How does splitting ‘character functions’ enhance theme?
We are often told that our ‘protagonist’ needs to be a active. That they need to be compelling. That they need to change. And – old faithful – that they need to be likeable. But after looking at MAD MAX: FURY ROAD, STAR TREK (2009), THE FIGHTER, and SICARIO, Chas and Stu learn that your primary character does not need to do all these things. In fact, they learn that splitting these functions between your primary characters can reinforce theme and create potential for different types of narratives.
And stick around for backmatter if you want to hear Stu go on a rant. For a change.
- John August: What’s the difference between Hero, Main Character and Protagonist?
- Screen Anarchy: Destroy All Monsters: All We Have Are Our Bodies On FURY ROAD
- MAD MAX: FURY ROAD by George Miller, Brendan McCarthy & Nico Lathouris
- STAR TREK (2009) by Roberto Orchi & Alex Kurtzman
- Bitter Script Reader: How STAR TREK INTO DARKNESS gave us the Kirk we deserve
- THE FIGHTER screenplay by Scott Silver and Paul Tamasy & Eric Johnson; story by Paul Tamasay & Eric Johnson & Keith Dorringon
- SICARIO by Taylor Sheridan
- DZ-03: Making Unlikeable Protagonists Compelling
- DZ-19: Car-Crash Characters
- DZ-20: Writing Strong Secondary Characters
- DZ-24: Forging Story Rules in TV Pilots
- Done Deal Pro Forums: Podcast Recommendations
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