Acting guru Konstantin Stanislavski taught that
characters have inner lives that motivate their behavior at
every point in a story. A character's actions should be consistent
with his desires, goals, personality, and changing situation
throughout a novel, play, or film. It's how an actor should approach
a role. It's how a writer should write a character.
For every scene, the writer must ask,
If I want this character to do X, how can I motivate the character
to do X? If no believable motivation can be created, the
character should not do X.
Some reasons for poorly
motivated characters:
1. Writers treat characters like
puppets on a string, serving the interests of the plot, even when the
character's actions contradict their previously established inner
lives.
2. Writers fill a character's mouth
with clichés and catchphrases, because the writer is too lazy,
thoughtless, or untalented to construct sharp yet believable lines.
Poorly written stories are full of
characters who simply "decide" to do this or that.
Slasher films are famous for characters who decide to go for a
walk alone in the dark woods, after everyone else has mysteriously
disappeared. The character might even have been afraid to go out 20
minutes earlier, when the writer wanted the character to stay indoors.
But now that the writer wants the character to be killed,
the character changes his mind and decides to go for a walk.
This is the puppet on a string,
devoid of an inner life.
Audiences, sensing that something is off about the character, that the character is ridiculous, have difficulty suspending their disbelief and
empathizing with the character. Instead, they simply laugh when the
puppet is killed onscreen.
Poorly
motivated characters often spout self-contradictory dialog.
In
Lake Fear 3 (a bad film on many
levels), Revel (Shanon Snedden) is seeking her missing sister. Her
friend Chloe (KateLynn E. Newberry) thinks it's a lost cause. So she
hires TV psychic Vincent (Devi Khajishvili) to put Revel's mind to
rest about her sister.
Chloe's request is itself an astonishingly poor piece of writing.
She instructs the psychic, "She (Revel) needs closure. Just make
something up for all I care. She needs this."
Really?
Just make something up?
So Vincent can claim that Revel's sister is alive in Toronto,
married to a millionaire, or that she was tortured to death in Chicago --
doesn't matter.
But
writer Gerald Crum is determined to make his bad script worse.
Sitting down with Revel and Chloe, Vincent asks about the sister,
"So, ah, how did she go missing?"
Chloe snarkily interjects, "Isn't
that your job?"
Meaning, Vincent is supposed to be psychic. He
should know how the sister went missing.
But wait a minute. Chloe knows
Vincent is a fraud. She hired Vincent to lie to Revel. Chloe's
motivation is to give Revel closure. So why is Chloe undermining Revel's faith in Vincent's
psychic abilities? Chloe paid good money for Vincent to lie, and now
Chloe is sabotaging his ability to lie.
My guess is that writer Crum was focused on the scene, in making Chloe sexily snarky, and forgot about the previous scene. He was treating Chloe like a puppet,
having her serve the current scene (here is where you "decide" to
be sexily snarky), and he forget about Chloe's inner life and
motivations as established in previous scenes.
Also, Crum might have thought that
Chloe's putdown of Vincent's psychic abilities was a funny bit of
dialog. Crum's focus was on the scene and the line, not
on Chloe's character -- her inner life and motivations.
Lake Fear 3 is full of bad dialog, poor
characterization, and awful acting. (The makeup effects are good.) An especially egregious example of bad dialog occurs after demons attack the trio and Revel is killed. Chloe and
Vincent find themselves with Remington (Joshua Winch), who knows about demons. Crum thinks this is good time for his
characters to engage in an argument.
Bad writers often have characters
engage in poorly motivated arguments, because they think it's
a good way to create tension, suspense, and drama. And during this pointless argument ...
Chloe snaps at Vincent, "Like
you're one to talk. You're just a fraud."
Vincent replies, "Oh my God.
That's called being an actor."
Chloe says, "Okay, yeah. Well,
if you would have told me and my friend that you were just an actor,
we'd be hundreds of miles away by now. But no. You needed your fifty
dollars."
Huh? Chloe knew Vincent was a
fraud. She hired him to "Just make something up." She even admits to paying him $50. So why is she in the same breath saying "if you would have told me and friend you were just actor, we'd be hundreds of miles away by now."
Apparently, writer Crum isn't paying
attention to anything he'd previously wrote. His focus is always on his current scene, ignoring whatever came before. And he's filling up
every scene with whatever lines sound snarky, cool, funny, or dramatic -- to hell with the context of the story, or consistency of character.
Viewers who are still paying attention
at this point are rolling their eyes.
For more examples of poorly motivated
characters, see my posts on Dark Floors, In Search of Lovecraft,
Prometheus, and The Haunting of Marsten Manor.
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For more information on writing in horror films, see Horror Film Aesthetics: Creating the Visual Language of Fear. This blog represents a continuing discussion of my views on horror, picking up from where the book left off.