1. U64006 INTRODUCTION TO SCREENWRITING
WEEK 4
Narrative paradigms (2): Vogler’s 12-step “hero’s journey”
Case study – Shrek 2

2. THE FULL MONTY - THEMES
Cultural stereotypes on men and women (challenged and reversed)
Old role of men as breadwinners
Men are repressed, inexpressive and deceptive
Self-defeating, disappointing as fathers/husband
Cross-section representation: labour/management, white/black, hetero/gay, lean/stout, older/younger
Gaz is the protagonist, but plot(s) and shared problems make the story focus on men in general
Women are pragmatic/practical
Women as the new breadwinners
Reversal of stereotypes (and plot)
In order to succeed in their goal, men must emulate what women used to do
U Introduction to Screenwriting

3. CHARACTERS & THEMES
Theme(s): relate to main problem and its possible or actual consequences
i.e. NOT just love, passion, revenge, friendship, etc. BUT context (setting)  disturbance  problem  consequences
THROUGH: characters’ growth (what have they learnt) + subplots (what they could lose) + plot resolution (values embraced)
U Introduction to Screenwriting

4. STORYLINES / PLOTLINES (from wk3)
Action line = series of events  change on protagonist
External enemy/antagonist
More physical problem
Relationship line = character relationships, internal changes
Through external behaviour of 2 (or more) chars.
Public interaction
Events in the action trigger conflict/problems in the relationship line
Internal conflict
U Introduction to Screenwriting

5. TYPES OF CHARACTERS (from wk3)
PRIMARY CHARACTERS
Protagonist(s)/hero
Antagonist(ic force)/villain
SECONDARY CHARACTERS
Helper(s)/sidekicks/allies
Mentor
Mentor antagonist
Messenger/dispatcher
BIT PLAYERS
Minor characters
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6. CHARACTER – SUMMARY (from wk3)
Ontologic: gender, race, class, family background, name
Experience: education, abilities, own family, sexuality, back-story
Now: age, occupation, friends/enemies, appearance, world view, beliefs, manners, sense of humour, tension levels, language, pastimes/passions, delusions
U Introduction to Screenwriting

7. CHARACTERIZATION (from wk3)
Ontologic traits (nature)
Cultural traits (nurture + experience)
Present life of character = Now
BUT
Script  Character’s arc  challenge/change?
U Introduction to Screenwriting

8. CHARACTERIZATION (from wk3)
CHARACTER’S ARC
Protagonist’s (and other characters’) internal journey
Emotional
Psychological
Spiritual
Caused by (and in response to) events in both the AL and RL
Throughout whole film
Setting (furthest point from change)
Climax (moment of final change)
The bigger the arc, the more dramatic the film
U Introduction to Screenwriting

9. CHARACTERIZATION CHARACTER’S ARC
Character transformation (problemchangeproblem solved, or not)  essential to understanding of the narrative
Character want (physical journey) Vs. Character need (emotional journey)
In contradiction, but also complementary
Audience response to characters (structure of sympathy), 3 stages:
Recognition (perception of elements identifying character)
Alignment (access to character’s action, feelings, etc. – knowledge)
Allegiance (moral evaluation of character)
U Introduction to Screenwriting

10. MODELS Field’s 3-act paradigm (Aristotle)
Vogler’s 12-step hero’s journey
7-step pattern (comedy)
Krevolin’s 15-step pattern (crime)
Short formats (TV)
[check diagrams]
Field’s 3-act paradigm (Aristotle)
Vogler’s 12-step hero’s journey
7-step pattern (comedy)
Krevolin’s 15-step pattern (crime)
Short formats (TV)
[check diagrams]
U Introduction to Screenwriting

11. THE HERO’S JOURNEY
Based on Joseph Campbell’s “monomyth”  archetypal protagonist goes through a journey (separation, initiation, return)  meaning
U Introduction to Screenwriting

12. THE HERO’S JOURNEY
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13. THE HERO’S JOURNEY – 1. ORDINARY WORLD
Serves for later comparison with Special World (only “special” if in contrast to mundane world of everyday affairs); familiarity Vs. unknown (but also opportunity).
Sets characters and setting (when/where); world seen through his eyes  Create identification via universal goals, drives, desires, needs.
Establishes routines, rules, patterns of living (often with negative associations)  physical want to escape stated
Establishes stakes: what does the hero stands to gain/lose (consequences)
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14. THE HERO’S JOURNEY – 2. CALL TO ADVENTURE
Usually in form of unexpected event/message/messenger-herald
Ordinary world called into question, character’s need to transform
Foresees danger/reassurance, trial, passage
Both positive and negative
Problem, challenge, adventure to undertake  can no longer remain in the comfort of the Ordinary World  establishes the goal (and path of action to be taken)
Action, sci-fi, epic: quest/mission to restore balance of the universe
Revenge plots: offense against natural order of things, wrong to be set right
Detective stories: crime to solve to right wrongs
Romantic comedies: first encounter with special but (initially) annoying someone
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15. THE HERO’S JOURNEY – 3. REFUSAL OF THE CALL
Immediately after the call
If call is positive TP alluding to wondrous journey of possible change, then Refusal suspends it into a negative (through dialogue and action)
Mull over options (torn between two worlds, reluctance, fear of the unknown): stay or go, fail or succeed, wonder or find out  and how much able to invest
Detective story: turn down the case
Romantic comedy: pain of a previous relationship
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16. THE HERO’S JOURNEY – 4. MEETING W/MENTOR
Mentor (wise old man): symbolic value, parent/child, teacher/student, doctor/patient, god/man bond
Protects, teach (advice), tests, trains, equips, prepares the hero (tools, weapon, guidance, a kick in the pants)
Wisdom/experience/knowledge gained in previous story (hero)
Emotional relationship with hero (?)
Eventually the hero will have to face the unknown alone
U Introduction to Screenwriting

17. THE HERO’S JOURNEY – 5. CROSSING THE 1st THRESHOLD
Threshold:into the Special World, unknown, or “belly of the whale” (e.g. Pinocchio, Finn MacCool, Red Riding Hood)
Character tested physically and emotionally when approaching threshold  give up ego, relinquish normal life
Act of final commitment, decision to act (start of the real journey)  the story takes off (the ships sails, the spaceship soars off, the romance begins, etc.)
Frequent metaphoric function of physical barriers: doors, gates, arches, bridges, deserts, canyons, walls, cliffs, oceans, rivers, etc.
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18. THE HERO’S JOURNEY – 6. TESTS, ALLIES, ENEMIES
Path literally laden with (progressive) obstacles and dangers (Road of trials)
First encounters with enemy forces (agents)
Lessons learned (rules of the Special World)
Different feel/rhythm, values
Importance of locations
Importance secondary characters
Friends can be made and help, but especially emotional relationships are developed
U Introduction to Screenwriting

19. THE HERO’S JOURNEY – 7. Approach to the inmost cave
Dangerous place or situation, where the object of the quest is hidden
Towards first climax and crisis (two halves of story)
Usually downward spiral, pushes characters to limit  mentor’s tools and newly acquired knowledge (from step 6) to react
Face to face with deepest fears (and enemy forces), everything to lose
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20. THE HERO’S JOURNEY – 8. Ordeal
Direct confrontation with fears/antagonistic force  “black moment”  hero at the bottom  hold tension and suspense  live or die, win or lose, succeed or give up
Death of the ego (death or near-death moment)
Blackest moment, but hero reborn (new life, new knowledge)  physically and emotionally healed
Hero understands problem, confronts own emotional turmoil  experiences (or seeds) change
Death of past / Birth of new future
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21. THE HERO’S JOURNEY – 9. Reward
Immediately after (or ending) the Ordeal
Object, love (reconciliation), greater knowledge, justice/order restored  hero becomes a “hero”
Emotional (universal value)
Physical (specific to character’s situation)
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22. THE HERO’S JOURNEY – 10. The Road Back
OR, Refusal to return (to the Ordinary World); OR, Last threshold
Pace revved up again to escape the Special World, usually with physical pursuit
Deal with the consequences of confronting the vengeful forces  chase scenes
Propelled by emotional growth / change, from physical to emotional danger
Chooses wisdom/knowledge vs. tools, clear will to overcome dangers (goal now achievable)  shift from physical want to emotional need
U Introduction to Screenwriting

23. THE HERO’S JOURNEY – 11. Resurrection
Often, final moment of 10 (Road back)
Second life-and-death moment, final exam/test/hurdle
Final purification (catharsis), hero is reborn (new with new insights/internal growth highlighted)
Providing proof/outward sign of change (e.g. sacrifice, old Self is dead)
Re-entering Ordinary World
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24. THE HERO’S JOURNEY – 12. Return with the elixir
Elixir = treasure, love, knowledge, crime punished, etc.
Sometimes a physical token represents change, knowledge gained  comparison with beginning
Absorbed back into society and share experience
New life (forever different) commences
Sense of closure
U Introduction to Screenwriting

25. THE HERO’S JOURNEY
U Introduction to Screenwriting

26. PLOTTING / STORYLINES Prologue - Summary of Shrek 1
Antagonist  AL, Plot A (main plot)  action (goal/quest)  Charming / Fairy Godmother
Romance  RL, Plot B (subplot)  themes (moral, change)  Fiona / Family
Themes and character pattern/relations  structure (parallel threads A/B)
PROLOGUE 1
book (V.O. narrator, fairy tale)  spell cast on Princess
Prince Charming reaches fortress, Fiona is not there
PROLOGUE 2
Super8: Fiona & Shrek on honeymoon + ring  Opening Credits (5:00)
Back home with Donkey
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27. WHY SHREK?
Shrek (2001) (Elliot, Rossio, Stillman, Schuman, Cameron, Miller, Vernon)
Budget: $60M
Gross: $455M
Won Oscar. Another 29 wins & 44 nominations
Shrek 2 (2004) (Adamson, Stillman, Weiss, Stem, Miller)
Budget: $150M
Gross: $880M
Nominated for 2 Oscars. Another 13 wins & 34 nominations
Shrek the Third (2007) (Miller, Adamson, Price, Seaman, Warner, Gohrn, Zack, Gould, Klausner, Cameron, Porter, Smith)
Budget: $160M
Gross: $790M
U Introduction to Screenwriting

28. HOMEWORK FOR WK 5 SEMINAR
Watch/Analyse George Lucas’s “Star Wars (IV: A New Hope)”
Prepare presentations (booked students)
3-act structure (both action and relationship lines)
Characters (functions, arcs, dynamics, etc.)
Hero’s journey pattern
LECTURE
Watch “When Harry Met Sally”
U Introduction to Screenwriting