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Posts Tagged ‘Michael Chase Walker’

“Not all film heroes change: James Bond, Ace Ventura, Batman and other action figures are too busy effecting change, by saving the world or making us laugh, to undergo personal transformation. However, in the film stories we turn to time and time again, be it Casablanca, Witness, Moonstruck, Chinatown or In the Line of Fire, the hero solves a personal problem and undergoes change and endears him to us forever. We are grateful for their experience because most of us do not have the time in our busy lives to pursue self-transformation. Instead, we go to the movies. We pay movie stars a lot of money to show us how to change.”
Michael Chase Walker
Power Screenwriting
Page 4

P.S. Just last month I quoted Garry Marshall as saying, “Most good stories are Cinderella” and Blake Snyder once wrote that, “All stories are transformation.” Some transformation movies that quickly come to my mind are On the Waterfront, Toy Story 3, and most recently, Flight. What are some of your favorite transformation movies?

Related Post: Cheap Therapy — Related thoughts from John Gardner and Richard Krevolin

Scott W. Smith

 

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“I never saw my father or my mother, and never saw any likeness of either of them, my first fancies regarding what they were like, were unreasonably derived from their tombstones.”
Pip in Charles Dickens’ Great Expectations 

When a hero starts his life as an orphan, it is to show he has nothing to lose. He is unattached and unencumbered by family ties and social obligations, so he is usually portrayed as an orphan to indicate that he is not saddled with the normal attachments the rest of us have. This sense of not belonging is a part of all of us.”
Michael Chase Walker
Power Screenwriting

I’m sure somewhere along the way in reading Joseph Campbell or Chirstopher Vogler, and their work on mythology, I read about the role of the orphan character. But not until I read Michael Chase Walker’s brief one page summary on orphans in his book Power Screenwriting did I connect it with a screenplay I have written and have been recently re-writing. (And I should add that Walker himself credits Carol Pearson’s book The Hero Within for many of his insights.)

Then once I connected the dots the floodgates opened wide and there were orphans running all over the place in cinematic history. While the orphan can literally be an orphan he or she usually isn’t.  Walker clarifies, “The orphan/hero today is created by giving your main character a single and footloose status. He may be divorced, widowed, abandoned, handicapped or a maverick. It doesn’t matter. The point is that the heroes and heroines must be free to seek their destiny and reclaim their birthright.”

Think of how these characters are orphans:
Neo/The Maxtrix
Superman
Rocky
Dorothy/The Wizard of Oz
Will Hunting/Good Will Hunting
Jason Bourne/Bourne trilogy
Tom Hanks character/The Terminal
Jack Lemon character/ The Apartment
Citizen Kane
E.T.
Bambi
Forrest Gump
Seabiscuit
Jerry Maguire
Rain Man
Sleepless in Seattle
Babbett’s Feast
Hoosiers
The Firm
Kramer vs. Kramer
Lion King
Home Alone
Oliver Twist
Gladiator
Elf
Star Wars
Erin Brockovich
The Wrestler
Gran Torino (Clint Eastwood has made a career of playing orphans)

Orphans in movies are often lost and alone as they begin their journey. Is there any wonder why audiences connect with such characters?

1/25/12 Update:  “I never looked at (Hugo) as a 3-D family film. I never consider an audience that way when I’m working. To me, it was a compelling story about an orphan making a home for himself.”
Hugo screenwriter John Logan
Movieline interview with S.T. Vanairsdale 

Scott W. Smith

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