Script Breakdown - Character Analysis
In the last article, I talked about the first, and most
important, part of a Director's job - understanding the script:
what the story is about; the themes; the story points; and the
characters. In this article, I will focus on Character
Development and Analysis.
After reading the script and working through the script
structure and scene analysis, it's time to figure out the
development and objectives of the characters.
1) Character Functions
Each character has at least one function (or role) in any story,
such as:
a) protagonist
b) antagonist
c) best friend
d) love interest
e) confidante
f) partner
g) catalyst
h) mentor
i) comic relief
There are many more, but this is a basic list for you to start
with.
2) Character Emotions
Here are the three main character emotions:
a) Sympathy - the audience IDENTIFIES with the character's
problems and triumphs
b) Empathy - the audience UNDERSTANDS the emotions that drive
the character
c) Antipathy - the audience wants the character to "GET WHAT
THEY DESERVE"
3) Character Components
These are the Internal and External factors that shape each
character:
a) Interior - form character
b) Exterior - reveal character
4) Character Background
a) where is the character from (background)
b) what was he doing just before this scene
c) what does the writer say about this character
d) what do others say about this character
e) what does the character say about himself
5) Character Objectives (Most Important!)
These are the main needs and wants of a character (what people
want out of life)
a) SUPER OBJECTIVE (example: "Power over People") - what is the
primal motivation of the character - what are the main needs of
the character
b) OBJECTIVES (example: "Wants to Dominate Character A") - what
does the character want (motives) - what are the active choices
to achieve the Super Objective
c) MAIN ACTIONS (example: "What they DO to Character A") - what
the character DOES... - to get what he WANTS... - to fulfill his
NEEDS
NOTES ON OBJECTIVES:
a) there can only be one objective per character - per scene
b) the simpler the objective, the easier it is for an actor to
play it
c) objectives rise out of the character's needs and feelings
d) objectives help actors react to each other - rather than just
"say the lines"
e) an objective should be an active choice for an actor
f) an actor should always play their objective in every scene
When coming up with character objectives, ask yourself: what
does each Character want in this story - in this scene?
a) look at the character's behavior (what he does)
b) look at what the character talks about (what he says)
c) remember: Motive (inner life ) Determines Behavior (outer
life)!
6) Character Breakdown
Go through your script and write down all the characters. You
should list the main characters first and the secondary
characters last and then assign them a function. Your first
character should be the main character - or the protagonist.
NOTE: if you are doing a TV Series, the main characters will
already be established for you. They are usually numbered
"1,2,3..." on any call sheet.
7) Script Breakdown (Per Character)
Answer these question about how each character fits in the story:
a) what is the story function of this Character
b) what is their Super-Objective
c) what is their Main Objective (in the story)
8) Scene Breakdown (Per Character)
Answer these questions about how each character fits in every
scene:
a) what is the character objective in this scene
b) what are the character's main actions in this scene
c) what are the results of their actions in this scene
9) Character Dialogue
I am a firm believer in the rule " Less is more!" As the
Director, it is your responsibility to take a written document
(The Script) and translate it into a visual format (Film or
Video). This means that we can sometimes use visuals instead of
dialogue to make a story point or to show what an actor is
thinking.
After you have done all your homework on Script, Scene and
Character Analysis, make another pass at the script to see what
dialogue can be omitted by using visuals to get the point
across. It is always better to SHOW the audience what a
character is thinking, than have them talk about it. (Motion
Pictures!)
WARNING: on a TV series, the producers are usually the writers
and they are, for the most part, very hesitant to have any
dialogue removed. If you have done your homework (Scene and
Character Breakdowns) and can show them that your idea will make
the scene better, go for it - they can only say no.