-proven, to been there done that pro. Doctor L doesn’t arc at all, ¹ (more next ¶) the only thing that arcs is his warmth, or lack thereof in the beginning, to the guy who relents some insights to her by the end. Even then whoever he is, he is still an ice-in-his-veins-sociopath, one who isn’t really warming up to Clarice. As is clear from the movie (script!) he is somehow working the situation so he can figure his own escape beyond what he is asking.

Inasmuch as gradually she becomes useful to him, he correspondingly warms up to the conversation. Although there is a puzzling fact. In an odd way, he was protective of her way early if he really punished the inmate for throwing some goop at Clarice. The only way I could stomach the entire plot was to imagine he was maybe working undercover to destroy the corrupt in that system. ¹Even with that thought he doesn’t arc, if he cares he stays constant like an ominous Locrian bass, as he moves forward to his next “assignment.” Clarice plays her melody against that, even in the instant when she exposes a traumatic memory, she is steeling into the self-image that she wants to earn or confirm. By the end, she succeeds.

Darn. I hope my curiosity doesn’t lead me to watch this nightmare.

For those who are reading this late or make the mistake of watching the trailer late at night, there is a Cine Fix – IGN Movies and TV Trailer Mix that reimagines the movie as a Romantic Comedy. Might let you sleep easier, if you are rattled. So watch that and call me in the morning.

[Deb Johnson]

The Proposal –

Though I’ve never seen this movie, you can see the whole story simply from the trailer. Just like if you want to get the gist of any kids’ movie, get the early reader book version from the library.

Their character journeys are similar – although they have different motivations. This is more of a “validation” exercise for me – because my main characters do have their own journey. However, I will plot them on the “Character Journey Structure” because I think it will help clarify each journey and expose any “holes”.

Silence of the Lambs

It is, again, very easy to see both characters’ journeys from this trailer… and while they leave the ending ambiguous, we know that Clarise is going to go from “not scaring easily” to being terrified. And we can also see that Hannibal is going to go from being incarcerated to being free. Which again, makes it clear, that every character has a beginning, middle, and end.

[Sandeep Gupta]

Deb, the story is actually good. If you get a chance, see it.

[Karyn Laitis]

THE PROPOSAL: From the Trailer

ANDREW’S Journey

Intro: Andrew’s journey starts as an anxious assistant to a tyrant of a boss.

Act 1 TP: He reluctantly agrees to a sham wedding to negotiate a publishing deal.

MidPoint: Office of Immigration Agent trying to convince him that he and Margaret are the “real deal”. Announce to his family over the weekend.

Act 2 TP: Father challenges Andrew and believes the relationship is bogus.

Climax: Drama at the wedding-he realizes he has very real feelings for Margaret.

Ending: In the office the once subserviant Andrew, stands up to Margaret to profess what started as detesting her has evolved into love.

MARGARET’S Journey

Intro: The demanding, manipulative, competitive, and controlling Margaret learns her fiefdom has collapsed because of an immigration technicality.

Act 1TP: She once again manipulates Andrew in her bosses office to agree to being in a relationship and getting married. Her solution puts her in the subservient position to Andrew’s demands.

Midpoint: Office of Immigration Agent she realizes the seriousness of the situation yet still doubles-down on their sham relationship and pending wedding.

Act 2 TP: Margaret falls in love with Andrew’s family and the sham is becoming more difficult to continue.

Climax: The Wedding, she cannot continue to lie to everyone. They have provided a safe place to feel. She turns herself in to the Agent who is at the wedding, invited by Andrew’s Dad.

Ending: In the office, Margaret is packing up-the office staff notices a change in her. Andrew courageously confronts her and acknowledges Andrews talents. They are back in a relationship–this time the love is real.

What I learned: I see through a different lens that each of the characters need to have their own journey with intersecting points that will help each of them grow in their own ways.

[Karyn Laitis]

SILENCE OF THE LAMBS: From the Trailer

She is a Jr. FBI agent with special skills and trying to catch a brutal, serial killer with the aid of an equally brutal serial killer. She is a novice, he is a master. They are mutually needing something from each other. Clarice –the serial killer. Hannibal–an escape.

The first question in the trailer sets the tome for Clarice’s journey. She needs to protect her headspace to be able to understand the obtuse clues and puzzles presented by Hannibal. It is truly a very scary dance. The other agents and police present challenges to Clarice and her demons surface. The others learn handily that they cannot be too cavalier around Hannibal–or literally lose life and limb. Hannibal came through for Clarice, helping her catch her killer at the expense of Hannibal’s escape, yet never to far away-he adopts her as his project. This is a genius thriller ending without complete closure–to be continued.

What I learned from this assignment: Characters, to work, sometimes just need a common focus to get their needs fulfilled and a minimal mutual respect.

[Lawrence Fraly]

Week 3 Day 1 Character Journey THE PROPOSAL

FIRST WATCH

Andrew:

Intro Late to work, but does what he can to get there

Act1 Turning point She tells him to work weekend, he doesn’t want to, makes excuses, she sees through his excuses (he’s subservient by necessity, but quietly rebels in asides)

Midpoint Agrees with her scheme to sham marriage, or lose his job

Act 2 Turning Point Meet parents, marriage better be real, again he submits, but only because at this point he’s buried up to his ears in the sham, and can’t back out. He dumps her out of boat, no longer submissive. He rebels on personal level. She’s no longer the boss.

Climax The real kiss, sham intimacy becomes real intimacy

Ending They’re married, equal and loving it (each other)

SECOND WATCH

Margaret:

Intro She domineering in the office, she’s his boss

Act 1 Turning Point She needs him to work weekend, lets him complain, knowing he’ll still submit, do what he has to do to keep his job. She values him or else just doesn’t want to have deal with replacing him. She likes toying with him, because he’s playful.

Midpoint She’s going to be deported, lose her job if deported. Schemes sham marriage with Andrew to avoid getting deporting

Act2 Turning Point Parents expect real marriage. She’s no longer in her role as boss at work. She has to act as a person, and her vulnerabilities come out.

Climax The kiss. Sham intimacy becomes real intimacy.

Ending Married, equal, and loving it.

Great characters: They’re on opposite tracks of dominant/submissive that converge at equality. She’s a control freak, he submits against his will. Situation forces them to converge. Once she finds a way out of her dilemma at work, she thinks she’s acts as if she’s still in control of her situation. But the situation controls her and him. They have to work together to gain control of the situation. Opposite traits fight each other until their similar subtext trait can show itself – need for intimacy.

My writing Power plays between characters can work completely opposite to The Proposal: on the surface, their traits align, in subtext their traits conflict. This gives me something to work with. Their traits emerging as their attraction falls away. Their structures start out together, but fall apart as their structure progresses.

[Lawrence Fraly]

Week 3 Day 1 Character Structure SILENCE OF THE LAMBS

FIRST WATCH

CLARICE

Intro Rookie FBI agent, says not spook easily

Act1 Turning Point she has to track down serial killer on the loose

Midpoint She has to match wits at the prison with worst serial killer ever in order to track down other killer

Act2 Turning Point Hannibal escapes. Now she’s in danger, and has to find him.

Climax She’s terrified but continues to go after him.

Ending He thanks her. Has she gained his respect?

HANNIBAL

Intro We learn from hearing others describe him that Hannibal’s the worst psychopath ever caught.

Act1 Turning Point He meets Clarice and instantly plays her.

Midpoint He escapes

Act2 Turning point He’s on the run

Climax We see just how gruesome he is.

Ending He thanks her. Why? What’s she done for him? Is he still toying with her?

Both are great characters

Clarice develops her strengths and faces her weaknesses. Her traits emerge under fire.

She has to strangle her passions and fears in order to keep a level enough head to act on her training, and rise beyond her training to master of the chase.

Hannibal’s intro is how he appears to others. But then he’s so subtle with her in person, their first meeting, that we are drawn into his mysterious subtext. What is his motivation? How to show him as even worse than how others see him. He’s masterfully insightful. We have to respect and fear him. It’s as if he’s an archetypal god preying upon human hubris.

My own writing: Horror story. Lorette loses her innocence gradually. We see her loss before she does. Prince Ossamon reveals his evil gradually. He toys with Lorette without her realizing it…until it’s almost too late.

[J.R Riddle]

Talk about role reversals – that makes this a fun story. Andrew wants to better himself by becoming an editor, but is held hostage by a strong, unfriendly woman boss. Margaret also becomes subservient to Andrew by blackmailing him into marrying her, just to keep her job. She is being deported as an alien – kind of funny in today’s US of A. as people pour in the borders without green cards and few are deported. Times change.

Commonality – none, except fear and neither wants to be with the other in marriage, and both want to keep their jobs. She has few friends, if any and a barren family life; he has a rich and loving huge family and friends in Alaska.

I loved this film, funny to the end, even knowing they will be married for the right reasons. All the disagreements couldn’t hide they were falling in love. Most people think of diversity today as gender and race, but having lectured and taught diversity, it is much deeper. Romantic couples starting out fighting and disagreeing on many levels are interesting to watch on screen. I’m realizing boring writing is the result of not knowing how to write deeper and more more real diversity: age, ethnicity, gender, culture, race, social level, education and even religion can make for a better read and selling my script.

[J.R Riddle]

Watching Hannibal Lector with new-be FBI agent, Clarice in the opening scenes fascinates. The FBI would not have sent her to convince him for investigative answers, if they thought she was too weak. However initially it looks like the slaughter of the lamb, Clarice/ She swallows hard, is fear-filled and intimidated, but holds her own with direct eye contact and gentle but persistent determination. You know they will be dueling mentally and emotionally to the end.

Hannibal does not change. He remains a genius intimidator, psycho-murderer and evil to the finish – having someone over “for dinner” does not mean feeding them. (great subtext).

Clarice grows endurance, curiously more competent and can play games with him, dodging power plays and responding like it’s a fencing match. Hannibal winds up admiring her brilliance and stamina and how she has much control over her emotions. She gets her killer, but not without stress and fearful times during the hunt. Clarice grows up – she’s a tough-ass woman.

I’ve learned to think through another way of saying, stating or doing some action in my script- better subtext, twists in meaning and possibilities for more intrigue.