FRIDAY'S SCRIPT TIP:
BAD GUY LEADS
Not all protagonists have to be heroes like Spider-Man... some protagonists can be mean SOBs. No matter how morally wrong your protagonist is, the audience IS them for 2 hours and
from their point of view what they are doing is right and necessary. They aren't heroes, they are anti-heros.
Not all protagonists have to be heroes like Spider-Man... some protagonists can be mean SOBs. No matter how morally wrong your protagonist is, the audience IS them for 2 hours and from their point of view what they are doing is right and necessary. They aren't heroes, they are anti-heros.
THE JOKER was a surprise hit, and is now the #1 R rated comic book movie (not much competition, there) and is a great example of one of the types of anti-heroes. The film is a mash up of two Scorsese movies, TAXI DRIVER and THE KING OF COMEDY, inserted into the DC Comics world. It alters the DC comics origin stories for The Joker, and I suspect that the screenplay didn’t begin as a Joker story, but was shoe-horned into the DC world to find an audience for the kind of bleak 70s films they don’t make anymore. The same story about Arthur Fleck without the Joker connection would have played for a week at the local arthouse-indie theater before heading to Netflix. But as The Joker?
Like Travis Bickle and Rupert Pupkin, Arthur Fleck is a social outcast living in a gritty 1970s version of New York City. He has no friends, he takes care of his aging mother in a small apartment. Like Pupkin, he looks outward for attention and approval instead of inward - and wants to become a stand up comedian. Believing that he has that talent - which I guess are delusion of grandeur... even though he also feels insignificant and alone in the world. He works for a company that hires clowns to spin signs and visit hospitals and anything else a clown will do (a strange idea for a business) and in the opening scene is beat up by a group of teenagers just because he’s a clown.
The story uses that to build sympathy for this outsider - he is a man-child who takes care of his ailing mother living in a hellish environment... and he has a dream of being a comedian. We can identify with these things, even though we know that Fleck is insane and kind of creepy. As the story takes him deeper and deeper into hell, he reacts violently and turns into the villain from the comic books and films. An insane person who thinks nothing of killing those whom he feel threatens him.
Sorry, spoiler, I guess.
But the character’s descent from madness to violent madness is the story in the film.
Because we *understand* Fleck’s violent reactions, we can empathize with the character. One of the reasons why I think that it was a surprise hit is that people are particularly angry at this point in time and want to lash out at what they think are the causes of their anger... and this film provides that fantasy. This is the Descent Into Madness Trope, and has been around forever. It’s critical for the audience to *understand* your protagonist even if they are an anti-hero and do very very bad things. The key to a great anti-hero is that we are able to see the world through their eyes because we understand why they are doing what they do. We may not like Arthur Fleck and I don’t think any of us would like to hang out with him, but we understand him. In his world, in his situation, he does what he thinks will solve his problems. Like Travis Bickle, this requires that the people who he thinks are causing his problems meet with violence. In “Secrets Of Action Screenwriting” I talk about how the protagonist has been taking a beating for most of the film, and when we click into Act Three it’s time for the protagonist to dish out a beating equal to the sum of all of the beatings they have taken. That’s what happens in JOKER... just with an anti-hero instead of a hero.
WHAT IS AN ANTI-HERO?
In the first version of “Secrets Of Action Screenwriting” I used the terms “hero” and “villain”, which can often lead to confusion. There’s nothing heroic about Arthur Fleck. He’s a bad guy, who is the lead character in the movie. It’s easier to understand if I used the terms “protagonist” and “antagonist” - which have no moral requirements. There’s another tip in rotation about my favorite antagonist in a film, Cameron Diaz’s character in MY BEST FRIEND’S WEDDING, who is the nicest, sweetest character in that film... and the antagonist. She is the character who gets in the way of the protagonist achieving their goal. The protagonist is trying to break up a wedding, and the antagonist (the bride to be) keeps getting in the way and preventing the protagonist from attaining their goal.
The Protagonist of your story can be the meanest, most evil character in the story. The word just means that they are the lead character of your story.
Oh, and Protagonist means Lead Character, so those folks who want to add to the confusion by having other requirements for the Protagonist, like: they must learn a valuable lesson, or they must perform the actions that create change in the story, are full of beans. Often a protagonist learns their valuable lesson by watching another character perform the actions that create the change in the story. They are observers. Which makes them passive, which is usually a bad thing. But in some stories, that’s what works - the audience identifies with (understands) the Protagonist who learns by observing what someone else does.
TO KILL A MOCKINGBIRD can be confusing as all heck: The audience identifies with Scout (Protagonist) who is telling the story about her father Aticus who performs the actions that allow her brother to learn a valuable lesson. Hey, Scout learns the lesson, too - but her brother has reached the end of childhood and these lessons have a direct impact on him. Okay, is Aticus the “Lead Character” in this scenario or brother Jem? This is why it makes more sense to use Protagonist as the lead character - our point of view character - the person who the audience will understand and identify with throughout the film. And that can be a very bad person.
There's a great Walter Hill movie called THE DRIVER (the inspiration for last year's hit BABY DRIVER by my fellow Raindance Film Fest jurist Edgar Wright) about a getaway driver for
robberies and the policeman pursuing him. Because the getaway driver is the
protagonist, we live his life for 2 hours - the policeman is the antagonist.
Now, morally the policeman is doing the right thing and the getaway driver is doing the
wrong thing, but morals have nothing to do with story. They don't matter.
The getaway driver is our protagonist and we are rooting for him to get away from the
policeman. While watching this film, we dislike the policeman because he's getting in
the way of the getaway driver's goal - a goal we understand. Though the policeman is
portrayed as a bad person, that's ONLY because we see him from the Driver's POV.
The policemen is focused on winning at all costs - at capturing the criminal even if it
means breaking a few rules. As an audience we were cheering that attitude when the
policeman was DIRTY HARRY - we wanted Harry to stomp on Scorpio's wounded leg!
The same traits that made us root for Dirty Harry make us hate the policeman in THE
DRIVER. It's all a matter of perspective (not morality). For THE DRIVER to have a
satisying ending for the audience, the protagonist must acheive his goal and the
antagonist must be vanquished... that means the CRIMINAL must win (and that's
exactly what happens at the end of THE DRIVER). If the policeman had killed the
getaway driver he'd be killing the audience - the audience IS that character for 2 hours.
In the original DEATH WISH Paul Kersey begins as a man who believes in the system, believes that criminals deserve a fair trial... he's described as a bleeding heart liberal by his co-worker. Then, his wife is murdered and daughter raped, and the police seem powerless to do anything. His anger begins bubbling. He snaps at his son-in-law and co-workers. He snaps at his co-workers, and his office sends him to Arizona to work on a project. There, in conservative country, he starts playing with guns and talks to a mentor-type character who believes in street justice. The mentor gives him a present - a gun. The first time he's mugged and uses the gun is an accident... then, he becomes more and more comfortable using the gun... and eventually sets traps for muggers so that he can kill them. There's a detective who begins wanting to get him off the street, but shifts into an ally. By the time we get to the end of the movie, he takes an enormous risk - shaking off a police tail so that he can go hunting. He has been completely transformed.
This is one of the rare revenge movies that end with the protag still wanting to get revenge. Most often, they come to realize that revenge isn't really the answer (POINT BLANK, GET CARTER, THE LIMEY). The Truffaut film BRIDE WORE BLACK also ends with revenge still on the protag's mind - but that film has a cool twist end, where the bride has killed all of the people responsible for her husband's death... except one (who is in prison). Then she's arrested, tried, convicted... and sent to prison... where she manages to get to the last guy (very end). You realize that being caught was all part of her plan!
THE OTHERS is another great example of a "bad guy lead" - Kidman doesn't become
the antagonist at the end - we just learned that she wasn't an innocent victim. She's the
protagonist all the way through the movie, even though we learn that she did a very bad
thing... (hey - some people may not have rented the video, yet!) We realize she's not a nice person - but we don't pop into some other
character's POV so that she's the antagonist. Instead, we realize we've been rooting for
a person who isn't as nice as we thought they were... and I kind of felt sorry for her. I
mean, she can't even claim to be a victim at the end - she has to face up to the fact that
she's a bad person. Man, that's gotta be hell.
Right and wrong and morality don't mean anything in story.
You have a protagonist who has a goal.
Someone stands in the way of them acheiving that goal - the antagonist.
The protagonist and antagonist fight it out, and the protagonist overcomes the
antagonist and acheives his goal - the end.
The audience will BECOME the protagonist for 2 hours - we are Elliot riding the bike
through the sky, we are John Nash seeing delusions, we are Walker in POINT BLANK
killing everyone who comes between us and our $92,000. We are the protagonist. Even if he's the bad guy... an anti-hero.
Who is your protagonist?
Who will the audience be for 2 hours?
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OUTLINES & THE THEMATIC!
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THE BOOK THAT STARTED IT ALL!
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E BOOKS PAGE
E BOOKS: New Blue Books and Novelettes!
I am expanding all of the Blue Books from around 44 pages of
text to around 200 pages! Some are over 250 pages! See what is availabale and what is coming soon!Also, I've been writing Novelletes and there
will soon be novels.
E BOOKS: BLUE BOOKS & NOVELLETES
MY OTHER SITES
B MOVIE WORLD
Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.
FIRST STRIKE PRODUCTIONS
Producing my own scripts, investment possibilities, pipe dreams.
NAKED SCREENWRITING CDs
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Each Blue Book is 48
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THE SECRETS OF ACTION SCREENWRITING The Best Nuts & Bolts Screenwriting Book On The
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