TASK 4
TASK 4
CREATIVE ANALYSIS AND DEVELOPMENT
October 2024
In this week's tasks, we explored ways to create interesting characters for fiction and non-fiction. To do so, we looked at some scenarios in the news and in television.
Here you can find my research into characters and the character profiles for my own script.
See lecture slides.
The Icelandic Volcano
The eruption affected millions of people around the world, some clearly more than others. This included tourists, businesses, families and governments to name a few. It is for this reason it was front page news.
Here in the UK, ash had landed on people's cars, affecting transport and travel. Flights were grounded in some countries meaning both holidays and commuting was interrupted. Industry-wide standstills - and a knocked on backlog that meant the disruption continued way beyond the initial incident.
There are plenty of individual characters that could be drawn out of the story. Imagine someone travelling back from a work trip, unable to catch a flight to be at home with their family; a feeling of being stranded, stuck or even lost. The characters around them, their partner, their children, friends and colleagues each have their own unique experience of the situation too (which remains intertwined and connected to our protagonist). You could even imagine a protagonist not immediately affected by the eruption and yet the events cause disruption to their story.
You could create a character far away from the eruption, say an old man in South America hearing about it on the radio. He tunes in to hear a local langauge describing the events unfloding and he tries to picture it. His vivid imagination creating his own interpretations, fictionalising what he hears could be a very unqiue take on the story.
Bank of England Interest Rates
A potentially boring topic - finances. But yet the people affected are anything but ordinary. Sure you may have your money-hungry financial traders profiting from the news, there's a movie there. But globally, the interest rate rise would affect everyone else too. The working class, those in poverty and those around them will find it much harder to live as the cost of shopping suddenly increasing. Although this story isn't related to it, I'm quite looking forward to the many documentaries and dramatisations of the Truss effect to come out in the future.
Imagine a young signle mother, with no real income and already struggling to make rent, suddenly caught out by her weekly shopping costing twice what it did a week ago. It's a story I beleive would be relatable for many across the country.
Closing of the Coal Mines
Primary to the closing of coal mines are the workers losing their jobs. An industry previously providing a reliable income, creating thousands of jobs, homes and communities now shutting down. Families find themselves without an income, students might have lost a vital pathway into employment. A coal mine closing affects a varied group people.
Imagine the character of a student, who has felt disconnected from education, finally finding a job they would be interested in and skilled at working. Except the rug is pulled from underneath them at the closing of their local mine.
A Summary
I can see from diving deep into headlines around the world that at the heart of any story are the people, those experiencing it and those watching from the periphery. The key being:
People are characters.
Breaking Bad
In the clip from Breaking Bad there are four distinct characters, each with their own motivations and reactions within the scene.
Firstly, the Son, who wants independence from his family, reglardless of his disability. He want's to be able to get dressed without the involvement of his parents, but later understands that he needs them in the moment. His character invokes empathy within us, through the moment inside the changing room and the events that unfold.
His Mum, is a carding and compassionate invidual who wants to help. She also appears understanding of Walter JR's situation and his frustration: she asks "would you like me or your Dad?", reading through his defiance to get dressed on his own and seeing that he is in-fact struggling.
Then there is Walter, who - like the mother - wants to help his son. At first he is helping within the mundane moment (getting dressed). But once the bullies come into play, his want to help becomes more of a need to inflate his ego.
The Bully simply wants to show off, to have a sense of power in front of his friends - even if it means picking on the vulnerable.
Walter's confrontation with the bully goes beyond asserting dominance, he is at a moment where he has nothing to lose. His ability to temper his anger is reduced and he happily gives into his inflated ego. His methods are tactical, to surpise his target. A look into the his mind and the man he becomes later in the series.
Doctor Who - The Power of The Doctor
To sum-up: the world is ending (obviously), The Doctor saves the day.
A need to save the world, followed by a need to break apart her relationship with Yaz in a way that isn't painful. With her cry of "I wan't more time", the Doctor realises she must face her own regeneration; seeing Yaz upset, she composes herself and decides takes her on one last trip.
Her main strength would be her mind: The Doctor can think on her feet and solve almost any problem.
The Doctor has many weaknesses, often it is described as their compassion. I would never call that a weakness.
Her main fear in the moment is seeing Yaz in pain, breaking her heart. She opts to give her closure in a way that makes them both feel loved - even if it leaves a lot unsaid.
The answer to any problem is back within the subject mater. You can find the answer within the character and how they would react to and experience situations around them.
Here are two character profiles created for my idea Brief Connection. They're embedded via Google Docs. If the documents do not display correctly, please drop me an email via USW.
An 18 year old, about to finish school. Loves visiting his Nan every week. Big fan of that dish she makes.
Notes and references
Remember, the actor cannot let the character they are playing know things that only the actor knows. The character first has to experience the events for themselves.
Painting the world with audiovisual clues that act almost like subliminal messaging. This can be representing though set design, symbols, clothing etc. The audience is engaged when they recognise these symbols. Some objects can have multiple purposes, idea: they're introduced as just a frying pan or other item, then they're used in a much bigger event (coming full circle, Chekhov's gun etc)
Become fascinated with how characters do even the most mundane; we are all in a state of being, always doing something. Put your characters in relevant situations (or even the antithesis of their familiar)
Define characters by how they deal with unfamiliar scenarios. A well defined character will lead the story in their direction
Further develop the character profiles
Use the traits identified there in determining how they react within the story idea
Read next Connecting the Story.