I posted something about this in another thread on conflict, but didn't have time to elaborate. Rather than hijack that thread, I'm starting a new one. Some preliminaries:
In the course Fletcher was teaching, he went through the same analysis for Princess Bride, Game of Thrones, Toy Story, When Harry Met Sally, Unforgiven, Casablanca, Pulp Fiction, Fargo, and more. It's an interesting technique and worth thinking about. Perhaps it will be of help to someone here.
- These thoughts are not mine. They are from a course on screenwriting by Angus Fletcher, and I felt that they have applicability to all kinds of fiction, not just screenwriting. I'm writing them here in my own words; and
- This is not meant to be prescriptive. It is one way of looking at or for conflict that may be of use to people, especially if one is having a hard time establishing a conflict in the story.
- STAR WARS: The rule that governs the story world here is basically one of "might makes right." From the outset, the Empire is shown as overwhelmingly powerful. They have Star Destroyers, and even have a secret weapon that can destroy an entire planet.
- Han Solo is a rogue type of character. He operates outside of the the laws that rule the story world. He's also fleeing bounty hunters, and more apt to survive on wits or charm than power. He's in conflict with the core rule of the world that says the powerful dominate.
- Princess Leia ostensibly has some power. She comes from a noble family, after all. But by opposing the Empire she puts herself in conflict with the idea that might is always right, and when we first see her she is fleeing the dominant power, and then captured by it.
- Luke Skywalker, the main hero, has the least power of all at the outset. He's on a backwater planet, fixing old droids and old farm equipment. He's still somewhat under the parental authority of his aunt and uncle. He's the opposite of powerful when the movie introduces him.
- Darth Vader, the antagonist, embodies the rule of the story world. He dominates others through power and imposes his will on other characters.
- THE GODFATHER: The rule that governs here is also one of power, but it is the rule that one man (Don Corleone) is the law. The Godfather's word as law, his power, is established from scene 1. The protagonist, Don Corleone's son Michael, is immediately shown in conflict with this. We learn that he has joined the Marine Corps, a societal force, and embodiment of the will of society as law or at least as a source of power. This is the polar opposite of the idea of one man as law. And from the outset, it is established that Michael does not want to be like his father. He's in conflict with the rule that says a single man's word is law. Of course, the Godfather is a tragedy, so in the end Michael conforms to the rule of the story world, unlike Luke Skywalker et al. who triumphantly oppose the rule of their story world.
- JAWS: The rule that governs here is a rule of animal nature and animal appetites. The shark is, of course, the ultimate embodiment of this. It is simply base animal instinct. But humans in the movie also follow the basic rule of the story world. Young people out drinking and having sex, following their animalistic natures, are victims of the shark. The mayor of the town is driven to keep the beaches open by the base animal instinct of greed. Even the son of Brody (the sheriff) is introduced as being injured playing on a swing that he'd been told was broken. He didn't care if it was broken--he was following a primal urge to have fun and he paid the price. More importantly, this allows an immediate set up of Brody as being in conflict with the rule of the story world. He scolds his son for playing on the swing, telling him he should be more careful. There are other elements that establish Brody as being cautious or suspicious of nature right from the start. He doesn't follow animal instincts, he fights against them. And he doesn't pay the price that those following their animal natures do.
In the course Fletcher was teaching, he went through the same analysis for Princess Bride, Game of Thrones, Toy Story, When Harry Met Sally, Unforgiven, Casablanca, Pulp Fiction, Fargo, and more. It's an interesting technique and worth thinking about. Perhaps it will be of help to someone here.
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