Script Breakdown - Character Analysis
By Peter D. Marshall, Sat Dec 10th

In the last article, I talked about the first, and mostimportant, part of a Director's job - understanding the script:what the story is about; the themes; the story points; and thecharacters. In this article, I will focus on CharacterDevelopment and Analysis.

After reading the script and working through the scriptstructure and scene analysis, it's time to figure out thedevelopment 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 startwith.

2) Character Emotions

Here are the three main character emotions:

a) Sympathy - the audience IDENTIFIES with the character'sproblems and triumphs

b) Empathy - the audience UNDERSTANDS the emotions that drivethe character

c) Antipathy - the audience wants the character to "GET WHATTHEY DESERVE"

3) Character Components

These are the Internal and External factors that shape eachcharacter:

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 peoplewant out of life)

a) SUPER OBJECTIVE (example: "Power over People") - what is theprimal motivation of the character - what are the main needs ofthe character

b) OBJECTIVES (example: "Wants to Dominate Character A") - whatdoes the character want (motives) - what are the active choicesto achieve the Super Objective

c) MAIN ACTIONS (example: "What they DO to Character A") - whatthe character DOES... - to get what he WANTS... - to fulfill hisNEEDS

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 toplay 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: whatdoes 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 (outerlife)!

6) Character Breakdown

Go through your script and write down all the characters. Youshould list the main characters first and the secondarycharacters last and then assign them a function. Your firstcharacter should be the main character - or the protagonist.

NOTE: if you are doing a TV Series, the main characters willalready 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 everyscene:

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 theDirector, it is your responsibility to take a written document(The Script) and translate it into a visual format (Film orVideo). This means that we can sometimes use visuals instead ofdialogue to make a story point or to show what an actor isthinking.

After you have done all your homework on Script, Scene andCharacter Analysis, make another pass at the script to see whatdialogue can be omitted by using visuals to get the pointacross. It is always better to SHOW the audience what acharacter is thinking, than have them talk about it. (MotionPictures!)

WARNING: on a TV series, the producers are usually the writersand they are, for the most part, very hesitant to have anydialogue removed. If you have done your homework (Scene andCharacter Breakdowns) and can show them that your idea will makethe scene better, go for it - they can only say no.

About the author:Peter D. Marshall has worked in the Film and TV Industry forover 32 years. In 2000 he created www.ActionCutPrint.com as anonline resource center for Filmmakers where you will findfilmmaking tips, articles and directing workshops. Peter alsopublishes the free monthly ezine, "The Director's Chair."http://www.actioncutprint.com/AS.htmlmailto:pdm@actioncutprint.com