[00:00:00] So in the last section we talked about what is character and what is one of the major qualities of a compelling character. so what we learned primarily is that your main character has to be paradoxical.
[00:00:24] There's a difference between characterization and true character, and the revelation of true character in contrast or contradiction to characterization is fundamental for all fine storytelling. and it is essential for major characters. Okay, so now I want to break that down by showing you a couple of clips.
[00:00:44] the first clip we're going to look at is a clip from Casablanca and we're going to learn about Rick Blaine.
[00:00:51] Rick Blaine, played by Humphrey Bogart, owns a nightclub in Casablanca
[00:00:56] and what we find out is that his old flame, the woman he loved, who deserted him and abandoned him and ran off, just didn't show up when they were supposed to run off together. She happens to turn up in his little gin joint and she is married to her husband, Victor Laszlo.
[00:01:15] Laszlo is a famed rebel who the Nazis are chasing and trying to catch.
[00:01:21] at the beginning of Casablanca, we see that Rick is cynical, he seems like he doesn't care about anybody, and yet he's visited by his friend Renault. who basically challenges him and says, Hey, we have some intelligence that suggests that Victor Laszlo is going to come through here and we need you to not get involved.
[00:01:41] And Rick Blaine says, I stick my neck out for nobody. That's what he says about himself. And that seems to be the case, right? Like, at first, we think that he's just this cynical guy who owns this sort of icky nightclub. And yet, what happens? Let's find out.
[00:02:00] Rick, there's going to be some excitement here tonight. We're going to make an arrest in your cafe. What, again? Oh, this is no ordinary arrest. A murderer, no less. If you're thinking of warning him, don't put yourself out. He cannot possibly escape. I'd stick my neck out for nobody. Wise foreign policy. Vous voulez la Corse, la Tunisie, Nice.
[00:02:24] Qu'est ce que vous avez fait pour les avoir? You could have made this arrest earlier in the evening at the Blue Parrot. Out of my high regard for you, we're staging it here. It will amuse your customers. Our entertainment's enough. Rick, we'd have an important guest here tonight. Major Strasser, of the Third Reich, no less.
[00:02:41] He wanted to be here when we make the arrest. A little demonstration of the efficiency of my administration. I see. And what's Strasser doing here? He certainly didn't come all the way to Casablanca to witness a demonstration of your efficiency. Perhaps not. Here you are. It shall not happen again. That's all right.
[00:02:56] Well, if you've got something on your mind, why don't you spill it? How observant you are. As a matter of fact, I wanted to give you a word of advice. Yeah? Here, Banny. Thank you. Rick, there are many exit visas sold in this cafe, but we know that you've never sold one. That is the reason we permit you to remain open.
[00:03:15] Oh, I thought it was because I let you win at roulette. That is another reason. There is a man arrived in Casablanca on his way to America. He will offer a fortune to anyone who will furnish him with an exit visa. Well, what's his name? Victor Laszlo. Victor Laszlo? Rick, that is the first time I've ever seen you so impressed.
[00:03:32] Well, he succeeded in impressing half the world. It's my duty to see that he doesn't impress the other half. Rick, Laszlo must never reach America. He stays in Casablanca. It will be interesting to see how he manages. Manages what? Oh, but I've just told you Stop it. He escaped from a concentration camp. The Nazis have been chasing him all over Europe.
[00:03:52] This is the end of the chase. 20, 000 francs. Says it isn't. Is that a serious offer? I just paid out 20. I'd like to get it back. Make it 10. I'm only a poor, corrupt official. Okay. Done. No matter how clever he is, he still needs an exit visa. Or I should say two. Why two? He is traveling with a lady. Well, take one.
[00:04:13] I think not. I've seen the lady. And if he did not leave her in Marseilles or in Iran, he certainly won't leave her in Casablanca. Well, maybe he's not quite as romantic as you are. It doesn't matter. There is no exit visa for him. Who or whatever gave you the impression that I might be interested in helping Laszlo escape?
[00:04:31] Because, my dear Ricky, I suspect that under that cynical shell, you're at heart a sentimentalist. Oh, laugh if you will, but I happen to be familiar with the record. Let me point out just two items. In 1935, you ran guns to Ethiopia. In 1936, you fought in Spain on the Loyalist side. I got well paid for it on both occasions.
[00:04:53] The winning side would have paid you much better. Maybe. Well, it seems that you're determined to keep Laszlo here. I have my orders. Oh, I see. Gestapo spank. My dear Ricky, you overestimate the influence of the Gestapo. I don't interfere with them, and they don't interfere with me. In Casablanca, I am master of my fate.
[00:05:13] I am Major Strassford's here, sir. There you sang. Excuse me.
[00:05:22] Okay, so what do we learn about Rick Blaine and Renault in this section? Well, for one, we learned that on both hands, this contrast between characterization and true character is at work.
[00:05:37] Both of them actually pretend, in a way, that they are something they're not. And Reynold even calls Rick out on it. He says, listen, I suspect you're a sentimentalist and here's my evidence. You ran guns, you did this, and you would have been paid more by the other side.
[00:05:52] So deep down, right, you might be sympathetic to this Laszlo character. But they end up making a bet over it and even though this is a corrupt French official who does some pretty nasty things, by the way, we kind of like Renault too, because even he is not at heart who he seems to be at face, and we're going to learn more about that.
[00:06:15] Okay, but now let's see if it's true. Is it true what Renault says? Is Rick actually more sentimental than we think? And that question gets answered to us. almost right away. Let's watch that clip.
[00:06:29] How's the lady like treating you? Oh, too bad. We'll find a room there. Monsieur
[00:06:45] Rick? Yes? Could I speak to you for just a moment, please? How did you get in here? You're underage. I came with Captain Reno. I should have known. My husband is with me, too. He is? Well, Captain Reno's getting broad minded. Sit down. Do you have a drink? Of course not. Do you mind if I do? No. Monsieur Rick. What kind of a man is Captain Raynaud?
[00:07:04] Oh, he's just like any other man, only more so. No, I mean, is he trustworthy? Is his word Oh, just a minute. Who told you to ask me that? He did. Captain Raynaud did. I thought so. Where's your husband? At the roulette table, trying to win enough for our exit visas. Oh, of course, he's losing. How long have you been married?
[00:07:24] Eight weeks. We come from Bulgaria. Oh, things are very bad there, monsieur. The devil has the people by the throat. So, Jan and I, we We did not want our children to grow up in such a country. And so you decided to go to America. Yes, but we have not much money and Traveling is so expensive and difficult. It was much more than we thought to get here.
[00:07:50] And then Captain Renault sees us. And he is so kind. He wants to help us. Yes, I'll bet. He tells me he can give us an exit visa. But But we have no money. Does he know that? Oh, yes. And he's still willing to give you a visa? Yes, monsieur. And do you want to know? Will he keep his word? He always has. Oh, monsieur.
[00:08:15] You are a man. If someone loved you very much, so that your happiness was the only thing that she wanted in the world, and she did a bad thing to make certain of it, could you forgive her? Nobody ever loved me that much. And he never knew. And the girl kept this bad thing locked in her heart. That would be all right, wouldn't it?
[00:08:38] Do you want my advice? Oh, yes, please. Go back to Bulgaria. Oh, but if you knew what it means to us to leave Europe, to get to America. Oh, but if Jan should find out. He is such a boy. In many ways, I, I am so much older than he is. Yes, well, everybody in Casablanca has problems. Yours may work out. You'll excuse me.
[00:08:59] monsieur. Two cognac, please. Two cognac. Mark on les jeux, mesdames et messieurs. Les jeux sont faits. La partie
[00:09:23] continue. Mesdames et messieurs, marquons les jeux. Les jeux sont faits. Marquons les jeux. Les jeux sont faits. Le huit en plein. On paye à l'expo. On paye en plein le huit. Do you wish to place another bet, sir? No, no, I guess not. Have you tried 22 tonight? I said 22. Marquons les jeux, mesdames et messieurs.
[00:09:49] Les jeux sont faits. La partie continue. Marquons les jeux.
[00:10:04] Leave it there,
[00:10:20] cash it in and don't come back.
[00:10:24] Are you sure this place is honest? Honest? As honest as the day is long. How are we doing tonight? Well, a couple of thousand less than I thought there would be.
[00:10:49] Just a lucky guy. May I get you a cup of coffee? No, thanks, Carl. Monsieur Rick. Rien ne va plus. Rien ne va plus, madame. Rien ne va plus, madame. Captain Renault, may I Oh, uh, not here, please. Come to my office in the morning. We'll do everything businesslike. We'll be there at 6. I'll be there at 10. I'm very happy for both of you.
[00:11:13] Still, it's very strange that you won. Well, maybe not so strange. I'll see you in the morning. Thank you so much, Captain Renault. No. Boss, you've done a beautiful thing. Why, you crazy Russian.
[00:11:44] As I suspected, you're a rank sentimentalist. Yeah, why? Why do you interfere with my little romances? Put it down as a gesture to love. Well, I forgive you this time. But I'll be in tomorrow night with a breathtaking blonde. And it'll make me very happy if she loses. Uh huh.
[00:12:01] All right. So in this clip, what's happened is this young girl who's newly married. They can't get visas to get out of Casablanca and get to America. Now, Renault being the corrupt official that he is, he's basically said, listen, I can get you the visas in exchange for. sex. and so what she's come to do is to find out if we're not will honor it.
[00:12:28] If she sleeps with him, will he follow through and give her the visas? And she's been sent to ask Rick Blaine. Now, notice Rick Blaine is very uncomfortable with that because he knows this is how Renault works and it disgusts him. But he also is trying to stay neutral and it's everybody else's issues, right?
[00:12:45] And it also foreshadows, cause we're always doing setups, it foreshadows his own struggles. But what does he do? He says he sticks his neck out for nobody, but is it true? No. In fact, he goes to the table where the young husband is gambling, And he says, I would take that bet.
[00:13:02] And he basically tells his employees, let this guy win. He gives them the money for the visas.
[00:13:09] Now, mind you, these are strangers to him. He doesn't even know these people. so if he doesn't know these people, but he's willing to do that, then we can probably get a pretty idea that.
[00:13:29] Let's look at another clip that I think illustrates this. Now in this clip, there's actually three characters that we're looking at. this is a clip from Silence of the Lambs. It's a wonderful scene. It's our first time meeting Hannibal Lecter, who you may or may not know is the greatest villain probably that has ever made it to the American screen.
[00:13:51] he is an incredible villain. but in addition to that, we're still at the beginning of the movie and we're getting to know our main character, who is played by Jodie Foster, Agent Starling. We're also meeting the guy who runs the psychiatric prison facility where they keep Hannibal Lecter and his name is dr Chilton, so we're meeting all three of these characters and I want you to just watch this clip and look at their characterizations versus their true character And what can we discern about who these people are based on the contrast just in these three major characters.
[00:14:29] It's brilliantly, brilliantly done. Let's watch it.
[00:14:33] Believe me, you don't want Hannibal Lecter inside your head. Just do your job, but never forget what he is. And what is that? Oh, he's a monster. A pure psychopath. So rare to capture one alive. From a research point of view, Lecter is our most prized asset.
[00:14:59] You know, we get a lot of detectives here, but I must say, I can't ever remember one as attractive. Will you be in Baltimore overnight? Because this can be quite a fun town if you have the right guide. I'm sure this is a great town, Dr. Chilton, but, um, My instructions are to talk to Dr. Lecter and report back this afternoon.
[00:15:22] I see. Let's make this quick, then. We've tried to study him, of course, but he's much too sophisticated for the standard tests. Oh, my, does he hate us. Thinks I'm his nemesis. Crawford's very clever, isn't he, using you? What do you mean, sir? Pretty young woman to turn him on. I don't believe Lecter's even seen a woman in eight years.
[00:15:47] And, oh, are you ever his taste? So to speak. I graduated from UVA. Doctorate is not a charm school. Good. Then you should be able to remember the rules.
[00:16:00] Do not touch the glass. Do not approach the glass. You pass him nothing but soft paper. No pencils or pens. No staples or paperclips in his paper. Use the sliding fruit carrier. No exceptions. If he attempts to pass you anything, do not accept it. Do you understand me? Yes, I understand, sir. I'm going to show you why we insist on such precautions.
[00:16:21] On the afternoon of July 8, 1981, he complained of chest pains and was taken to the dispensary. His mouthpiece and restraints were removed for an EKG. When the nurse leaned over him, he did this to her.
[00:16:35] The doctors managed to reset her jaw, more or less. Save one of her eyes. His pulse never got above 85. Even when he ate her tongue. I keep him in here. Dr. Chilton, if Lector feels that you're his enemy, then, um, well, maybe we'll have more luck if I go in by myself. What do you think?
[00:17:02] You might have suggested this in my office and saved me the time. Yes, sir. Then I, I would have missed the pleasure of your company, sir. When she's finished, bring her out.
[00:17:33] Hi,
[00:17:46] I'm Barney. He told you don't get near the glass. Yes, you did. Clarice Starling. Mm hmm. Nice to meet you, Clarice. You can hang your coat up here if you like. Oh, I will. He's past the others. The last cell. You keep to the right.
[00:18:07] I put out a chair for you. Oh, yes. That's very good. Thank you. I'll be watching. You'll do fine. Morning.
[00:19:03] Okay, so do you notice what happened here? Every single one of these characters is not at heart who they seem to be at face. Let's talk about Jodie's Agent Starling's characterization. She's young. She's a female. She's not even graduated yet. It's brilliant. She's actually still in training to be an FBI agent.
[00:19:24] They brought her out of it to have her be up against the most incredible supervillain mind that they have so far, because there's a serial killer on the loose and they need someone to be able to get information so they can catch the bad guy, Buffalo Bill, and they send Jodie Foster in to talk to Hannibal Lecter.
[00:19:46] That doesn't seem to match, and yet she's the only one who seems equipped for it, even though her characterization is in sharp contrast. Now, how do we know that she's up to the task? Well, because let's talk about Dr. Chilton. Dr. Chilton has a respectable position, right? He's supposed to be this honorable guy.
[00:20:07] I mean, he's running it so presumably he's smart and he's worked hard to get to this position, but he is disgusting, right? He's a monster. but not the kind that you lock up. He's not the kind of monster you lock up. He's the kind that's just smarmy and icky and, you know, this is quite a nice town if you have the right guide.
[00:20:32] He's so disgusting. He's a lech. And notice a guy like that, how fragile is his ego? Very right. If she handles him bad, he is going to revoke her access because he's the kind of guy who likes to Lord his authority over people. You can just tell. So she's got to manage him. She's got to navigate him without insulting him or offending him.
[00:20:59] And look at how she does, but she also has to not be a doormat. So there's all these opportunities for that, right? Where they're having this conversation and she is able to. navigate it without stepping on his toes. Like, Oh, well, I'm sure this is a nice town, Dr. Chilton, but
[00:21:17] my orders are to talk to Hannibal and then to get back. And so, so she's able to get out of that awkward situation without offending him. And he says, well, let's make this quick then. And notice what he does. Like, again, he's building himself up.
[00:21:34] How arrogant and egotistical is this guy? Oh, Hannibal Lecter is much too sophisticated for the standard tests. So he's saying he's super brilliant and then he adds in the same sentence and my does he hate us? Thinks I'm his nemesis. So he's saying he's up to par.
[00:21:54] He's as smart as Hannibal Lecter Which is that true? No, this guy is a joke to somebody like Hannibal Lecter, but he's a braggadocio type. But now notice what's happening visually. By the way, this is a great, great clip for storytellers to get a glimpse of the visual aspects of storytelling that help to communicate ideas on a much deeper level.
[00:22:19] And in this clip, We see that they keep spiraling down, down, and we keep hearing new gates close and the clank clank of that. and we even see like these monster type criminals being drugged by guards and rah. We hear noises, all of this. They're going deeper, deeper, deeper down, spiraling down into the earth because that's where they keep the monsters.
[00:22:45] And so visually, we are taking in that information and realizing who do they keep in the depths? That's hell, right? That's where the monsters are and we're going down into the depths of hell. We even have the scene where they stop at that gate and it's red. And if you listen, you can hear that. Which sounds like demons, right?
[00:23:09] We're going into the bowels of hell. That's where he's leading her. But notice also on the way he even insults her and says, Hey, um, boy, they are sure smart sending you. A pretty young woman and my, aren't you his taste, so to speak. And what does she do? She doesn't stand for it.
[00:23:29] The school I went to was not a charm school, Dr. Chilton, right? And he says, good, well, then you should be able to remember the rules. So she is standing up for herself. She's not a pushover. She knows when to push back. She knows when to not take something, And that's revealing to us that she is not at heart, who she seems to be at face.
[00:23:52] She's not just a pretty face, right? Then he explains all this stuff about the worst of the worst monster that they're about to go see. About how he ate off the tongue of the guard who was over him. His blood pressure never got above whatever it was.
[00:24:10] Because he was so calm and collected, like we are set up for a monster, which also makes it interesting. the contrast between true character and characterization. Because what do we expect the monsters to look like? Well, we find out right away, right? We find out right away when Agent Starling is released to go see Hannibal Lecter.
[00:24:33] But even before we get there, notice what happens. Dr. Chilton is gonna go in with her, and what does she deftly do? She deftly handles him and says, You know, hey, if he thinks you're his nemesis, maybe we'll have better luck if I go in by myself. What do you think? Like, she's playing him like a fiddle, but he doesn't know it.
[00:24:54] or he does, but he allows it because she is flattering his ego and he is the kind of guy that wants his ego stroked. And he even says, you might've mentioned this before I left my office and saved me the time. And what does she do? Well, yes, then I wouldn't have the pleasure of your company, sir.
[00:25:14] Like, that is true. She is up to the task, right? We're revealing who she is at heart, and it is not what she seems to be at face. She is a smart cookie. Is she scared? Yeah, she's terrified. So, it's not that she's so brave. In fact, she's smart enough to be afraid. She is smart enough to be afraid, whereas Chilton is going to brag.
[00:25:38] Right? And again, it is a question of monsters because you've got Chilton, who is a monster, just not the kind that has to be locked up. But she's about to go meet Hannibal Lecter, and then we get into the aisle where she's walking down to meet Hannibal Lecter, and oh my goodness, she passes by three cages on the way.
[00:26:02] And what must happen for it to be a compelling character quality? There must be paradox. A character cannot be at heart what they are at face value. But guess what? Those other three guys are at heart what they seem to be at face. How do I know? Because if they were out and in the real world, I could run from them because I could identify them as a monster and I would see them coming.
[00:26:31] I could see that guy is scary. There's something off about him. They couldn't trick me because they are at heart what they seem to be at face. You know, one guy is, Hi, election. The next guy is sitting there like a big baboon, right? Like he can't even move, he's just an automaton. The next guy is climbing on the cages and acting like an animal.
[00:27:01] I can smell you, right? Then, we get to Hannibal Lecter,
[00:27:07] in a perfect beam of light, standing like a gentleman. And so of all those monsters that are being kept in the bowels of hell, who is the scariest? By far, it's Hannibal Lecter. Why? Because he is not at heart what he seems to be at face. We would never see him coming. He seems so refined. He's got art on the wall.
[00:27:34] He's in a pool of light. He's listening to music. Right? He seems so refined and yet he is the true monster, the scariest monster that ever lived because we wouldn't see it coming. So all of those characters, what they have in common is that they are paradoxical. Jodie Foster shouldn't be the one who is up against Hannibal Lecter, who has to get that information.
[00:28:04] Her characterization does not match her true character. Hannibal Lecter's characterization does not match his true character. Dr. Chilton's characterization doesn't match his true character. And that's what makes them all fantastic characters. Fantastic characters on all levels. Okay. So the point is that you must have a character that is paradoxical, but you must understand the difference between true character and characterization.
[00:28:37] Characterization is, again, the assemblage of the traits, the stuff that you would know about your character by taking notes, the stuff that you can list. Well, they're nervous. Oh, they have a limp. Oh, they have a mole on their right cheek, or whatever.
[00:28:53] Oh, they have crooked teeth. All of those things, it might be important. And of course, you need to know which things they are. To include in your list of traits and you need to know which things to include in your list of traits because those things do play in to who that character is and it should play into the story if you mention it.
[00:29:15] And yet it is not true character. The only way to reveal true character is by showing what a character does under pressure. It's by action. What do they do? What do they do? That reveals who they are.
[00:29:31] And, the best characters are the ones that are paradoxical. Paradox simply means something with seemingly contradictory qualities.
[00:29:43] Okay, so that's what you have to do in your story. You have to make sure that you have paradoxical qualities for your character They cannot be at heart what they seem to be a face but also you have to make sure that your character is Making choices that reveal true character,
[00:30:01] which brings us to what we're going to talk about in the next session.
[00:30:05] the other essential quality of a compelling character is that they must be active. You cannot have a passive character. They must drive the action of the story. And that's what we'll talk about next.
