Creating Unforgettable Characters (15 page)

Even in a short commercial, characters are often created through contrasts. Sometimes these contrasts are related to physicality and function. In the Bartles & Jaymes ads for wine coolers, created by Hal Riney, we see two homespun farmer-entrepreneurs, Ed and Frank. They are described through contrasts. Frank is a motor-mouth, Ed the silent sidekick. Ed is known as the true brains of the outfit. He's smarter than Frank (Ed uses the word
platitude,
which Frank admits he doesn't understand) and he's the experimental one. In one ad, "He engaged in a scientific program to determine which foods go well with wine coolers. So far, Ed has only found two foods which don't. Kohlrabi—which is a vegetable sort of like a turnip—and candy corn."
¹
Even physically they look different. Ed is tall and slim, while Frank is a stout man in suspenders and spectacles.

These ads, which have won a Clio Award, the ad industry's Oscar, made Bartles & Jaymes the top-selling wine cooler, and Frank and Ed two of the nation's most recognizable product spokesmen.

WHERE DO YOU FIND CONFLICT?

Conflict comes from the contrasts between characters. It can come from different ambitions, different motivations and backgrounds, different wants and goals, and attitudes and values that are diametrically opposed to each other.

Sometimes these conflicts are psychological. The qualities that are the most infuriating to each character are the qualities that come from their "repressed" side (or even from their shadow). It is the opposite quality that both attracts and repels them.

Sometimes the conflict occurs because of a lack of directness. Misunderstandings lead to conflict. In "Cheers," even the moment of Sam and Diane's first kiss is filled with conflict.

SAM

What is it you want, Diane?

DIANE

I want you to tell me what you want.

SAM

I'll tell you what I want. ... I want to know what you want.

DIANE

Don't you see, this is the problem we've had all along. Neither of us is able to come out and state the obvious.

SAM

You're right. So, let's state the obvious.

DIANE

O.K. You go first.

SAM

Why should I go first?

DIANE

We're doing it again.

SAM

Diane, just explain one thing to me. . . . Why aren't you with Derek?

DIANE Because I like you better.

SAM

Really? Well, I like you better than Derek, too. DIANE

Sam . . .

SAM

All the jealousy I ever felt
for
my brother is nothing to what I've felt in the last five minutes.

DIANE

Oh, Sam. I think we're about to start something that might be kind of great, huh?

SAM

Yeah. Yeah. You're right. I guess we oughta like . . . kiss, huh?

And because nothing is direct with Sam and Diane, the kiss still takes another seven pages of discussion and arguing before it finally happens.

HOW DO CHARACTERS CHANGE EACH OTHER?

It's not unusual to hear an executive or producer ask, "Does the character change and grow?" Some of the strongest stories show the impact that one character can have on another.

Carl Sautter says, "The icy Maddie allows herself to be spontaneous because of the influence of David. He teaches her something about warmth, and she teaches him something about discipline. Maddie makes David less shallow, more adult. David gives Maddie a sense of humor. "

In "Who's the Boss?" Angela has come off her high horse as a result of Tony's influence, and Tony has gained more confidence as a result of Angela's support. According to the show's creators, "Tony, at the beginning of this year, went to college. That would have never happened if he hadn't met Angela. I think Angela has loosened up a little. She's learned how to kick her heels up. She's learned how to relax a little, and she's a warmer person."

In a television series, if the characters were totally transformed, the dynamic of the series would be destroyed. As a result, changes are minimal. In films or novels, conflicts can be resolved and transformations can be completed by the end of the story.

Rain Man
is a story about two characters who change each other. Since Raymond was so very limited emotionally, the challenge in creating the characters was to figure out how much of a transformation could realistically happen in this kind of a story. The film uses all of the elements we've mentioned in this chapter—attraction, conflict, contrast, and transforma-

tion. Barry Morrow explains: "One of the choices was making them brothers. That holds them together. And the relationship they both have to Raymond's inheritance binds them. Virtually every other way you can think of they repel one another. Age, height, intelligence, the way they walk and talk, every part of their being wants to go in opposite directions. I think attraction and repulsion are the two dynamics going on and contrast is a direct result of creating that. The transformation happens because Charlie gets worn down. . . . There was six days in the car, about two days more than he could handle, and those two days are what made him human.

"A curious thing happens across the arc of the movie. Raymond, in his own inimitable fashion, begins to wear down Charlie's ugly side—even through something as simple as language. In the beginning of the picture, Charlie is swearing a lot. But Charlie becomes civilized by being forced to care, and by the surprises he encounters. He gets rid of a lot of rough edges and becomes sensitive."

EXERCISE: Think through your relationships with friends, lovers, spouses, relatives. In what ways do your relationships fit these criteria of attraction, conflict, contrast, and transformation? Do you have a relationship with anyone in which the dynamic between the two of you is so strong that it could be the basis for the creation of a story?

CREATING CHARACTERS USING THESE ELEMENTS

You can apply these elements—attraction, conflict, contrast, and transformation—to love affairs, friendships, partnerships, any kind of character relationships.

In "Cagney and Lacey," the many contrasts between the characters added to the life of the series. Some come from the broad strokes of their characters:

Notice, through these examples of conflicts and contrast, how many story possibilities come about because the dynamic of the characters is clear and strong. Just by looking at this list you can see potential for stories about the interplay of characters as they confront the bombing of an abortion clinic, pornography, child abuse, and so on.

In starting to create a character who needs to dynamically relate to another character, one approach is to brainstorm the four elements. This is workable for any kind of story (novel, play, film, or television), but can be particularly important in a television series that depends on getting enough material from these character relationships to keep creating new stories week after week. Brainstorming can also be helpful in the creation of supporting characters, since they often interact with the lead characters.

We used this brainstorming technique when I was asked to give a seminar for the producing and writing staff of the series "MacGyver." Part of our objective for the day was to expand upon a character who had been on the show once before and seemed to have the strength and interest for the expansion of his role. The producers felt that this character would add another dimension to the character of MacGyver, particularly since the latter easily could become a character who was too much alone, too nonrelational.

The character we brainstormed was Colton—the bounty hunter. The plan was to make Colton a foil for MacGyver, as well as to develop a friendship between them over the course of a number of episodes. The actor playing Colton (Richard Lawson) joined us.

Using the same concepts discussed in this chapter, we decided to brainstorm the contrasts and conflicts between the two characters. Our list looked like this:

As we continued to discuss the characters, it became important to understand Colton's backstory. Some of it was modeled on Richard's own experience, which was comfortable to everyone in the group. Colton had been a Marine medic in Vietnam, as had Richard. Richard described how men in war often feel closer to the medic who cares for their wounds than to anyone else, turning to him for advice, sharing fears, or just wanting to talk. When Colton left Vietnam, he decided he never wanted to be depended upon again, and chose to become insular, a loner.

We expanded on some of the ideas on our list. Colton would

not like MacGyver's houseboat. It's not on solid ground and he would feel out of control. He would have trouble with MacGyver's sense of responsibility, questioning why he allows himself to get saddled with people's problems. He is particularly hostile to an ugly dog that MacGyver inherited when a friend died.

Although Mac does not particularly like the dog, he's sympathetic to it. The discussion of the dog led us to a discussion of the transformational arc of both characters. As we analyzed the effect each character has upon the other, our new list included four major entries:

1. Mac learns that sometimes it is better to follow his heart and instincts, rather than his head.

2. Colton learns patience, to wait before shooting, to sometimes think before acting.

3. Mac receives romantic advice from Colton. Some of it is good.

4. Colton learns to trust again. He learns teamwork, that sometimes there are things that can't be done without help.

As we worked with the character of Colton, our understanding of the character of MacGyver began to deepen. His attitudes, vulnerabilities, and backstory all became clearer when contrasted with those of the other man. The ideas we brain-stormed certainly were only beginning steps for the further development that the writers would do together. However, we discovered that focusing on the supporting character served as an impetus for new ideas about the protagonist and the relationship between the two that could expand the show as a whole.

The stronger the dynamic between the characters, the more successful the show can be and the more possibility there is that it will remain on the air for many years.

CREATING THE TRIANGLE

Usually two characters form a relationship. Occasionally a threesome—the triangle—is the focus. Such relationships are dynamic, sometimes frightening, and usually very difficult to work out. They follow many of the concepts already discussed with the addition of certain other elements.

Fatal Attraction
and
Broadcast News
both revolve around a threesome. By analyzing these films, it is possible to gain some insights into how to work with these relationships.

The relationships in both of these films are built on contrasts.

In
Fatal Attraction,
Beth and Alex are contrasting characters—one lighthearted, one depressed; one a caring wife, one a manipulative mistress; one involved with family, one single; one optimistic about her life, one desperate and pessimistic about the direction her life is taking.

In
Broadcast News,
Tom, the pretty boy who's not particularly smart, contrasts with Aaron, the smart one who's not as romantically appealing to Jane. Tom is more confident, Aaron more insecure. Tom is successful and gets what he wants, while Aaron fails miserably when he achieves his short-lived goal of being anchor.