As much as we enjoy focusing on archetypes, when developing characters for a screenplay, novel or play, it’s critical to examine all the other issues that make up compelling characters.  Archetypes are useful since they present us with valid, and forceful templates that have stood the test of time.  However they only work when we understand the principal aspects of the human condition. 

Mythology can give us Hercules and Odysseus.  Wisdom literature can give us Jesus and Noah. Modern myths gave us Lincoln and John F. Kennedy.  How we deal with these myths and archetypes is very dependent on understanding the source of conflict, the opposing forces in a character’s life, motivation, primeval driving forces, and existential crises within the character.

First and foremost, conflict is usually the result of family. Not necessarily family of origin but also the adopted family of a gang, clan or tribe.  Real families or surrogate families develop shifting allegiances based on existential crises as well as the emergence of the “secret” in the family.   Almost every great story reveals some kind of familial secret that once uncovered become the source of conflict.

Intertwined with conflict almost all characters display at one time or another – often at the same time – independence or a sense of rootlessness, interdependence with others or dependence on others. Independence is the loner character who wishes not to touch or be touched.  In America the best examples are seen in westerns with the lone rider entering the town to vanquish the villains and then riding out again, his horse his only ally.  Truly independent people (a rare commodity) are cut off from their heritage, their roots and thus not very interesting.  That’s one of the reasons we always get the back-story showing the human side, some might say the interdependent side of the character.

Interdependent characters are fairly normal.  They show mutual respect for the space of others and believe in the sanctity (in myth, the holiness) of time, place and action.  Unfortunately, they’re not too interesting as fodder for fiction since they have all the attributes of ordinary people.  However, as stated above, interdependence plays a part in all characters.

Dependent characters present major challenges.  They are the ones who bask in the sunlight of others and whose lives are determined by the other.  They can be followers, gang supplicants, or be driven into the nether world of psychosis where their personalities are completely subsumed. 

In my next blog I’ll identify several motion pictures that exemplify each one of these traits.  If you have any favorites, send your analysis to me. 

DENNIS HOPPER: A REMEMBRANCE

Dennis and I met through a mutual friend, both of whom had an interest in emerging artists.  Dennis collected unknown artists such as Lichtenstein and Warhol, while our friend collected Johns, Stella and Bengston. 

On a particular summer day when we were both in our early thirties, we gathered in a patio bordering our friend’s tennis court and quaffed beer and ate nachos.  Dennis challenged me to a tennis game.   I was a moderately adequate player.  However I didn’t know that Dennis was a very good player. 

The game commenced and he played with a racket in one hand and a can of beer in the other whereas I, determined to do my best, smashed balls back.  I was a head taller than Dennis and in my hubris thought I could overpower him.  With laid-back insouciance, he commenced to take me down one set after another.   He never broke a sweat while I looked as if a waterfall had poured over me.

He forgave me for my lousy game and we spent the rest of the afternoon talking about art – never about film or the film industry.  It was another time and another place.