[Christopher Carlson]

Hi, Heather and Julia,

I would like to thank you for offering your thoughtful critiques of my LITTLE ISLAND OF JOY. Much appreciated by me!

I’m not sure how long our forum will be accessible, but I will try to return the favor at some point during this week. If we lose access, my email is cccarl@mac.com I’ve tried to communicate directly on this website with messages but haven’t succeeded in doing so.

I’m hoping that Hal or Cheryl also weigh in with their instructors’ critique.

[Christopher Carlson]

Christopher Carlson’s Profound Map Version 1

What I learned doing this assignment is the work is never complete, but rather a process.

TITLE: LITTLE ISLAND OF JOY
WRITTEN BY: Christopher Carlson

1. What is Your Profound Truth?

A. When true love beckons, do not fear it – embrace it

B. I would like the audience to feel that love — be it physical or spiritual — is enduring and rewarding, an experience a person ignores at their own peril

2. What is the Transformational Journey?

Old Ways: in the 19^th/early 20^th century society frowned on the notion that handicapped people could have any sexuality whatsoever; a blind and deaf character who has lived her under the close supervision of her family and teachers, conforming to strict expectations of what is considered acceptable behavior

Journey: Helen meets Peter, a hearing and sighted man who falls in love with her, introducing her to physical intimacy, then asking her to marry him, a secret yearning all of Helen’s life

New Ways: A character who is willing to rebel against societal prohibitions and fulfill her yearning to express her sexuality without feelings of guilt; by doing so, she resets her relationships with those people closest to her – her mother Kate and teacher Annie Sullivan Macy — who were keeping her in check; a character who emerges with a stronger sense of self and becomes a more realized human being

Transformational Logline:
1. Transformable Character with an issue…
2. …takes a journey that challenges them deeply…
3. ..and concludes with the transformation.

Transformational Logline:

After a deaf and blind woman falls in love with a hearing and sighted young man, she defies the expectations of her family and society by conspiring with her lover and fulfill her yearning to passionately love another human being

3. Who are Your Lead Characters?

Change Agent (the one causing the change): Peter Fagan

Transformable Character(s) (the one who makes the change): Helen Keller

Betraying Character (if you have one): Peter Fagan

Oppression: The 19^th/early 20^th century prohibition against handicapped people engaging in any sexuality, reinforced by those people closest to Helen – her mother Kate and Teacher (Annie Sullivan Macy)

4. How Do You Connect With Your Audience in the Beginning of the Movie?

A. Relatability – They Are Us!

Helen excluded from participating in the sensuous, sexual world that others around her are engaged with; at some point in our lives – likely adolescence at least — we’ve all felt on the outside looking in, i.e., that physical relationships are for others, not us; when Hollywood filmmakers criticize Helen’s lack of ‘adventure and romance’ in her life, we’ve all felt the pain when others were critical of our lives and/or our accomplishments

B. Intrigue

Learn how a blind and deaf woman communicates and experiences the world

C. Empathy

Feeling for Helen because she’s excluded from profound and significant aspects of human life, namely, a physical relationship with another human being because of her handicaps

D. Likability

We see that Helen has tremendous natural energy; she offers care and compassion to Teacher when she’s having problems in her marriage, and also when she’s diagnosed with tuberculosis; also, Helen has a natural beauty.

5. What is the Gradient of the Change?

What steps do the Transformational Characters go through as they are changing?

Gradient 1. The Emotional Gradient

A. The “Forced Change” Emotional Gradient

Denial, Anger, Bargaining, Depression, and Acceptance.

B. The “Desired Change” Emotional Gradient, Incorporating Action Gradient

Excitement, Doubt, Hope, Discouragement, Courage, Triumph…or Loss.

Excitement:

Helen travels to Hollywood to participate in a movie being made about her life

Doubt:

Helen meets Peter, who exhibits great deference toward her which is exactly what she hates; when he expresses affection for her, Helen defaults to the Old Ways, feeling that physical expression is not something she should participate in

Hope:

Helen, letting go, welcomes Peter’s advances

Discouragement:

The people closes to Helen – her mother Kate and Teacher – denigrate Peter’s character and reject him

Courage:

Helen conspires with Peter to continue their relationship in secret and to plan elopement

Triumph … or Loss:

Helen acts as a fully liberated woman and embraces the experience of loving another, despite being betrayed by Peter; in effect, Triumph and Loss

Gradient 2. The Action Gradient

Setup: (see above)
Journey:
Payoff

Gradient 3. The Challenge / Weakness Gradient

Challenge: Hollywood director and producer challenge Helen’s sense of self by wanting to add romance and adventure to her story
Weakness: Helen’s utter lack of experience in those domains

Next Challenge: Peter expresses his feelings for Helen
Next Weakness: This touches her greatest yearning, at the same time accessing her internal voice forbidding physical intimacy

Next Challenge: Being in her first physical relationship
Next Weakness: No experience in the realm of sexual intimacy

Next Challenge: Helen compelled to lie in order to protect and defend her lover
Next Weakness: self-doubt

Next Challenge: mother Kate exiles Peter from the Wrentham house, never to return
Next Weakness: impossible choice

Next Challenge: against all odds, Helen plans elopement
Next Weakness: no support

6. What is the Transformational Structure of Your Story?

Mini-Movie 1 ­ Status Quo and Call to Adventure

Helen, blind and deaf, is living with Teacher (Annie Sullivan Macy, her companion of 25 years) and Teacher’s husband John Macy in their rural home in Wrentham, Massachusetts. Establish that she is unmarried and without a physical partner; establish also that Teacher’s marriage with John is troubled. Helen and Teacher travel to Hollywood where a movie is being made about her life. The director and producer want to inject ‘romance and adventure’ into the bio-pic, a reminder that Helen has lived a protected life; establish the societal taboos prohibiting handicapped people from leading sexual lives. Upon return home, Teacher and John separate.

Call to Adventure: Helen meets Peter, the young man who reveres her.

Mini-Movie 2 ­ Locked Into Conflict

Peter, in his post as secretary, travels with Teacher and Helen to New York City where Helen delivers fiery anti-war speeches to large audiences. Helen and Peter, via a series of encounters, gradually develop feelings for each other, he respecting her, always deferential, she trying to encourage him in his career. Teacher is critical of Peter’s character and behavior. Teacher, Helen and Peter return to Wrentham because Teacher has been diagnosed with tuberculosis.

Locked Into Conflict

Mini-Movie 3 — Hero Tries to Solve Problem ­ But Fails.

Kate, Helen’s mother, comes to Wrentham to assist her daughter while Teacher is sick. Helen does her best to keep Peter at a polite distance, fearing that physical engagement is something beyond her, but also afraid of defying Teacher. Helen now faces challenges from both Teacher and Kate, who is also suspicious of Peter’s character and intentions. Helen defends Peter, but her attempt to change people’s minds is a failure.

Turning point: Standard Ways Fail

Mini-Movie 4 ­ Hero Forms a Plan

Traveling by bicycle and canoe, Helen takes Peter to her island retreat where they make love for the first time. Peter asks if they can keep their relationship secret from Teacher and Kate until they can get to know him better and accept his presence. Helen agrees. Teacher departs for a sanitarium hundreds of miles away.

Plan backfires: Helen commits to secrecy and lying

MID-POINT: Helen and Peter have begun their sexual relationship

Mini-Movie 5 ­ Hero Retreats & Antagonist Wins

Kate persists in her hostile feelings toward Peter. Peter asks Helen to marry him. She accepts. Helen feels compelled to lie to her mother in order to shield and protect her relationship. When their engagement becomes a news story in the Boston papers, both Helen and Peter deny that it’s true.

The decision to change: Helen tells Peter that she can’t marry him until she tells Teacher and Kate the truth about their relationship

Mini-Movie 6 ­ Hero’s Bigger, Better Plan!

Kate orders Peter to leave the house, forbidding him from ever seeing her daughter again. He leaves, unbeknownst to Helen. Kate demands that Helen issue a public statement denying that she’s engaged, which she does. In secret, Helen conspires with Peter to elope while she and Kate make a journey by ship and train to Alabama. At the last moment Kate discovers the plan and makes alternate travel plans, defeating Helen’s elaborate scheme.

Turning point: the ultimate failure – the secret elopement plan foiled

Mini-Movie 7 ­ Crisis & Climax

While Helen and Kate are at the family home in Alabama, Peter secretly makes contact with Helen via the kind assistance of a black woman who knew Helen when they played together as young girls. Helen and Peter make their 2^nd elopement plan, which involves escaping the house in the middle of the night. The family aborts the plan at the barrel of a shotgun, terrifying Helen. The next day, Helen defies her mother’s wishes, informing her that she and Peter are going to have a life together. The lovers secretly plan a 3^rd elopement.

Turning point: apparent victory

Mini-Movie 8 ­ New Status Quo

Unbeknownst to Helen, Kate confronts Peter and explains all the reasons why his relationship with her daughter can never work, which throws him into a state of doubt. Per their plan, Peter returns during the night and sees Helen waiting with her suitcase on the porch. At the last moment, he silently departs – BETRAYAL! When Helen and Teacher reunite in Wrentham, Helen expresses happiness that she had the relationship with Peter, attributing its failure not to Peter but to the circumstances. Helen and Teacher become a huge success on the Vaudeville circuit, Helen radiating and articulating the power of love as the key to her happiness.

Turning Point: new status quo.

7. How are the “Old Ways” Challenged?

What beliefs are challenged that cause a main character to shift their perspective…and make the change?

A. Challenge through Questioning

The filmmakers ask Helen to falsify her story by adding ‘romance and adventure’ to the movie about her life — Teacher challenges the filmmakers’ intention, but is outvoted by Helen, who is trying to get along with everyone

Helen challenges Teacher’s and Kate’s indictments of Peter’s character, but fails to convince them, which ultimately steers her into secrecy

Helen challenges society’s unrealistic and false perception of her as a goddess on a pedestal

Peter challenges Helen’s own assumptions that a physical relationship isn’t possible by declaring his feelings for her

Kate demands that Helen issue a public denial of her publicized engagement to Peter – Helen complies, intimidated by her mother – FAILURE TO CHALLENGE

Kate challenges Helen by forcing her to do things against her will, entrenching the old ways, but leading Helen to devise strategies to circumvent her mother’s will

Helen challenges the Old Ways by truthfully answering a reporter’s question as to whether she had contributed money to the NAACP and decrying the history of slavery, stating clearly that she doesn’t accept treating black people as 2^nd class citizens

Helen challenges her family’s behavior by expressing shock and dismay when they abort her plan to elope with Peter, particularly expressing anger that her brother-in-law used a shotgun to drive off Peter

Peter challenges Kate’s belief that in world culture Helen represents a Goddess of Perfection and indicts the notion of Helen being on a pedestal, arguing that’s exactly the thing she doesn’t want

B. Challenge by Counterexample

The filmmakers add ‘romance and adventure’ scenes into the filming supposedly depicting Helen – instead of being appalled, she’s intrigued

Helen experiences the breakup of Teacher and John Macy’s marriage, showing her the difficulty of maintaining relationships but also inspiring her to try

During anti-war speeches in New York, Helen folds her arms in non-compliance, demonstrating how the workers can foil the President’s plan to bring the United States into WW1

Peter challenges the prevailing societal belief that handicapped people shouldn’t be in sexual relationships through his courtship of Helen

Peter challenges Helen’s own assumption that a physical relationship isn’t permitted by displaying his love for her

In Alabama, Helen challenges the Old Ways by reinforcing her friendship with a black woman, enlisting her aid when communicating with Peter

Helen, despite her challenging loss in the realm of love, affirms her experience with Peter and her right to love another person, despite being what others call ‘handicapped’

C. Challenge by “Should Work, But Doesn’t”

Helen challenges John Macy, presenting all the arguments why he should return to his marriage with Teacher – the Old Ways – but John has already let go of the Old Ways, his marriage; Helen, on the other hand, isn’t yet ready to accept this change – she’s expecting to impact John’s decision, and is surprised and disappointed when her challenge doesn’t appear to have any effect

Helen apologizes for the role she supposedly played in the breakup of Teacher’s marriage, impacting their marriage negatively because of her dependency on Teacher, which reinforces her attachment to the Old Ways, i.e., that a relationship isn’t appropriate for her as a handicapped person

In Helen’s first extended conversation with Peter, she undermines her beauty, “I’m doing my best to pretend that I’m beautiful,” which she expects will steer him away from her; she challenges the notion that she’s ‘beautiful’ but her modest denial doesn’t have the intended effect on Peter; instead, he’s even more intrigued, and insists that she possesses inner and outer beauty

When Helen reveals that she hates the sound of her voice, she’s repeating the old indictment of her voice – the Old Ways – which she learned from things Teacher has said to her through twenty years of trying to make it better; Peter challenges Helen’s assertion and questions Teacher’s critique

Kate and Teacher indict Peter’s character, hopefully driving away Helen’s suitor and reinforcing the Old Ways

Helen’s Alabama family do everything they can to reinforce Helen’s traditional role

D. Challenge through Living Metaphor

When we first meet Helen she’s swimming underwater, where the world is silent for all human beings — this underwater realm is a metaphor for Helen’s silent world. The challenge will arise when she surfaces and we see that her ankle is tied to the shore; ‘under the water’ is a living metaphor of Helen prospering in the world, being on land is a metaphor symbolizing all her difficulties

When Helen arrives at the Los Angeles railroad station, she’s surrounded by press and photographers, representing the Old Ways, i.e., the heroic portrait society has painted of her. This living metaphor represents her fame and notoriety in the culture.

On a Hollywood set, Helen and Teacher watch a hellacious monster battling a beautiful young woman for a baby cast aside in ‘the Cave of Father Time,’ the baby symbolizing Helen’s soul. This living metaphor sequence represents the Old Ways of thinking, i.e., that Helen’s fate is linked to being saved by other, and is not dependent on her own actions.

Helen is attracted to the simple heartfelt relationship between two songbirds, a counterexample to all the human trials and tribulations of human relationships. Aided by Teacher’s report of the birds’ encounter, Helen can experience the mating songbirds as a living metaphor representing the wonder and simplicity of God’s creatures being with a mate. As Helen reports, she can “feel the love.” In her mind, if these two birds can find their love, then why not me, too? Of course this is unstated.

In New York, Helen speaks from a dais to an auditorium of union workers. The dais acts as a living metaphor representing her popularity and ability to reach out to and influence the wider culture. This heroic pose harkens back to the Old Ways. When Peter tries to add his voice at the dais, Teacher challenges his right to do so – that ‘right to speak’ represents Helen’s world, the Old Ways, not his, and he doesn’t have the right to participate in it.

8. How are You Presenting Insights through Profound Moments?

A. Action delivers insight

New Ways/Insight: a handicapped woman is absolutely capable of and has he right to physically love another human being

Action: Helen accepts Peter’s declaration that he cares for her and invites his kiss, it being the first one in her life, and does so knowing that the woman closet to her, Teacher (her companions of twenty years plus) objects to his continued presence in their life and has asked him to leave.

New Ways/Insight: Affirmation of knowledge over ignorance/live in the present, not the past

Action: During filming, the young woman representing Knowledge defeats the giant representing Ignorance, and saves the baby from the Dark Cave of Father Time – Helen affirms the action while Teacher views it as simply ridiculous

New Ways/Insight: Affirmation of physicality; loving another is a positive human expression

Action: During filming, a scantily clad actress representing Helen lustily kisses brave Ulysses as he reaches the shore from his storm-ravaged boat – Helen affirms the action while Teacher views it as false and ridiculous

New Ways/Insight: A blind/deaf person is capable of embarking upon adventure

Action: while Teacher frets and worries, Helen rides in an open bi-plane and experiences all the flying stunts with joy

New Ways/Insight: A blind/deaf person can fully participate in her society

Action: Helen addresses a standing-room only crowd at a New York anti-war rally, exhorting people to radical action

New Ways/Insight: A hearing and sighted man can be attracted to a blind/deaf person

Action: Peter demonstrates his seriousness about his feelings for Helen by learning to finger-spell, her primary means of communication

B. Conflict delivers insight

Insight: affirmation of knowledge over ignorance

Conflict: Literal hand-to-hand combat when a woman representing Knowledge wrestles a Giant representing ignorance for a baby, representing Helen, in the Cave of Father Time, over the future of Helen’s soul

Insight: It’s important to tell the truth when depicting a person’s life

Conflict: Teacher argues with the filmmakers over their right to add ‘adventure and romance’ when making a movie about Helen’s life

Insight: Loving another person means also accepting their frailties

Conflict: Helen confronts John Macy re his decision to leave Teacher and their marriage

Insight: Live in the present, not the past

Conflict: Kate confronts Peter re whether he should uphold how society views Helen – on a pedestal, representative of the Old Ways – and not marry her, or whether he can bring her into the New Ways – a relationship and marriage

Insight: Loving another is a positive human expression, which a blind/deaf person can fully participate in

Conflict: Helen in conflict with herself after Peter declares his feelings for her, i.e., whether to accept his advances, or not

C. Irony delivers insight

Action: In opening scene, Helen is swimming skillfully in a lake

Irony: Little do we know that she’s blind and deaf and that one ankle is tied to a boat anchored on the shore

Action: The filmmakers express a need to add ‘adventure and romance’ to Helen’s story

Irony: Helen is one of the most unique individuals on the planet, the first blind/deaf person to graduate from a university – an interior adventure, an ‘adventure’ of the mind; Helen is probably one of the most ‘romantic’ individuals they will ever meet, someone truly in love with the world and all its creatures, and also a person who has sustained a romance for 25 years, albeit a Platonic ‘romance of the mind,’ with Teacher

Action: Helen pleads with John Macy to return to Teacher and their marriage

Irony: In actuality, Helen is probably the primary cause of the dissolution of the marriage because she requires so much of Teacher’s attention, leaving John Macy feeling neglected and less important than Helen in the long run

Action: Helen and Teacher lament the end of Teacher’s marriage to John Macy

Irony: In this same moment, two songbirds summon each other from porch to apple tree in a display of simple love in nature’s kingdom

Action: Helen brings Peter to her special island and they make love for the first time

Irony: Helen waits until Teacher has left Wrentham before moving forward with Peter

Action: Kate comes to Wrentham to watch over Helen while Teacher’s away

Irony: During the period of time when Helen is under the watch of her mother, Helen engages in the very thing – being sexual with another person – that would be most objectionable to her

9. What are the Most Profound Lines of the Movie?

Pattern A: Height of the Emotion

When Helen trembles with excitement as Teacher narrates the convergence of the songbirds.

Emotion/Meaning: the love expressed by the birds is something beyond what our human characters are capable of expressing

Dialogue: In progress

When Peter expresses how much he cares for Helen.

Emotion/meaning: Peter’s brave expression of his feelings for Helen allows her to express her feelings, and for the first time in her life

Dialogue: Helen, I admit I found some comfort in your words. They felt like a bright sun to me.”

When Helen expresses how she experiences the world, concluding with her passionate embrace of Peter

Emotion/meaning: Helen describes her passionate relationship with all things of the earth.

Dialogue: Helen, “I couldn’t live without the feel of another person’s hand in mine. It’s something I never forget.”

When Helen’s family foils her plan to elope with Peter, seeing Helen’s utter agony and helplessness

Emotion/meaning: This beat will provide a visceral understanding of Helen’s limitations, as her family maintains their power and authority over Helen’s life

Dialogue: Helen simply calling out his name while trying to catch up with him, but instead groping alone and failing to do so, “Peter, Peter.”

Helen waking up on the porch, alone, abandoned by Peter.

Emotion/meaning: Helen did everything in her power to enter the realm of the New Ways, but those around her prevailed. The betrayal by her Transforming Agent is the most painful part of it.

Dialogue: Helen’s ultimate reaction to this abandonment is silence. There will be time later for her to express herself on this point, but I believe it’s best not to do it in the moment.

Pattern B: Build Meaning Over Multiple Scenes

Line: the reference to the far-off distant land as a destination

1^st time: Peter, “Ian is asking where we’re going.” Helen, “To a far-off distant land.”

– Helen says it jokingly to Peter when he asks her where they’re going, though it is also a literal place representing the small island on the lake near their home; for Helen, it embodies a special and sacred place

2^nd time: Peter, “May I take you to that far-off distant land?” Helen, “Yes, please, Peter – take me there.”

– This time the line isn’t literally referring to the island, but is a metaphor for their private time together, far from prying eyes

3^rd time, when Kate asks Helen where she intends to go after elopement with Peter, she responds, “It’s a far-off distant land that’s not on any map.”

Line: “if Teacher were with me …”

1^st time: Helen assures Peter that if Teacher were with them, she would acts as a go-between and convince Kate that their relationship was the right thing for Helen

2^nd time: Helen uses the phrase to chastise her mother, stating that if Teacher were there, she would support Helen and Peter’s relationship

3^rd time: Peter uses the phrase to counter Kate’s argument against their marriage, which Kate absolutely refutes

4^th time: Helen says the phrase directly to Teacher, “If you had been with me, it would have been different,” to which Teacher replies, “So you say” – this response is certainly not the whole-hearted affirmation Helen may have expected, but rather an ambivalent replay, which likely suggests to the audience that nothing would have been different

line: Helen, “Life is a daring adventure, or nothing at all.”

1^st time: one of the filmmakers quotes it to Helen and Teacher, as a pretext to add ‘adventure and romance’ to their Hollywood film

2^nd time: Peter uses it with Helen to bolster his own trepidation re the plan to hide on the boat and escape with Helen at one of the ports along the way

3^rd time: Helen says it to Teacher when she’s explaining why she’s not angry with Peter’s decision not to marry her

10. How Do You Leave Us With A Profound Ending?

A. Deliver The Profound Truth Profoundly

Profound Truth: When true love beckons, do not fear it – embrace it

Against absolute opposition from her mother Kate and family in Alabama, Helen commits to her love for Peter. She secretly plots the elopement three times, doing her everything in her power to make it happen.

B. Lead Characters Ending Represents The Change

Helen waits on the porch with her packed suitcase, demonstrating her absolute embrace of the New Ways. Unfortunately, Peter arrives on scene but betrays his commitment and fails to take Helen with him. When it’s clear he won’t be taking her to that ‘far-off distant place,’ she maintains her poise.

C. Payoff Key Setups

Will Helen ever experience true ‘romance and adventure’ in her life, or is that somehow out of bounds and unreachable because of her disability?; will Helen be able to overcome Teacher’s and Kate’s objections to Peter?; can a blind and deaf person navigate a series of complicated and challenging situations purely on her own gumption and spontaneity?

D. Surprising, But Inevitable

The conclusion is put in doubt when Kate makes her personal and secret appeal to Peter to not marry her daughter, for a whole slew of reasons, all of which represent the last desperate cries of the Old Ways, and a negation of the ending that Helen and the audience desire. The audience won’t know the final impact on Peter. I think they will expect Peter to follow through on his commitment to Helen, but in this case, Peter is both the Change Agent and the Betrayal Character. I believe the audience will be shocked and disappointed by his decision, but they will also understand it. The unknown element then is how will Helen respond? Thankfully, Helen is a changed person from the Helen we meet at the outset, a character who absolutely embraces the New Ways.

E. Leave Us with a Profound Parting Image/Line

The profound line from Helen to Teacher, “Of course I can forgive him. The fault wasn’t in the loving, but in the circumstances.”

The profound parting image will be Helen and Teacher together on the Vaudeville stage, representing not the physical intimacy shared by Helen and Peter, but embodying their spiritual, enduring love affair of many years. This image lets us see that Helen is still loved, and lets her express directly to the audience her belief in the power of love to transform and sustain human lives.

As the parting line, Helen displays her humor and resilience when an audience member asks if she would ever consider marriage – her reply, “My goodness, yes – are you proposing?”

[Christopher Carlson]

Christopher Carlson’s Height of the Emotion – Assignment #1

What I learned doing this assignment is respecting the opportunity to look again at my emotional beats, and enjoying the freedom of re-thinking them.

2. With each of those scenes, go to the height of the emotion and brainstorm lines that can deliver the deeper meaning of the scene.

When Helen trembles with excitement as Teacher narrates the convergence of the songbirds.

Emotion/meaning: the love expressed by the birds is something beyond what our human characters are capable of expressing.

Dialogue: in progress

Helen, “I can feel their love, Teacher.”
Teacher, “As beautiful as your morning prayer, dear heart.”

When Peter expresses how much he cares for Helen.

Emotion/meaning: Peter’s brave expression of his feelings for Helen allows her a to express her feelings, and for the first time in her life.

Helen, “I admit I found some comfort in your words. They felt like a bright sun to me.”

When Helen expresses how she experiences the world, concluding with their passionate embrace.

Emotion/meaning: Helen describes her passionate relationship with all things of the earth.

Helen, “I couldn’t live without the feel of another person’s hand in mine. It’s something I never forget.”

When Helen’s family foils her plan to elope with Peter, seeing Helen’s utter agony and helplessness.

Emotion/meaning: This beat will provide a visceral understanding of Helen’s limitations, as her family maintains their power and authority over Helen’s life.

Helen simply calling out his name while trying to catch up with him, but failing to do so, “Peter, Peter.”

Helen waking up on the porch, alone, abandoned by Peter.

Emotion/meaning: Helen did everything in her power to enter the realm of the New Ways, but those around her prevailed. The betrayal by her Transforming Agent is the most painful part of it.

Helen’s ultimate reaction to this abandonment is silence. There will be time later for her to express herself on this point, but I believe it’s best not to do it in the moment.

——-

Christopher Carlson’s Builds Meaning with Dialogue – Assignment #2

What I learned doing this assignment is using special dialogue to resonate with an audience in different ways in different parts of the story.

1^st Line, the reference to a far-off distant land as a destination

Peter, “Ian is asking where we’re going.” Helen, “To a far off distant land.

-first time, Helen uses it jokingly to Peter when he asks her where they’re going, though it is also a literal place, representing the small island on the lake near their home; for Helen, it embodies a special and sacred place

2^nd time, Peter, “May I take you to that far off distant land?” Helen, “Yes, please, dear Peter – take me there.”

– this time the line isn’t literally referring to the island, but is a metaphor for their private time together, far from prying eyes

3^rd time, when Peter and Helen prepare for their elopement, Helen uses the line as a metaphor for the wonderful future she’s anticipating with Peter, “Will you meet me in our far-off distant land?,” signifying the intended elopement planned for that night

2^nd Line: “If Teacher were with me …”

1^st time, Helen assures Peter that if Teacher were with them, she would act as a go-between and convince Kate that their relationship was the right thing for Helen

2^nd time, Helen uses the phrase to chastise her mother, stating that if Teacher were there, she would support Helen and Peter’s relationship

3^rd time, Peter uses the phrase to counter Kate’s argument against their marriage, which Kate absolutely refutes

4^th time, Helen says the phrase directly to Teacher, “If you had been with me, it would have been different,” to which Teacher replies, “So you say” – this response is certainly not the whole-hearted affirmation Helen may have expected, but rather an ambivalent reply, which likely suggests to the audience that nothing would have been different

3^rd line: Helen, “Life is a daring adventure, or nothing at all.”

1^st time, one of the filmmakers quotes it to Helen and Teacher, as a pretext to add ‘adventure and romance’ to their Hollywood film

2^nd time, Peter uses it with Helen to bolster his own trepidation re the plan to hide on the boat and escape with Helen at one of the ports along the way

3^rd time, Helen says it to Teacher when she’s explaining why she’s not angry with Peter’s decision not to marry her

[Christopher Carlson]

Christopher Carlson Delivers Irony!

What I learned doing this assignment is always be on the lookout for potential irony — a sure method of enriching the script.

1) In opening scene, Helen is swimming skillfully in a small lake.

– IRONY: Little do we know that she’s blind and deaf and that one ankle is tied to a boat anchored on the shore.

2) The filmmakers express a need to add ‘adventure and romance’ to Helen’s life story.

– IRONY: Helen is one of the most unique individuals on the planet, the first blind/deaf person to graduate from a university – an interior adventure, an ‘adventure’ of the mind; Helen is probably one of the most ‘romantic’ individuals they will ever meet, someone truly in love with the world and all its creatures, and also a person who has sustained a romance for 25 years, albeit a platonic ‘romance of the mind,’ with Teacher.

3) Helen pleads with John Macy to return to Teacher and their marriage.

– IRONY: In actuality, Helen is probably the primary cause of the dissolution of the marriage because she requires so much of Teacher’s attention, leaving John Macy feeling neglected and less important than Helen in the long run.

4) Helen and Teacher lament the end of Teacher’s marriage to John Macy.

IRONY: In this same moment, two songbirds summon each other from the porch to apple tree in a display of simple love in nature’s kingdom.

5) Helen brings Peter to her special island and they make love for the first time.

IRONY: Helen waits until Teacher has left Wrentham for an unknown amount of time before moving forward with Peter.

6) Kate comes to Wrentham to watch over Helen while Teacher’s away.

IRONY: During the period of time when Helen is under the watch of her mother, Helen engages in the very thing — being sexual with another person — that would be most objectionable to her.

[Christopher Carlson]

Christopher Carlson’s Delivers Insights Through Conflict

What I learned during this assignment was a reminder to explore conflict in every scene, if possible.

1) Affirmation of knowledge over ignorance

– conflict: literal hand-to-hand combat when a woman representing Knowledge wrestles a Giant representing Ignorance for a baby, representing Helen, in the cave of Father Time, over the future of Helen’s soul

2) It’s important to tell the truth when depicting a person’s life

– conflict: Teacher argues with the filmmakers over their right to add “adventure and romance” when making a movie about Helen’s life

3) Loving another person means also accepting their frailties

– conflict: Helen confronts John Macy re his decision to leave Teacher and their marriage

4) Live in the present, not the past

– conflict: Kate confronts Peter re whether he should uphold how society views Helen – on a pedestal, representative of the Old Ways – and not marry her, or whether he can bring her into the New Ways — a relationship and marriage

5) Loving another is a positive human expression, which a blind/deaf person can fully participate in

– conflict: Helen in conflict with herself after Peter declares his feelings for her, i.e., whether to accept his advances, or not

[Christopher Carlson]

Christopher Carlson’s Insights Into Action – Assignment #2

What I learned doing this assignment is to look for cinematic action that demonstrates New Ways.

1) New ways/Insight: A handicapped woman is absolutely capable of and has the right to physically love another human being

– action: Helen accepts Peter’s declaration that he cares for her and invites his kiss, it being the first one in her life, and does so knowing that the woman closest to her, Teacher (her companion of twenty years plus) objects to Peter’s continued presence in their life and has asked him to leave

2) New Ways/Insight: Affirmation of knowledge over ignorance/live in the present, not the past

– action: during filming, the young woman representing Knowledge defeats the giant representing Ignorance, and saves the baby from the Dark Cave of Father Time – Helen affirms the action while Teacher views it as simply ridiculous

3) New Ways/Insight: Affirmation of physicality; loving another is a positive human expression

– action: during filming, a scantily clad actress representing Helen lustily kisses brave Ulysses when he reaches the shore from his storm-ravaged boat – Helen affirms the action while Teacher views it as false and ridiculous

4) New Ways/Insight: A blind/deaf person is capable of embarking upon adventure

– action: while Teacher frets and worries, Helen rides in an open bi-plane and experiences all the flying stunts with joy

5) New Ways/Insight: A blind/deaf person can fully participate in her society

– action: Helen addresses a standing-room only crowd at a New York City anti-war rally

6) New Ways/Insight: A hearing and sighted man can be attracted to a blind/deaf person

– action: Peter demonstrates his seriousness about his feelings for Helen by learning to finger-spell, her primary means of communication

[Christopher Carlson]

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Christopher Carlson’s Seabiscuit Analysis

What I learned doing this assignment is to be on the lookout for every potential profound moment.

Intro to Charles Howard, i.e., seeing the moment when his boss challenges him re the construction of a wheel, “Well, then what would you do?” – this is a character who wants to innovate, make something better

Intro to trainer Tom Smith: seeing his ability to tame a wild horse with calm, simple gestures

In the context of the stock market crash and losing everything, the parents’ decision to bid their son Johnny (‘Red’) farewell – mother, father and son in tears

Seeing the grief of Charles Howard after his young son’s death in an auto accident, i.e., closure of barn, padlocking his son’s chest

Horse whisperer Tom Smith saving a horse from being shot, “I’ll save you a bullet,” – each life has worth, even if it’s damaged

Red realizing that he’s blind in one eye

When Charles Howard is looking for a trainer, someone says of Tom Smith, He’s a crackpot, live alone with that horse,” after which Tom shares his philosophy with Charles, “You don’t throw a whole life away just cause he’s banged up a little.” – compassion for others – Charles, “You always tell the truth?” Tom, “Yeah, I try to.”

Tom Smith’s describing the first time he encountered Seabiscuit, that the horse was looking right through him. Tom, “Goddamn.” – kind of a love at first sight encounter

Three guys can’t control Seabiscuit; at that same moment, Tom sees Red fighting against three other guys – Tom has the insight that this rider and horse are made for each other

First time Red meets Seabiscuit, we can see they form an immediate rapport

Beautiful imagery of Red riding Seabiscuit through the trees

Red eating small portion of food at Charles Howard’s dinner table; in a sense he gives Red permission to eat, “Rather have you strong then thin.”

Profound coupling of the country’s history in the depression – govt programs making things better — coupled with Charles opening up this barn, unlocking the padlock on the chest, visiting his son’s room, rebuilding the stable; sense that a person and a country were righting themselves

Seeing Tom discover ways to soothe Seabiscuit, providing him with animal companions

Tom, Charles and Red discovering the Seabiscuit needs competition to run his best

Charles to Red, “Son, what are you so mad at?” – the probing question that strikes at the quick of the character — a turning point for Red as he recalls being abandoned by his family but clarifying that it was because he had a “gift” — and also marking the sense that in the character of Red, Charles has found a ‘son’ to care for

Charles to Tom, re Red, “Well, we gave him a chance. Sometimes all somebody needs is a second chance.” – profound dialogue because the second chance idea represents all the characters: himself, Tom, Red and Seabiscuit

Intro to War Admiral, a worthy opponent

Charles to Tim, re Red’s confession that he’s bling in one eye, “You don’t throw a whole life away just cause it’s banged up a little bit.” – a display of profound compassion, quoting what Tom said about the horse he’d saved when Charles first met Tom

Profound link between Charles and Red – father to son – as Red recovers in hospital, Charles playing with his son’s tiny puzzle game, reinforcing emphasis on father and son; this also reverberates when Charles doesn’t tell him what the doctor said, i.e., that Red would never ride again

Red sharing his trade secrets about riding Seabiscuit with his replacement, jockey George Wolff – profoundly valuing Seabiscuit over any feelings of personal jealousy; profound insight about Seabiscuit, “It’s not in his feet, Georgie. It’s right here.” (while touching his heart.)

Profound staging of the head-to-head race, showing a nation gathered around their radios then cutting to the race itself

Seeing Seabiscuit injured, with the vet ready to put him down, pronouncing, “Never going to race again.” – profound comparison with Red’s injury and the doctor’s pronouncement that Red was never going to ride again

Seeing the wounded warriors Red and Seabiscuit meet at the stables

Seeing Red’s profound comforting of Seabiscuit during slow recovery process – talking to the horse all the while – concluding with the two lying in the grass together

Seeing Red take smaller portions at dinner table, visually telling us that Red was preparing to make weight so that he could ride Seabiscuit again

Seeing Charles reveal that he has fears that he might lose a “second son,” with tapping into recurring image of Charles playing with his son’s tiny ‘put the ball in the hole’ game, always symbolic of his biological son

Setting up the Santa Anita race as the huge comeback race for horse and rider

Final narration by Red, as the Santa Anita is being won, “We didn’t fix an old broken-down horse. He fixed us. And we kind of fixed each other, too.”

Triumphant final image of Red on Seabiscuit, smiling, victorious, fist in the air – the completion of a profound journey for all characters from absolute defeat to victory, then to have it all taken away, followed by a final profound victory

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[Christopher Carlson]

Christopher Carlson’s Living Metaphors

What I learned doing this assignment is to sustain my awareness of the need to challenge the Old Ways, although I still struggle to discern the difference between ‘should work but doesn’t’ and ‘living metaphor.’

1. Go through your story outline or script and brainstorm the following:

– 5 Should Work, But Doesn’t challenges

1) When the filmmakers insist they need to inject “adventure and romance” into Helen’s story, Helen complies with their request – it’s Teacher who challenges the filmmakers whereas Helen is still mired in the Old Ways of subservience to others’ wishes

2) When the filmmakers create a scene of ‘Helen’ kissing a bare-chested Ulysses, she is supportive – indicative of the Old Ways, that she’s okay with a mythic presentation of romance, but accepting that the real thing would never happen for her – but her face betrays the sense of yearning; there’s something in it she would love to partake in but is excluded by societal rules

3) Helen challenges John Macy, presenting all the arguments why he should return to his marriage with Teacher – the Old Ways – but John has already let go of the Old Ways, his marriage; Helen, on the other hand, is not yet ready to accept this change – she’s expecting to impact John’s decision, and is surprised and disappointed when her challenge doesn’t appear to have any effect

4) In Helen’s first extended conversation with Peter, she undermines her beauty, “I’m doing my best to pretend that I’m beautiful,” which she expects will steer Peter away from her; she challenges the notion that she’s ‘beautiful’ but her modest denial doesn’t have the intended effect on Peter; instead, he’s even more intrigued, and insists that she possesses inner and outer beauty

5) When Helen reveals that she hates the sound of her voice, she’s repeating the old indictment of her voice – the Old Ways — which she learned from things Teacher had said to her through the years; Peter notes specifically that he disagrees with Teacher’s assessment

– 5 Living Metaphor challenges

1) When we first meet Helen she is swimming underwater, where the world is silent for all human beings. This underwater realm is a metaphor for Helen’s silent world. The challenge will arise when she surfaces and we see that her ankle is tied to the shore, and she slowly makes her way to Teacher; ‘under the water’ is a living metaphor of Helen prospering in the world

2) When Helen arrives at the Los Angeles railroad station, she’s surrounded by press and photographers – the Old Ways, representing the heroic portrait society has painted of her. This living metaphor of the popular press represents her fame and notoriety in the culture.

3) On a Hollywood set, Helen and Teacher watch a hellacious monster battling a beautiful young woman for a baby cast aside in ‘the Cave of Father Time.’ The baby symbolizes Helen’s soul. This living metaphor sequence represents the Old Ways of thinking, i.e., that Helen’s fate is linked to what others do, and is not dependent on her own decisions or actions.

4) At home, Helen can feel the vibration of a songbird on the porch rail calling to his partner trilling from the nearby apple tree. Aided by Teacher’s report of their encounter, Helen can experience the mating songbirds as a living metaphor representing the wonder and simplicity of God’s creatures in search of a mate. As Helen says, she can “feel their love.” In her mind, if these two birds can find their love, why not me, too? Of course this is unstated.

5) In New York, Helen speaks from a dais to an auditorium of union workers. The dais acts as a living metaphor representing her popularity and ability to reach out to and influence the wider culture. This heroic pose harkens back to the Old Ways. When Peter tries to add his voice at the dais, Teacher challenges his right to do so – that ‘right to speak’ represents Helen’s world – the Old Ways – not his, and he doesn’t have the right to participate in it.

Each of these events – from ‘should work but doesn’t’ to the ‘living metaphors’ will move Helen closer to her real encounter with another human being who offers her intimacy, and love, something she so desperately craves.

[Christopher Carlson]

Christopher Carlson’s Counterexamples

What I learned doing this assignment is the importance of maintaining awareness of addressing the Old Ways with constant challenges and counterexamples.

1) Old Way: “Because the picture will flop if we don’t spice it up – romance, love, adventure – this is what today’s audience wants. Have there been no affairs of the heart in Miss Keller’s life?”

Challenge – Teacher, “You do not have our permission to add falsehood to what is already farce.”

Counterexample: filmmakers stage fake romantic scenes supposedly depicting Helen

How it might play out: Helen experiences a counterexample to the absence of a physical relationship in her life; instead of being appalled, she’s intrigued

2) Old Way: Helen’s symbolic understanding of herself as a virtuous heroic figure who can influence other people’s lives for the better; Helen, “Oh, Teacher, I thought my heart would burst for those poor, suffering people. If only I could lift their load of misery.”

Challenge – Teacher doesn’t indulge Helen’s fantasy, “What about mine? I’m tired of fighting battles with these blasted movie people.”

Counterexample: filmmakers stage scene of Helen on a white stallion bringing hope and succor to the people

How it might play out: Helen experiences the vanity of thinking she, or any person, has the authority and power to liberate the masses

3) Old Way: John Macy, Teacher’s alienated husband, “She’s Dr. Frankenstein and you’re her poor creation. Without you, she’s nothing, yet she controls you. Me? No more.

Challenge — Helen rebuts John Macy’s allegations, “Your words will darken all the rest of my days, as blindness has never done.”

Counterexample: Helen experiences the breakup of Teacher’s marriage to John Macy, showing her the fragility of all relationships if arguably the most enduring relationship in her life – the marriage of Teacher and John Macy — self-destructs

How it might play out: This would either convince her that she’s not capable of forming her own intimate relationship, or spur her to try. In this case, it becomes a catalyst to have her own experience.

4) Old Way, Helen, “This is my fault, Teacher. So much of your time was spent serving my needs, not his. I am so sorry.”

Challenge — Teacher, “Does ‘sorry’ help us now? You two would have made a better match.”

Counterexample: Helen understands the strain that she’s put on Teacher’s marriage, in that the marriage involved three people rather than two, i.e., that Teacher was too busy responding to Helen’s needs as a priority before her husband’s needs

How it might play out: Helen feels guilt for impacting another person’s life in a negative manner, because of her dependency; she’ll be sensitive to this later during her romance with Peter

Counterexample: later in this same scene, Helen rhapsodizes over the love displayed between two songbirds

How it might play out: Helen experiences the beautiful simplicity of a loving relationship in the metaphor of the songbirds

5) Old Ways: the United States is preparing to enter World War I

Challenge — Helen, “Let us refuse to participate in President Wilson’s plan to engulf our nation in war.”

Counterexample: Helen, during a speech to hundred of union workers, demonstrates how not to participate in war preparations by folding her arms, demonstrating the refusal to participate in a war-mongering system
How it might play out: Helen reinforces idea that she can be an iconoclastic thinker, not bound by how things have been previously done

[Christopher Carlson]

Assignment 2

Subject line: Christopher Carlson’s Old Ways Challenge Chart

What I learned doing this assignment is sharpening my ear for arrival of the Old Ways, and brain-storming ‘challenge’ responses.

Old Ways: Because of filmmakers’ assumption that a handicapped person wouldn’t have ‘romance and adventure in their life, they want to falsify Helen’s life by making it up
– Challenge: Teacher forbid them from doing so, but is ignored

Old Ways: Social values — society doesn’t approve of handicapped women being in a sexual relationship
– Challenge: Peter challenges this belief, as espoused by mother Kate

Old Ways: Assumptions – Kate and Teacher both critical of Peter, falsely indicting his character
– Challenge: Helen defends Peter’s character

Old Ways: Assumption — society perceives Helen as a Goddess of Perfection
– Challenge: Peter challenges society’s unrealistic and false perception of her character

Old Ways: Social Values – Helen believes that a physical relationship is something she’s not allowed to have
– Challenge: Peter challenges Helen’s own assumptions by declaring his feelings for her

Old Ways: Filters of Perception – Kate demands that Helen issue a public statement denying the published engagement
– Failure of Challenge: Helen complies, intimidated by her mother

Old Ways: Habits – Kate forcing Helen to do things against her will
– Challenge: Helen devising strategies to circumvent her mother, i.e., specifically to elope

Old Ways: Assumptions/Habits – Helen’s family in Alabama reinforcing Helen’s traditional role in the family
– Challenge: Helen expresses shock and dismay at her family’s behavior, particularly her brother-in-law’s use of a shotgun to drive off Peter

Old Ways: Social Values – racial prejudice
– Challenge: Helen decrying history of slavery and stating clearly she doesn’t accept treating Black People as 2^nd class citizens

Old Ways: Filters of Perception – Kate defends status quo to Peter, insisting that he would dethrone Helen from her deserved pedestal if he were to marry her
– Challenge: Peter challenges the very notion of Helen being on a pedestal, maintaining that’s exactly the thing she doesn’t want

Old Ways: Filters of Perception – Peter becomes the Rebelling Character and fails to uphold his pledge to Helen
– Challenge: Helen, despite painful loss in the realm of lover, affirms her experience with Peter and her right to love another, despite what others might call “handicaps”

[Christopher Carlson]

DAY 9: SHIFTING BELIEF SYSTEMS

Christopher Carlson’s 12 Angry Men Analysis

What I learned doing this assignment is to keep my ear tuned to characters representing the old ways, and how the writer can find different ways to challenge those ‘old ways.’

Not caring/prejudice, “Ballot great idea, maybe we can get him elected senator.” “I almost fell asleep.”

Prejudice/assumption of guilt, “Open and shut case.”
– challenge, “Defendant entitled to trial.”

Prejudice, “I’d slap those tough kids down before they start any trouble.”

Just want this over, “Let’s get started, we’ve all got things to do.”

Prejudice, “They let those kids run wild up there.”

Just want this over, “Let’s vote. Maybe we can all get out of here.”

Assumption of guilt, after initial 11-1 Guilty vote, “Boy oh boy, there’s always one.”

Prejudice, “Listen, I’ve lived among them all my life – you can’t believe a word they say. They’re born liars.”
– challenge, “Only an ignorant man can believe that.”
– challenge, “Burden of proof is on prosecution. Defendant doesn’t need to open his mouth. That’s in the Constitution.”

Assumption that the evidence is not to be questioned, as outlined by juror #2
– challenge, “Why do you believe the woman’s story and not the boy’s – she’s one of them, isn’t she?” (using prejudice to indict prejudice)

Prejudice, “Slums are breeding grounds for criminals.”
– challenged by juror who confesses that he’s lived in a slum all his life

Assuming the defense attorney did his job
– challenged by Fonda, who notes that defense attorney let too much go by without challenging it

Assuming the witnesses were accurate
– Fonda challenges the witnesses’ supposed convincing testimony

Assuming the evidence is not questionable
– Fonda challenges assumption that the knife was ‘one of a kind’ by displaying a similar one he bought in the defendant’s neighborhood

2^nd vote 10-1 Guilty, Fonda abstaining, meaning he’d convinced one juror to vote “not guilty” (the old man next to him)

Assuming the witnesses were accurate
– Fonda challenges testimony of woman who saw the killing through el train windows
– older juror challenges testimony of old man who heard the threat, that he might be someone seeking attention; juror, “Witnesses can make mistakes.”

3^rd vote 8-4 Guilty

Juror who voted ‘guilty’ inadvertently challenged the old man’s testimony, “He was an old man. How could he be positive about anything?”

Assuming the defense attorney did his job
– Fonda challenges defense attorney’s dearth of questioning

Fonda challenges character of juror #3, “You’re a sadist,” who then uses the phrase, “I’ll kill him, I’ll kill him,” confirming Fonda’s assertion that someone can say “I’ll kill you,” but not meaning it, challenging evidence that even if the defendant did say to his father “I’ll kill you,” it doesn’t mean that he’s actually going to do so

Juror challenges those who want to make the trial “a personal thing,” makes a defense of democratic trial by jury

4^th vote 6-6

Prejudice, “A kid like that. I’m sick and tired of facts.”

Prejudice, a juror indicts other juror as a foreigner, “They’re all alike.”

Fonda challenges other juror’s memory, proving that the boy could have forgotten which movies he’s seen (his alibi on the night of)

Not looking beneath the surface
– juror challenges testimony re the knife fight

5^th vote 9-3 Acquittal

prejudice, “Look, you know how these people live, it’s born in them … that’s the way they are, by nature. Violent.”
– challenge, other jurors leave the table, turn their back on his racist diatribe
– challenge, “Now sit down and don’t open your mouth again.”
– challenge, “Prejudice always obscures the truth.”

Not looking beneath the surface
– challenge, juror challenges if woman actually saw what she said she saw

Prejudice, “Rotten kids, you work your life out.”
– challenge, a powerful silence

[Christopher Carlson]

Christopher Carlson’s Profound Ending

What I learned doing this assignment is remembering that each and every scene in MMM’s 1-7 represents a potential opportunity to set-up my Profound Ending.

Design your ending to have a profound impact.

1. What is your Profound Truth and how will it be delivered powerfully in your ending?

Profound Truth: When true love beckons, do not fear it – embrace it.

Ironically, my profound ending will resonate because Peter – my Change Agent and my Betraying Character — doesn’t have the courage to embrace true love when it beckons. In the end, he acts with fear, and the audience will sense how much Peter will lose in his life by not embracing Helen’s love when it beckons him. In the opposite manner, I think the audience will applaud Helen for her courage and grace in the wake of Peter’s failure – her commitment to their love to the very end, and her refusal to let what he did harm what she does going forward.

2. How do your lead characters (Change Agent and Transformable Characters) come to an end in a way that represents the completed change?

Helen – my Transformable Character – will embrace the New Ways, affirming her right to express her love and sexuality despite the prohibitions of the era, the Old Ways. Peter, the Change Agent, will falter and fail when confronted by his fears.

3. What are the setup/payoffs that complete in the end of this movie, giving it deep meaning?

For Helen, the setups are: in Act 1, being humiliated in Hollywood because she hasn’t had ‘romance or adventure’ in her life; in Acts 1 & 2, the women closest to her – mother Kate and Teacher – continually disparage Peter’s character, which is their way of stopping Helen from pursuing romance; in latter part of Act 2, Kate does everything in her power to prevent Helen from connecting with Peter, first ordering him to leave the house and not return, then removing Helen to the deep south so that the lovers won’t be able to see each other; in Act 3, the family preventing the elopement, ordering Peter to leave the house at the barrel of a shotgun.

In all this, Helen shows great courage and ultimate triumph by doing everything in her power to fulfill her love for Peter.

4. How are you designing it to have us see an inevitable ending and then making it surprising when it happens?

I think that the audience will believe that Helen and Peter will triumph together because of their profound love for each other. The surprising ending will be Peter displaying his fear and cowardice at the very last moment. The question will be: what impact will Peter’s decision have on Helen?

5. What is the Parting Image/Line that leaves us with the Profound Truth in our minds?

I think the Parting Image/Line that will leave the audience with the Profound Truth is Helen and Teacher standing side-by-side on the Vaudeville stage, an example of true love at its best – not physical intimacy, but a soul coupling — and Helen’s words: “We live by each other and for each other. Alone we can do so little. Together we can break down the walls that stand between us and our happiness.”

[Christopher Carlson]

Subject line: Christopher Carlson’s Connection with Audience

What I learned doing this assignment is that I should find as many ways as possible to connect the audience with my characters, that in a drama such as mine there really is no need to present ‘villains,’ characters the audience would automatically dislike. The strongest position for me is to find ways that my audience can care about all my characters.

1. Tell us which characters you are going to INTENTIONALLY create a connection with the audience.

Helen, Transformable Character

Peter, Change Agent/Betrayal Character

Teacher, Opponent

Kate Keller, Opponent

2. With each character, tell us how you’ll use each of the four ways of connecting with the audience in the first 30 minutes of the movie.

A. Relatability
B. Intrigue
C. Empathy
D. Likability

Helen (Transformable Character):

Relatability: see that Helen is excluded from participating in the sensuous, sexual world – at some point in our lives we’ve all felt on the outside looking in, that loving relationships are destined for other people, not us; people criticize Helen’s lack of ‘adventure and romance’ in her life – we’ve all felt the pain when others were critical of our lives and/or our accomplishments

Intrigue: learn how a deaf and blind woman communicates

Empathy: feeling for Helen that she is excluded from profound and significant aspects of human life – for instance, a physical relationship with another human being — because of her handicaps

Likability: we see Helen has tremendous natural energy; she offers care and compassion to Teacher when she’s having problems in her marriage, and also when she’s ill; Helen has a natural beauty

Peter (Change Agent):

Relatability: Peter has a low-level job at a newspaper where he’s accustomed to taking orders; not satisfied by his station in life, wanting more
Intrigue: Does he have nefarious designs on a vulnerable woman? Not sure we can trust him. Is he interested in Helen only because of her fame and wealth? Does he want to take advantage of her?
Empathy: He’s doing his best to assist Helen as her secretary in a demanding environment where Teacher seems to have no patience with him; he’s somewhat ‘lost’ in life, not knowing what his purpose and goals are; because of Teacher’s illness, his once-in-a-lifetime job is aborted
Likability: He’s a handsome, dashing young man; well-mannered; seems sincere, at least at first glance

Teacher (Opponent):

Relatability: She’s a fish out of water in Hollywood and getting pushed around by the powers-that-be, the producer and director; she’s always second fiddle to Helen, not getting the full respect she deserves.

Intrigue: What exactly is her relationship with Helen, after 25 years of service? At this point, is Teacher exploiting Helen as a means to make a living?
Empathy: She’s beset with physical problems (near blind herself); marital problems (separating from husband); emotional problems (depressed); she supports Helen, who is absolutely and completely dependent on her
Likability: She’s the primary caretaker and defender of a handicapped person

Kate Keller (Opponent):

Relatability: She’s a mother naturally concerned for her vulnerable daughter
Intrigue: Why is she so suspicious of Peter? Why is she so set against the idea of Helen being in a relationship? Does she possess abusive power in the mother/daughter relationship? Is her degree of power damaging both to Helen and to herself?
Empathy: Kate’s attitudes are somewhat determined by her background growing up in the south and as a person brought up in the 19^th century with its Victorian standards; this is the first time her daughter is being courted, something she’s never before experienced, not to mention being courted by someone who’s a stranger to her
Likability: She’s a loving and supportive mother, doing her best to protect her vulnerable daughter

[Christopher Carlson]

* Christopher Carlson’s Transformational Structure *

What I learned doing this assignment is the need to escalate challenges, hence story momentum. I do have a question whether the Change Agent can also be the Betraying Character? This is what I’m done in my story. Are there other examples of that? Also, I’m a little confused if Profound Truth is different in each section of the MM, or if the profound truth is the guiding wisdom of the script?

Tell us your Transformational Logline.

After a deaf and blind woman falls in love with a hearing and sighted young man, she rebels against the expectations of her family and society by conspiring to fulfill her secret yearning to experience love and sexuality.

Tell us who the main character will be: Change Agent: Transformational Character(s):

Change Agent: Peter (who will also be the Betraying Character)

Transformational Character: Helen

List out your Mini-Movie structure, (or whatever structure you’ve chosen) for your story.

MM #1 – Pages 1 – 15 – STATUS QUO AND CALL TO ADVENTURE

Our hero’s status quo, his ordinary world, ends with an inciting incident or “call to adventure,” introducing the story’s main tension.

Turning Point: Call to Adventure.

Helen, deaf and blind, is living with Teacher – her teacher and companion of 25 years — and Teacher’s husband John in their rural home in Wrentham, Massachusetts – we understand that she is separate and without a physical partner – we also understand that Teacher’s marriage with John is troubled

Helen and Teacher are summoned to Hollywood where a film is being made about her life

The director and producer want to inject romance and adventure into the bio-pic, a reminder that Helen has lived a relatively protected life – need to understand the societal prohibitions against handicapped people having a sexual life

Upon return home, Teacher and John separate

Helen meets Peter, the young man who reveres her

The Vision: Teacher, “Simply put, that sort of thing – affairs of the heart – hasn’t been part of Helen’s experience.
Old Ways: per cultural norms of the era, a handicapped woman is not permitted to be sexual
Emotion Gradient: Excitement
Action Gradient: journey to Hollywood to make a film about Helen’s life
Challenge: film’s director and producer challenge Helen’s sense of self by wanting to add romance and adventure to the script
Weakness Gradient: ignorance of such things
Escalating Challenges: filmmakers adding false story points to the movie
Profound Truth: When love beckons, do not fear it – embrace it.

——-

MM #2 – Pages 15 – 30 – LOCKED INTO CONFLICT

Our hero’s denial of the call, and his gradually being “locked into” the conflict brought on by this call.

Turning Point: Locked in.

Helen and Peter, via a series of encounters, gradually fall in love, he respecting her, always deferential, she trying to encourage him in his career

Helen, Teacher and Peter travel to New York City where Helen delivers fiery anti-war speeches to large audiences

Teacher is critical of Peter’s character and intentions

Helen side-steps Peter’s physical advances, fearing that realm is something beyond her, but also afraid of defying Teacher

The Vision: Helen, “Enough! Knock me off the pedestal, please, I beg you. I have a naughty temper, I’m vain, lazy, ungrateful, stubborn, and many other things I’ll think of later.”
Old Ways: self-critical; feeling that she doesn’t deserve a relationship
Emotion Gradient: Doubt
Action Gradient: Helen and Peter get to know each other, he showing great deference which is exactly what she hates
Challenge Gradient: a man expressing his feelings for her
Weakness Gradient: her great yearning, coupled with fear of doing something forbidden
Escalating Challenges: how to handle this new experience
Profound Truth: When love beckons, do not fear it – embrace it.

——-

MM #3 – Pages 30 – 45 – HERO TRIES TO SOLVE PROBLEM BUT FAILS

Our hero’s first attempts to solve his problem, the first things that anyone with this problem would try, appealing to outside authority to help him. Ends when all these avenues are shut to our hero.

Turning Point: Standard ways fail.

Helen, Teacher and Peter return to Wrentham because Teacher has been diagnosed with tuberculosis

Kate, Helen’s mother, arrives in Wrentham to assist her daughter while Teacher is sick.

Kate is suspicious of Peter’s character and intentions, forcing Helen to defend him

The Vision: Teacher, “He’s a callow youth laced with ambition, always a dangerous combination.”
Old Ways: mother Kate and Teacher – the two human begins closest to her – reinforce Helen’s innate fear of relationship
New Ways: Helen receptive to Peter
Emotion Gradient: Doubt
Action Gradient: Helen and Peter are falling in love
Challenge: relating one-on-one to a man is a new experience Weakness Gradient: no experience in the realm of love
Escalating Challenges: Kate and Teacher want Peter to leave, putting more pressure on Helen
Profound Truth: When love beckons, do not fear it – embrace it.

——-

MM #4 – Pages 45 — 60 – HERO FORMS A NEW PLAN

Our hero spawns a bigger plan. He prepares for it, gathers what materials and allies he may need, then puts the plan into action — only to have it go horribly wrong, usually due to certain vital information the hero lacked about the forces of antagonism allied against him.

Turning Point: Plan backfires.

Helen takes Peter to her secret island where they make love.

Helen and Peter decide to keep their new relationship secret from mother Kate and Teacher

Teacher departs for a sanitarium hundreds of miles away

MIDPOINT: Helen and Peter have begun their loving, sexual relationship

The Vision: Peter, “Which sense do you value most – touch, or smell?” Helen, “Touch – because I couldn’t live without the feel of another person’s hand in mine. It’s something I never forget.”

Old ways: reinforcement of negative feelings about Peter
Emotion Gradient: Hope
Action Gradient: Helen makes love with Peter
Challenge Gradient: being in a physical relationship
Weakness Gradient: no experience in the realm of love
Escalating Challenges: intimacy itself; her mother Kate and Teacher
Profound Truth: When love beckons, do not fear it – embrace it.

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MM #5 – Pages 60 — 75 – HERO RETREATS & THE ANTAGONISM PREVAILS

Having created his plan to solve his problem WITHOUT changing, our hero is confronted by his need to change, eyes now open to his own weaknesses, driven by the antagonist to change or die. He retreats to lick his wounds.

Turning Point: The decision to change.

Kate persists in her antagonism toward Peter

Peter asks Helen to marry him – she accepts

Helen continues to lie to Kate in order to shield and protect her relationship

When their engagement becomes a news story in the local paper, both Helen and Peter deny that it’s true

The Vision: Helen, “Yes. I will marry you.”
Old Ways: family oppression
New Ways: accepting Peter’s proposal

Emotion Gradient: Discouragement
Action Gradient: The people closest to Helen – her other Kate and Teacher – denigrate Peter’s character and reject him
Challenge Gradient: Helen compelled to lie in order to protect and defend her lover.
Weakness Gradient: self doubt
Escalating Challenge: increasing family pressure
Profound Truth: When love beckons, do not fear it – embrace it.

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MM #6 – Pages 75 – 90 – HERO’S BIGGER, BETTER PLAN!

Our hero spawns a new plan, but now he’s ready to change. He puts this plan into action…and is very nearly destroyed by it. And then…a revelation.

Turning Point: The ultimate failure.

Kate forces Peter from the house, ordering him never to see her daughter again

Kate demands that Helen issue a public statement denying that she’s engaged, which she does

Helen conspires with Peter to elope while she and her mother are on a journey by ship and train to Helen’s sister’s home in Alabama

Kate discovers the plot and makes alternate travel plans, defeating Helen’s plan

The Vision: Peter, “Aren’t you the one who said life is a daring adventure?” Helen, “Yes! A daring adventure, or nothing at all.”

Old Ways: mother forcing Helen to do things against her will
New Ways: ready to do anything to fulfill her love for Peter
Emotion Gradient: Courage
Action Gradient: Helen conspires with Peter to continue their relationship in secret – they plan elopement
Challenge Gradient: mother Kate exiles Peter from the house Weakness Gradient: impossible choice
Escalating Challenges: increasing family and public pressure
Profound Truth: When love beckons, do not fear it – embrace it.

——-

MM #7 – Pages 90 – 105 – CRISIS AND CLIMAX

The revelation allows our hero to see victory, and he rejoins the battle with a new fervor, finally turning the tables on his antagonist and arriving at apparent victory. And then the tables turn one more time!

Turning Point: Apparent victory.

While staying with her sister’s family in Alabama, Peter secretly makes contact with Helen via the assistance of a black woman who knew Helen when they played together as young girls

Helen and Peter make their 2^nd elopement plan, which involves escaping the house in the middle of the night

The Vision: Peter, “Do you hope someday we might have children?” Helen, “Very much, and God willing, they’ll have sight and hearing. I didn’t lose mine until I was nineteen months old, from scarlet fever.”

Old Ways: pressure to keep things as they are
New Ways: planning for the future
Emotion Gradient: Courage
Action Gradient: Helen and Peter persist in their plan to marry
Challenge Gradient: sustaining their love against all odds
Weakness Gradient: surrounded by family’s traditional thinking
Escalating Challenges: family pressure
Profound Truth: When love beckons, do not fear it – embrace it.

——-

MM #8 – Pages 105 – 120 – NEW STATUS QUO

The hero puts down the antagonist’s last attempt to defeat him, wraps up his story and any sub-plots, and moves into the new world he and his story have created.

Turning Point: New status quo.

The family aborts the elopement plan at the point of a gun, terrifying Helen

Undaunted, the lovers secretly plan a 2nd elopement

Helen defies her mother’s wishes and tells her that she and Peter are going to have a life together.

Unbeknownst to Helen, Kate meets with Peter and explains to him all the reasons why their relationship can never work, leaving him in doubt

Peter comes during the night and sees Helen waiting on the porch with her packed suitcase, but at the last moment departs without taking her with him

When Helen and Teacher reunite in Wrentham, Helen expresses happiness that she had the relationship – she refuses to attribute its failure to Peter, but rather to the circumstances.

Helen and Teacher become huge successes on the Vaudeville circuit, radiating positivity and cheer.

The Vision: Helen, “The fault wasn’t in the loving, but in the circumstances.

New Ways: affirmation of her right to love another, and of the experience
Emotion Gradient: Triumph
Action Gradient: Helen acts as a fully liberated woman and embraces the experience of loving another, despite being betrayed by Peter (Change Agent and Betraying Character)
Challenge Gradient: planning everything alone, and in the dark Weakness Gradient: no support
Escalating Challenges: overcomes the betrayal and defeat with love and positive thinking
Profound Truth: When love beckons, do not fear it – embrace it.

Go back through and make sure you’ve covered each the following: – The Transformational Journey listed in your logline. – The Three Gradients. – It is sequenced in Escalating Challenges.

[Christopher Carlson]

Christopher Carlson’s Three Gradients

What I learned doing this assignment is an awareness that the character must be in constant movement, either via upward gradient or downward gradient. I’m finding it difficult sometimes to differentiate between the action and the challenge elements of the gradient – how are they different?

What is the Emotional Gradient you’ll use?

Desired Change Emotional Gradient

2. For each emotion of that gradient, tell us the following: A. Emotion: B. Action: C. Challenge / Weakness: A. Emotion: B. Action: C. Challenge / Weakness: A. Emotion: B. Action: C. Challenge / Weakness: Etc..

3. A: Emotion: Excitement
B. Action Gradient: Helen goes to Hollywood to participate in a movie about her life.
C: Challenge Gradient: Film director and producer challenge Helen’s sense of self by wanting to add romance and adventure to her story
Weakness: ignorance of such things in her own life

4. A: Emotion: Doubt
B. Action: Helen and Peter get to know each other, he showing great deference which is exactly what she hates
C: Challenge Gradient: a man expresses his love for her
Weakness: Her great yearning, coupled with fear of doing something forbidden

5. A: Emotion: Hope
B. Action Gradient: Helen makes love with Peter
C: Challenge Gradient: Being in a physical relationship
Weakness: no experience in the realm of love

6. A: Emotion: Discouragement
B: Action Gradient: The people closest to her – her mother Kate and Teacher – denigrate Peter’s character and reject him
C: Challenge Gradient: Helen compelled to lie in order to protect and defend her lover
D: Weakness: self doubt

7. A: Emotion: Courage
B: Action Gradient: Helen conspires with Peter to continue their relationship in secret – they plan elopement
C: Challenge Gradient: mother Kate exiles Peter from the house
Weakness: impossible choice

8. A: Emotion: Triumph
B: Action Gradient: Helen acts as a fully liberated woman and embraces the experience of loving another, despite being betrayed by Peter
C: Challenge Gradient: planning everything alone, and in the dark, something never done before by a handicapped woman
Weakness: no support

[Christopher Carlson]

4B: Christopher Carlson’s Analysis of DEAD POET’S SOCIETY

What is the change this movie is about? What is the Transformational Journey of this movie?

The change is about discovering one’s own path, regardless of what others may demand that you do.

The Transformational Journey begins with dependency and goes to independence.

Lead characters:Who is the Change Agent (the one causing the change) and what makes this the right character to cause the change?

The Change Agent is John Keating, the boys’ English teacher. He is the one endowed with experience and perspective, the perfect guide.

Who is the Transformable Character (the one who makes the change) and what makes them the right character to deliver this profound journey?

The Transformable Characters are the boys who comprise the Dead Poet’s Society.

What is the Oppression?

The Oppression is multi-layered: parents; the school and all its traditions; other teachers at the school; the peer group conforming to the rules of the school; finally, even Todd’s older brother, whom we never meet, is the star child in the family, someone impossible to live up to

How are we lured into the profound journey? What causes us to connect with this story?

I think we’re lured into the profound journey by a group of energetic young men who immediately make fun of the Welton school’s ‘Four Pillars’ after the Commencement ceremony. We as audience can also identify with Todd Anderson as a new arrival at the school and can learn about the school initiate experiences.

4. Looking at the character(s) who are changed the most, what is the profound journey? From “old ways” to “new way of being.” Identify their old way: Identify their new way at the conclusion:

Todd Anderson, a profound journey from being shy, reticent and inward to someone willing ultimately to defend Mr. Keating in front of Headmaster Nolan, at great risk to his future

Charlie Dalton, a profound journey from being an insider nicknamed ‘Slick’ and someone probably too full of himself for his own good to someone who completely embraces the command to seize the day, embracing his new nickname ‘Nuwanda’ and becoming someone who looks out for others

Knox Overstreet, a profound journey from a character who lacks the self-confidence to pursue the girl of his dreams to a character who is determined to declare his love against all odds, and in so doing, become someone willing to risk failure and rejection

Neil Perry, a profound journey from a son absolutely obedient to his demanding, tyrannical father to a young man willing to declare his real and true desires to that same tyrant, and readiness to die for those desires when his father rejects what he truly wants

What is the gradient the change? What steps did the Transformational Character go through as they were changing?

Todd Anderson: not wanting to participate in any group activity; willing to go to Dead Poet’s Meeting but only if he isn’t required to talk; creating his first poem under Keating’s guidance;

Charlie Dalton: the leader of his peer group not wanting to appear foolish or naive; speaking a subversive poem from a Playboy centerfold at the Dead Poet’s Society meeting; bringing his sax to a meeting and playing spontaneous music; breaking new ground by bringing women to a Dead Poet’s Society meeting; giving himself a name ‘Nuwanda’ that embodies his new persona; writing an article for the school paper about the revolutionary idea of admitting women to the school, then acknowledging that he did it in an open assembly; willing to accept a painful paddling from the headmaster rather than give up the names of the others; indicting Cameron for betraying Keating and willing to punish him physically for his transgression

Knox Overstreet: willing to admit that he’s in love with Chris, a girl he just met but acknowledging it’s won’t ever go anywhere because she’s going out with the local high school’s star quarterback; attending a party being hosted at the home of the local quarterback, even though he knows Chris is going to be there with the quarterback; expressing himself with flowers and a poem at her school, thereby expressing himself despite knowing that he’s going to face ridicule and possible harm at the hands of the quarterback; insisting at all times that he loves her, despite not getting much positive feedback from Chris; asking Chris to come to the play with him with the proviso that if she rejects him after their evening together, he will accept her decision; daring to take her hand during the play

Neil Perry: resigning his yearbook editor position because his father thinks it will interfere with his schoolwork; deciding to audition for a school play; knowing that his father will disapprove, he writes his own permission slip and forges his father’s name; keeps up his top grades despites lots of rehearsal; constant enthusiasm for the Dead Poet’s Society and always encouraging his friends to pursue their passions, which is the very thing he’s trying to do; at Mr. Keating’s encouragement, telling his father the truth about wanting to do the play and how much it means to him; giving a great performance at the premier night, despite seeing his father in the audience

6. How is the “old way” challenged? What beliefs are challenged that cause a main character to shift their perspective…and make the change?

As the Change Agent, Keating is the primary advocate challenging the old ways — which represent how things have been done at the school for over a hundred years. He introduces his primary creed — carpe diem/seize the day – on the very first day of instruction while showing his students archival photographs of young men from the past, noting that the pictured boys had all the energies and dreams that they possess, and now they’re all dead and buried – “Gather ye rosebuds while ye may.” This in itself causes an immediate change in the boys attitude toward their lives. Then, in each class, Keating puts them through actions — from standing atop a desk in the classroom in order to get a new perspective, to striking the soccer ball while yelling out a poetic phrase, to encouraging the boys to walk in the courtyard according to their own rhythm, which may well be different from everyone else’s rhythm, no matter. These exercise have one goal, which is to inspire his students to think for themselves.

What are the most profound moments of the movie?

So many profound moments, don’t know where to begin. Todd Anderson finding his voice in the classroom by creating a poem, and of course his final “O Captain! My Captain;” Charlie Dalton refusing to snitch on the Dead Poet’s Society to the Headmaster, and getting paddled unmercifully, refusing to bow down to the “old ways.” Despite that pain and humiliation, he remains “Nuwanda.” Knox Overstreet taking Chris’ hand during the play. Neil Perry placing his actor’s laurel wreath on the window sill, his farewell to the world.

8. What are the most profound lines of the movie?

Carpe diem.

Damn it, Charlie – the name is Nuwanda.

How does the ending payoff the setups of this movie?

Each of the transformable characters has a moment to show us they are choosing the freedom to be themselves rather than submit to the Old Ways.

What is the Profound Truth of this movie?

The Profound Truth of this movie is that we are granted one life, which is fleeting, so be sure that in every moment you believe in what you’re doing, passionately, and not squandering time.

[Christopher Carlson]

Christopher Carlson’s Lead Characters

6. Answer the question “What I learned doing this assignment is…?” (place at top of your work).

What I learned doing this assignment has brought me to the challenging question of whether my Betraying Character and Change Agent Character could be one and the same character. Are there other examples of this?

1. Tell us your transformational journey logline.

After a deaf and blind woman falls in love with a hearing and sighted young men, she rebels against the expectations of her family and society by conspiring to fulfill her secret yearning to experience love and sexuality.

2. Tell us who you think might be your Change Agent and give a few sentences about how that character fits the role. Also, include:

Peter is the change agent. He doesn’t accepts the societal norms re handicapped people and believes that any person has the free will to love whomever they wish to love. He’s part of a younger generation that wants to loosen the binds containing and/or forbidding sexuality.

– Their vision:
– Their past experience that fits that vision:

3. Tell us who you think might be your Transformable Character(s) and give a few sentences about how that character or characters fit the role.

Helen is my Transformable Character. In general, she has accepted the strictures of the Victorian Era, in particular the notion that handicapped people not be encouraged to express sexuality. She accepts this notion in part because her mother has inscribed the societal norms in her mind, and her Teacher has discouraged relationships in general with any person who may threaten to displace Helen from her immediate reach.

4. Tell us who or what you think might be The Oppression and give a few sentences about how The Oppression works in your story.

The oppression is the societal prohibition against handicapped people having any sexual life of their own. The character’s mother strongly believes in this prohibition, and the character’s closest ally, her Teacher, has enforced it, not necessarily consciously, but because she’s threatened by the fear of losing her star pupil, Helen, to the world at large.

5. Tell us who you think might be your Betraying Character and give a few sentences about how that character fits the role.

Ironically, I think my Betraying Character might be Peter, who is also my Change Agent character.

[Christopher Carlson]

Day 3: Christopher Carlson’s Transformational Journey

What I learned doing this assignment is that in order to fully grasp the character’s transformational journey the audience will need to understand the society of the historical era, its expectations and rules.

1.Tell us your logline for the transformational journey.

After a deaf and blind woman falls in love with a hearing and sighted young man, she rebels against the expectations of her family and society by conspiring with her lover to fulfill her secret yearning to experience love and sexuality.

2. Tell us what you see as the Old Ways.

Old ways: a character who accepts the general societal rules of her era (late 19^th century/early 20^thcentury) which forbid any so-called ‘handicapped person’ from expressing or experiencing their sexuality; a character who has lived her life under the close watch of her family and teachers, conforming to strict expectations of what is considered ‘acceptable’ behavior.

3. Tell us what you see as the New Ways.

New ways: a character who is willing to thwart her society and express her sexuality without feelings of guilt. By doing so, she resets her relationships with those people closest to her who were keeping her in check; a character who fulfills her yearning to have a physical relationship; a character who emerges with a stronger sense of herself and feels like a more realized human being.

[Christopher Carlson]

What I learned doing this assignment is reminding myself that I’m writing this screenplay not just for my own benefit, but rather I’m trying to connect my story to an audience – don’t forget the audience!

[Christopher Carlson]

Christopher Carlson’s First Three Decisions

What is your profound truth?

– When real love beckons, do not fear it — embrace it.

What is the change your movie will cause with an audience?

– The film will remind the audience that spiritual love is the most enduring love, as opposed to superficial love based on physical attributes or appearance.

What is your Entertainment Vehicle that you will tell this story through?

– The As-It-Happened True Story.

[Christopher Carlson]

Christopher Carlson’s analysis of GROUNDHOG DAY

What I learned doing this assignment is that the character’s journey can include choosing to do terrible things that at first glance aren’t funny, i.e., multiple attempts at suicide, but if it is part of the Transformable Character’s journey and helps lead the character out of his depression, then even suicidal action is acceptable.

We are looking at this movie from the perspective of the change that occurs for the lead character and the audience.

What is the CHANGE this movie is about? What is the Transformational Journey of this movie?

The CHANGE dramatizes the transformative journey from not caring about anything to caring for all fellow beings.

The Transformational Journey depicts the character’s movement from egocentric, selfish behavior to loving, compassionate behavior.

Lead characters:Who is the Change Agent (the one causing the change) and what makes this the right character to cause the change?

The Change Agent is Rita. She’s the right character because she represents a loving and caring individual.

Who is the Transformable Character (the one who makes the change) and what makes them the right character to deliver this profound journey?

The Transformable Character is Phil Connors. He’s the right character because he begins the movie as absolutely cynical, selfish, egocentric.

What is the Oppression?

The oppression is the repetition, i.e., forcing the character to confront himself and his relationship to the world day after day, with no visible way of ending the ‘day that never ends.’

How are we lured into the profound journey? What causes us to connect with this story?

In my opinion, the comedy – the pure antics of the Phil Connors, the Bill Murray character – lures us into the profound journey. In the repetition, we get to see how Phil Connors will respond to each encounter as it gets crazier and crazier.

We connect to the story probably because we can sometimes feel ‘stuck’ in our own lives – things not changing, not knowing how to make things better.

Looking at the character(s) who are changed the most, what is the profound journey? From “old ways” to “new way of being.” Identify their old way: Identify their new way at the conclusion:

Phil Connor’s journey from selfish, cynical egotist (“old ways”) to someone who cares about others and treats them with compassion (“new way of being”).

What is the gradient the change? What steps did the Transformational Character go through as they were changing?

Phil Connor’s begins his journey by generally insulting and looking down upon every person he interacts with. His favorite choice is making fun of others, denigrating them, insulting them. After many days of this, Phil becomes depressed by his situation and seeks psychiatric help. Soon he becomes suicidal and tries to escape by killing himself. Nothing works. Finally he accepts his situation and begins to dedicate himself to self-improvement: studying French, learning to ice sculpt, studying the piano. This represents positive change for the character. When he’s able to show Rita all the new elements in his life, she can’t help but be attracted to this talented, giving man. Phil’s final step is being able to declare his love for Rita. He expresses this in a genuine manner, not trying to get over on her, fool her, trick her. When Phil is able to offer love, and receive her love in return, he’s released from the terrible oppression of a life where nothing changes.

How is the “old way” challenged? What beliefs are challenged that cause a main character to shift their perspective…and make the change?

When living in the ‘old way,’ nothing ever changes, nothing gets better. Finally Phil realizes that he’s stuck and his usual manner of responding to the world isn’t helpful. When he accepts that nothing in his life is going to change, he reaches his lowest point – feeling that life isn’t worth living – and commits himself to positive action.

What are the most profound moments of the movie?

I think the series of beats when Phil wants to help others – from saving a man who’s choking, to catching the boy who falls out of the tree, to helping the ladies change a flat tire. It goes deeper when he tries to help the old man who he originally met begging on the corner. When Phil finds him homeless and dying, he tries to restores his health with nutrition. In the end, he accepts the idea that all of us one day must leave this plane, when it becomes ‘our time to go.’ Perhaps the most rewarding profound moment was Phil speaking genuinely to Rita, and touching her heart.

What are the most profound lines of the movie?

Phil to Rita, “I need help.”

Phil to Rita, “If you only had one day to live, what would you do with it?”

Phil to Rita, “Is there anything I can do for you today?”

How does the ending payoff the setups of this movie?

Phil and Rita are now facing life together, sharing life, whereas in the beginning Phil was focused solely on himself with no regard to others. He particularly hated Punxsutawney, PA and now it’s the city he proposes they move to and start their new life.

What is the Profound Truth of this movie?

We find happiness only when we begin to search for ways to help others. In caring for others, we can create a deeper happiness in our own life.

[Christopher Carlson]

Greetings to my fellow writers.

My name is Christopher Carlson. I’ve written some 20 screenplays, one produced; 1 one-hour television pilot for a limited series, unproduced; a teleplay developed for a German production company, unproduced but still under consideration at Netflix Europe; 2 teleplay rewrites, one produced; one fantasy novel for young readers, published; one award-winning full-length play.

I’m hoping to apply lessons learned from the class to an original screenplay I’ve been working on for five years, approx.

I created and taught a screenplay adaptation course for graduate students at Loyola Marymount University.

[Christopher Carlson]

Christopher Carlson

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