14 Movie Characters Writers Should Know - Eric Edson [Full Version - Screenwriting Masterclass]

Film Courage・2 minutes read

Screenwriting professor Eric Edson discusses character categories in screenwriting, emphasizing the importance of assigning characters to specific categories and maintaining consistency to avoid plot disruptions. Character types in films must serve the plot and either help or hinder the hero's journey, showcasing the necessity for antiheroes to possess sympathetic qualities for successful portrayal.

Insights

  • Character categories in screenwriting, dating back to ancient times, are crucial for maintaining consistency and avoiding plot disruptions.
  • Developing sympathetic qualities in characters, especially antiheroes, is essential for successful portrayals and audience engagement, as seen in iconic tragic heroes and the necessity of hero sympathy for box office success.

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Recent questions

  • What are the different character categories in screenwriting?

    Eric Edson discusses six character categories in screenwriting, emphasizing their importance for consistency and plot development.

  • How do novels and films differ in storytelling approaches?

    Novels are subjective, while films are objective, providing a deluge of information without requiring audience imagination.

  • Why are sympathetic qualities crucial for antiheroes in screenwriting?

    Antiheroes need sympathetic qualities for successful portrayal, as seen in characters like Lisbeth from "Girl with the Dragon Tattoo."

  • What role do adversaries play in storytelling?

    Adversaries serve as primary opposition to heroes, often appearing unbeatable and wearing masks of friendship, as shown in various examples.

  • How do love interest characters contribute to film plots?

    Love interest characters like Alicia Nash in "A Beautiful Mind" or June Carter in "Walk the Line" serve as crucial subplots, driving character growth and plot development.

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Summary

00:00

"Character Categories in Screenwriting: Key Insights"

  • CSUN screenwriting professor Eric Edson discusses character categories in screenwriting.
  • Edson selects six specific character categories to focus on for the evening.
  • The concept of character categories dates back to a Greek philosopher, Theophrastus, around 400 BC.
  • Menander, a student of Theophrastus, utilized character types in his comedy plays.
  • Character types based on attitudes do not directly relate to plot function in storytelling.
  • Novels and films differ in their storytelling approaches, with novels being subjective and films being objective.
  • Films provide a deluge of information all at once, requiring no imagination from the audience.
  • Characters in films must serve the plot and either help or hinder the hero's journey.
  • Edson introduces 14 character categories, including adversary, love interest, sidekick, mentor, and more.
  • Assigning characters to specific categories is crucial to maintaining consistency and avoiding plot disruptions.

18:55

Sympathetic Antiheroes and Adversaries in Film

  • Eric emphasizes the necessity for antiheroes to possess sympathetic qualities for a successful portrayal.
  • Lisbeth from "Girl with the Dragon Tattoo" is depicted as a dark, emotionally isolated character due to past trauma.
  • Tragic heroes like Scarface and King Lear exemplify characters with fatal flaws hindering personal growth.
  • Tony Montana from "Scarface" is highlighted as a tragic hero with eight out of nine sympathy characteristics.
  • "In the Heat of the Night" showcases Virgil Tibbs as a catalyst hero, inducing change in others.
  • Axel Foley from "Beverly Hills Cop" embodies the trickster hero archetype, challenging authority playfully.
  • Characters like Forrest Gump and "Dumb and Dumber" represent mentally challenged heroes, naturally evoking sympathy.
  • Films with unsympathetic heroes, like "Waterworld," often fail at the box office, emphasizing the importance of hero sympathy.
  • Adversaries in stories serve as primary opposition to heroes, often appearing unbeatable and wearing masks of friendship.
  • Examples of adversaries include Jamie Gumb from "Silence of the Lambs" and Miranda Priestly from "The Devil Wears Prada," showcasing varied characterizations.

37:17

Miles' emotional journey through wine country

  • Miles takes Jack on a bachelor-party trip through wine country, where Jack's compulsive chasing of women causes trouble.
  • Jack reveals to Miles that his ex-wife Victoria has remarried, shocking Miles.
  • Miles, stuck in the past and longing for Victoria, struggles with his emotions upon hearing the news.
  • Miles, ignoring his date Maya, is lost in memories of his past with Victoria.
  • Miles, advised by Jack not to drink and dial, ends up drunk and calls Victoria, showing her power over him.
  • Victoria, not physically present, dominates Miles emotionally through a phone call, setting up her role as the adversary.
  • Miles, still longing for Victoria, struggles to move forward and communicate with Maya.
  • Miles faces the obligatory scene where Victoria introduces her new husband, showing his growth and maturity.
  • Victoria reveals she is pregnant, signaling the end of any hope for a future with Miles.
  • Miles, finally letting go of Victoria, celebrates a new start by opening an expensive bottle of wine alone.

54:49

Love interest subplots drive character growth in film.

  • The pursuit of emotion is integral to screenwriting and visual storytelling for character growth.
  • A love interest character in a film must involve back-and-forth dynamics, not just a stable relationship.
  • Examples like Apollo 13 and First Man showcase the endangered innocent plot, not just a love interest.
  • Neytiri in Avatar represents a love interest subplot, not the main plot.
  • Officer Rhoads in Bridesmaids is a clear example of a love interest subplot.
  • Lisa McDowell in Coming to America serves as the hero's goal, making her a love interest character.
  • Alicia Nash in A Beautiful Mind is a charismatic love interest, crucial but still a subplot.
  • June Carter in Walk the Line is the love interest adversary for Johnny Cash, essential to the plot.
  • Carol the waitress in As Good As It Gets is a love interest character for Melvin Udall, leading to character growth.
  • Melvin's interaction with Carol prompts him to take his first anti-OCD pill, signifying a significant step in character growth.

01:12:31

Hero's growth through relationships and challenges.

  • The hero's main plot drives the story, changing and humanizing the hero alternately for and against the hero.
  • Sexual tension and conquest add depth to the hero's character, not necessarily blatant or flagrant.
  • The hero's growth is pushed by various factors, including taking a pill and an unusual love interest relationship.
  • The sidekick, like Prince Eddie Murphy's character, Semi, is less skilled but loyal, providing counsel and conflict.
  • Successful sidekicks like Dory in Finding Nemo and Rusty Ryan in Ocean's Eleven play crucial roles.
  • In Inception, Ariadne serves as an opposite-sex sidekick to Cobb, delving into his troubled dreams and memories.
  • Ariadne's role as a sidekick involves understanding Cobb's psyche, uncovering his darkest memories, and facing danger.
  • The mentor can be any age, passing on skills and wisdom to the hero, often giving a life-saving gift.
  • Successful mentors like Morpheus in The Matrix and Penny Lane in Almost Famous guide and teach the hero.
  • The mentor's gift to the hero, like Morpheus revealing the truth about the hero's special role, marks a pivotal moment in the story.

01:30:32

Cipher's Rebirth: Mentor's Chosen One Rescues Kevin

  • Cipher warns crew to buckle up as things get weird
  • Mirror engulfs Cipher, leading to rebirth metaphor
  • Cipher wakes in a tank surrounded by pods
  • Millions of pods reveal dream world truth to Cipher
  • Mentor believes Cipher is the chosen one
  • Mentor's survival serves storytelling purpose
  • Endangered innocents like Kevin crucial to story goals
  • Kevin's endangerment sets ticking clock for rescue
  • Carl saves house but loses Kevin to adversary
  • Carl's character growth seen in letting go of past possessions

00:00

Crafting a Feature Film: Break Time

  • Writing a feature film
  • Take a break
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