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Draft Zero: a screenwriting podcast

DZ-03: Making Unlikeable Protagonists Compelling

1 tim 18 min30 mars 2014

Listen if you want to make audiences care about deeply flawed protagonists!

In this episode, Stu and Chas try to work out what stops a-holes protoganists from pushing the audience out of the movie.

To work this out, we tackle the first 20 pages of HOT FUZZ, AS GOOD AS IT GETS and GROUNDHOG DAY. And we break down how in each script the protagonist's flaw is stated out loud to the audience and to the character within a handful of pages. And how this changes the question from "what's wrong with this guy?" to "how will he ever change?".

The other tools we discuss:

  • The yin-yang oscillation — the peaks and troughs in our sympathy, where cruelty is followed by a beat that complicates it (e.g. the dog peeing before Melvin throws it down the chute, so we get the motivation even as we reject the act).
  • Laugh at, not just with — making the unlikable bits so extreme the audience laughs rather than recoils. The GRAN TORINO trick.
  • Steve Kaplan's definition of comedy: an ordinary person struggling against insurmountable odds without the skills to win, who never gives up hope.
  • How a protagonist doesn't always have to be compelling. In HOT FUZZ it's the situation — the car crash you can see coming.

We also wander through DUE DATE, SUPERBAD, ANCHORMAN's pantsless desk-scotch, GRAN TORINO's weaponised racism, DUCKMAN, GIRLS, THE OFFICE (David Brent the Office versus the US Steve Carell) and the British tradition of letting its leads be proper a-holes.

PS: In ANCHORMAN... um... they renamed the character of Alicia Corningstone to Veronica Corningstone (Christina Applegate) in the shooting script. We keep on referring to her as Alicia as that is what she is referred to in the screenplay. Sorry.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

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Read the transcript for this episode.

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"Stating the flaw early sets up a dramatic question for the audience... The question becomes: *when will he realize* or *how will he realize?* And you're actually wanting to see how they will ultimately change." — Stu Willis @ 00:25:52

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CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:35 – What Makes an Unlikable Protagonist Compelling?
  • 00:04:01 – › Steve Kaplan's comedy definition and why flaws must be visible
  • 00:07:35 – › Four craft tools for building audience empathy with a flawed lead
  • 00:09:19 – HOT FUZZ
  • 00:13:35 – › The yin-yang structure: building up then deconstructing the hero
  • 00:17:21 – › Stating the flaw early sets the dramatic question
  • 00:20:12 – › Fish out of water as the engine of comedy and compulsion
  • 00:27:01 – AS GOOD AS IT GETS
  • 00:30:22 – › Why the dog scene must be funny, not repellent
  • 00:33:44 – › How performance beats in big print control audience sympathy
  • 00:39:11 – › Carol as the one person who can handle Melvin
  • 00:44:47 – › Small acts of care as the first signs of change
  • 00:50:38 – GROUNDHOG DAY
  • 00:55:29 – › Bold structural decisions in the opening
  • 00:59:39 – › Foreshadowing the trap without revealing it
  • 01:03:00 – › Why the first 20 minutes work without a conventional hook
  • 01:08:10 – Key Learnings & Wrap Up

FILMS

SCRIPTS

LINKS

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We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-03/

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