quinta-feira, 21 de março de 2019
terça-feira, 12 de março de 2019
quinta-feira, 7 de março de 2019
Acting Analysis - theres a great serie about this (self note, take notes about what he looks for)
Character development process
Fully developed characters
This means we got to know them so well that we can imagine them in almost any situation.
He’s not just a robot, he’s a lonely curious robot who fears, thinks and loves.
A young fish who craves independence from is father but endangers himself in try to achieve it.
Uma princesa que prefere seguir os sonhos e esperança em vez de se conformar com a expectativa dos pais.
Creating a character is creating life from scratch.
Where do you begin?
External features and Internal features.
What they look like
This may suggest what inside is going on
Are they insecure? Brave? Jealous? Confident? Generous? Pompous? Caution? Nurturing? Scared? Risky? Greedy? Rebellious? Loving? Forgetful? Kind? Hateful? Patronizing? Insecure?
What do they like to do?
What are their beliefs?
What do they enjoy?
What do they not enjoy?
Where do you get ideas for internal and external feature?
Character have to come from authentic human emotions and experiences.
This doesn't mean creating a character from you but you can draw from someone you know.
Because it's much easier to go from your family members or a friend when you're trying to search for a character. The specificity that people bring that you can't make up on your own is something that I look forward to and I enjoy when I'm trying to pinpoint down a character.
Understanding the character in and out will help you understand what the character really desires which is what drives them through their journey.
Wants vs. needs
What is this character want?
It's important to understand what a character wants because it informs your story. If you don't really know what they start out wanting it's hard to take them somewhere on a journey; and that's what stories are all about.
I want to do this, be a champion, king, etc
Characters get to have that goal and they will work every day, every second of the day in their story to make that happen.
Character might want something and do everything to get it.
Needs are the things we need to do, or learn in order to grow, or succeed in life. For example, a character might learn that they need to share what they desire in order to be fulfilled, or happy.
The distinction between what a character wants and what they need is important when you're building a character.
We all have those things we want. Oh man, I'd love that new car. Or, I'd really like, oh man, I'd love a VR machine, that'd be so cool.
But what I need is probably to feed my family.
And what I need is probably to have good relationships and things like that.
Oftentimes I think needs are something that we don't like admitting.It's eating your vegetables.
You want to just go for those sweets, the things that that make life easier, but we have to sometimes do those things that we don't want to do. And in the end, it makes for full course meal if we're going with this food analogy. And I think in a character it's important to
have those needs, and even have those needs sometimes conflict with the wants because it makes our characters stronger and makes them have to go through trials that turn them into more a well-rounded character.
So Woody in Toy Story, for example, he wants to be Andy's favorite toy, and stay that way.
And he needs to learn to share.
To share his friendship, and to not have to always be the best.Sometimes a character might want something in the beginning, and then their need completely comes out of a realization
they might have along the way.
In the case of Sully, he wants to rise up in the organization.
You know, he's just like everyone wants to be you want to be promoted to be the top in your profession. Internally though, we throw a monkey wrench in his plans in the form of Boo.
Something that he doesn't want to take care of.
But because this little girl actually depends on him he's at odds with what his main goal is.
If he gets exposed to actually having a human child that career path that he wants gets destroyed.
So, the thing that he values, that he says he wants and the thing that he has to take care of right now are going to destroy each other.
His heart actually softens because he starts to care about Boo more than he cares about his career.
In fact, he doesn't care at all about his career anymore. And he will choose what he needs in his life his connection.
A connection to another person.
He wants Boo in his life.So I think that oftentimes your want can be some of the entertainment of the story, but the need is gonna be that emotional heart that really makes people remember the film when they come out of the theater and for years later.
In the next exercise, you'll have a chance to think a little more about the wants and needs
of some characters you know.
As well as ones you want to create.
(Flow the psychology of optimal experience) Autotelico - Auto = Eu Telos = Objetivo
It refers to a self contained activity, one that is not done with the expectation of future benefit.
But simple because the doing itself is the reward.
When the experience is autotelic the person is paying attention to the activity for its own sake when it is not the attention is focus on its consequences.
In inside out Joy want Rilly to be happy but what she needs is to feel sad.Sometimes you need to be vulnerable in order to find the answers. To have healthy relationships she needs to embrace sadness.
Deficiency needs vs. growth needs
This five-stage model can be divided into deficiency needs and growth needs. The first four levels are often referred to as deficiency needs (D-needs), and the top level is known as growth or being needs (B-needs).
Deficiency needs arise due to deprivation and are said to motivate people when they are unmet. Also, the motivation to fulfill such needs will become stronger the longer the duration they are denied. For example, the longer a person goes without food, the more hungry they will become.
Maslow (1943) initially stated that individuals must satisfy lower level deficit needs before progressing on to meet higher level growth needs. However, he later clarified that satisfaction of a needs is not an “all-or-none” phenomenon, admitting that his earlier statements may have given “the false impression that a need must be satisfied 100 percent before the next need emerges” (1987, p. 69).
When a deficit need has been 'more or less' satisfied it will go away, and our activities become habitually directed towards meeting the next set of needs that we have yet to satisfy. These then become our salient needs. However, growth needs continue to be felt and may even become stronger once they have been engaged.
Growth needs do not stem from a lack of something, but rather from a desire to grow as a person. Once these growth needs have been reasonably satisfied, one may be able to reach the highest level called self-actualization.
Every person is capable and has the desire to move up the hierarchy toward a level of self-actualization. Unfortunately, progress is often disrupted by a failure to meet lower level needs. Life experiences, including divorce and loss of a job, may cause an individual to fluctuate between levels of the hierarchy.
Therefore, not everyone will move through the hierarchy in a uni-directional manner but may move back and forth between the different types of needs.
1. Physiological needs - these are biological requirements for human survival, e.g. air, food, drink, shelter, clothing, warmth, sex, sleep.
If these needs are not satisfied the human body cannot function optimally. Maslow considered physiological needs the most important as all the other needs become secondary until these needs are met.
2. Safety needs - protection from elements, security, order, law, stability, freedom from fear.
3. Love and belongingness needs - after physiological and safety needs have been fulfilled, the third level of human needs is social and involves feelings of belongingness. The need for interpersonal relationships motivates behavior
Examples include friendship, intimacy, trust, and acceptance, receiving and giving affection and love. Affiliating, being part of a group (family, friends, work).
4. Esteem needs - which Maslow classified into two categories: (i) esteem for oneself (dignity, achievement, mastery, independence) and (ii) the desire for reputation or respect from others (e.g., status, prestige).
Maslow indicated that the need for respect or reputation is most important for children and adolescents and precedes real self-esteem or dignity.
5. Self-actualization needs - realizing personal potential, self-fulfillment, seeking personal growth and peak experiences. A desire “to become everything one is capable of becoming”
Hierarchy of needs summary
(a) human beings are motivated by a hierarchy of needs.
(b) needs are organized in a hierarchy of prepotency in which more basic needs must be more or less met (rather than all or none) prior to higher needs.
(c) the order of needs is not rigid but instead may be flexible based on external circumstances or individual differences.
(d) most behavior is multi-motivated, that is, simultaneously determined by more than one basic need.
hanges to the original five-stage model are highlighted and include a seven-stage model and an eight-stage model; both developed during the 1960's and 1970s.
1. Biological and physiological needs - air, food, drink, shelter, warmth, sex, sleep, etc.
2. Safety needs - protection from elements, security, order, law, stability, etc.
3. Love and belongingness needs - friendship, intimacy, trust, and acceptance, receiving and giving affection and love. Affiliating, being part of a group (family, friends, work).
4. Esteem needs - which Maslow classified into two categories: (i) esteem for oneself (dignity, achievement, mastery, independence) and (ii) the desire for reputation or respect from others (e.g., status, prestige).
5. Cognitive needs - knowledge and understanding, curiosity, exploration, need for meaning and predictability.
6. Aesthetic needs - appreciation and search for beauty, balance, form, etc.
7. Self-actualization needs - realizing personal potential, self-fulfillment, seeking personal growth and peak experiences.
8. Transcendence needs - A person is motivated by values which transcend beyond the personal self (e.g., mystical experiences and certain experiences with nature, aesthetic experiences, sexual experiences, service to others, the pursuit of science, religious faith, etc.).
Psychologist Abraham Maslow (1943, 1954) stated that human motivation is based on people seeking fulfillment and change through personal growth. Self-actualized people are those who were fulfilled and doing all they were capable of.
The growth of self-actualization (Maslow, 1962) refers to the need for personal growth and discovery that is present throughout a person’s life. For Maslow, a person is always 'becoming' and never remains static in these terms. In self-actualization, a person comes to find a meaning to life that is important to them.
As each individual is unique, the motivation for self-actualization leads people in different directions (Kenrick et al., 2010). For some people self-actualization can be achieved through creating works of art or literature, for others through sport, in the classroom, or within a corporate setting.
Maslow (1962) believed self-actualization could be measured through the concept of peak experiences. This occurs when a person experiences the world totally for what it is, and there are feelings of euphoria, joy, and wonder.
It is important to note that self-actualization is a continual process of becoming rather than a perfect state one reaches of a 'happy ever after' (Hoffman, 1988).
Maslow offers the following description of self-actualization:
'It refers to the person’s desire for self-fulfillment, namely, to the tendency for him to become actualized in what he is potentially.
The specific form that these needs will take will of course vary greatly from person to person. In one individual it may take the form of the desire to be an ideal mother, in another it may be expressed athletically, and in still another it may be expressed in painting pictures or in inventions' (Maslow, 1943, p. 382–383).
Characteristics of self-actualized people
Although we are all, theoretically, capable of self-actualizing, most of us will not do so, or only to a limited degree. Maslow (1970) estimated that only two percent of people would reach the state of self-actualization. He was especially interested in the characteristics of people whom he considered to have achieved their potential as individuals.
By studying 18 people he considered to be self-actualized (including Abraham Lincoln and Albert Einstein) Maslow (1970) identified 15 characteristics of a self-actualized person.
Characteristics of self-actualizers:
1. They perceive reality efficiently and can tolerate uncertainty;
2. Accept themselves and others for what they are;
3. Spontaneous in thought and action;
4. Problem-centered (not self-centered);
5. Unusual sense of humor;
6. Able to look at life objectively;
7. Highly creative;
8. Resistant to enculturation, but not purposely unconventional;
9. Concerned for the welfare of humanity;
10. Capable of deep appreciation of basic life-experience;
11. Establish deep satisfying interpersonal relationships with a few people;
12. Peak experiences;
13. Need for privacy;
14. Democratic attitudes;
15. Strong moral/ethical standards.
Behavior leading to self-actualization:
(a) Experiencing life like a child, with full absorption and concentration;
(b) Trying new things instead of sticking to safe paths;
(c) Listening to your own feelings in evaluating experiences instead of the voice of tradition, authority or the majority;
(d) Avoiding pretense ('game playing') and being honest;
(e) Being prepared to be unpopular if your views do not coincide with those of the majority;
(f) Taking responsibility and working hard;
(g) Trying to identify your defenses and having the courage to give them up.
The characteristics of self-actualizers and the behaviors leading to self-actualization are shown in the list above. Although people achieve self-actualization in their own unique way, they tend to share certain characteristics. However, self-actualization is a matter of degree, 'There are no perfect human beings' (Maslow,1970a, p. 176).
It is not necessary to display all 15 characteristics to become self-actualized, and not only self-actualized people will display them. Maslow did not equate self-actualization with perfection. Self-actualization merely involves achieving one's potential. Thus, someone can be silly, wasteful, vain and impolite, and still self-actualize. Less than two percent of the population achieve self-actualization.
Obstacles can be anything. A person, a great distance or something internal, like fear. Whatever it is, an obstacle is something which stands in the way of a character and prevents them from getting what they want or need.
So, the core of storytelling is not only what's your character want and need,
but then, what is standing in their way,what's the conflict?
We have this expression that we create these characters, we put 'em in a tree, and then we throw rocks at them.We make their life a little harder. Marlin's obstacle would be his fear of the ocean.He tells Nemo all the time
you stay in the reef, it's safe here,and so in order to get back to Nemo,
he has to break everything that he's comfortable with.
The obstacles that were in Marlin's way from that point on were engineered to force Marlin out of his comfort zone in order to get to his son and reach a place where he could trust his son.
In ET, Elliott the boy meets ET the alien,and he wants ET to stay with him on earth, but the obstacle is that ET is an alien.
He can't stay on earth.
He can't survive.
I think about what's the best way to make this character realize what they need to accomplish.
Fear plays a part as an obstacle,depending on the character.
A lot of times we try to skirt around our fears and not deal with them,so if you present a character with a fear that they have to confront,it's a very immediate fight or flight scenario
that you've created, and so it forces your character to react.
When you're developing your stories, you wanna think, Okay, what's the fun external, you know,what's the car chase, what's the villain?"
But more importantly, how does that car chase and how does that villain reflect the obstacle
inside the character and reflect all of their flaws and their shortcomings.
So those kinds of obstacles you put in front of your characters because it makes them think about their wants and needs.
A character arc should be an expression of the history theme. To find that theme you should have a question that you want answered. In inside out for exemple pete question himself about what happened to joy? Why did my daughter isn't happy anymore?
The choices a character makes in response to obstacles and how the character changes as a result can be referred to as character arc.
Something I like to think of is character, obstacle, goal, and the character to get to their goal has to go deal with this obstacle.
The obstacles are what make them who they are, what make them change into this new person, and that really constitutes the arc. - And if you actually study a lot of the movies and stories that you read, the character starts off actually in their kind of basic form, still about to be formed, and the characters that they end up being at the end of the movie actually is their higher version. They're better. They don't get to go there unless they meet the challenges and the kind of pressure that will make them better versions of yourself. - Without obstacles, the character's just at a, you know, a flat line, and when the obstacles comes, it helps to push the character into the arc until they hit the hardest obstacle that they have to face at the climax, and then it's from there that they're able to complete their arc, so without obstacles, I don't think that the arc would even exist.
- In Incredibles, we have a very clear, very external obstacle of the Omnidroid. Syndrome invites Bob over to the island and he says, "Here's this big droid. Let's see if you can test it, fight it." And Bob fights it, it's a very close battle with that first Omnidroid, but he barely beats it. It takes everything he has, but he does it. He's victorious, he feels good, but we as an audience know, okay, these guys are about on par. The next time he's invited back, the Omnidroid wins and Bob gets captured, so now we know, okay, the obstacle is bigger than the hero, and that reflects his learning arc. He needs to learn that the family is his big journey, the family's what makes him a hero. So at the end of the film, we get the Omnidroid again, but this time we have the entire family of Supers and our question is, are they as a family enough to stop this thing? Of course, the answer is yes. They're fantastic, they're The Incredibles. Nothing can stop The Incredibles.
So all stories have some kind of transformation, and it's really compelling to watch a transformation happen, whether it is your character, or if your character makes a transformation in the world. Sometimes a character might not have a big change, but they will impact the world around them, and that's also very interesting. - So an obstacle that a character faces, like Joy, what the character wants was to make Riley happy all the time. What happens is she falls into the memory dump. This is a major obstacle in the movie. The emotion of Joy is going to be inaccessible to Riley for good, and inside the memory dump, she plays a memory of what happens to Riley when she is challenged, and when she replays a memory, she realizes that the only reason that Riley actually is happy is because she actually goes through a phase when she was sad. Now she knows what she needs. Riley needs sadness, and now the action changes. Joy is going to move heaven and earth to make sure that sadness gets back to headquarters. More important than her own goal. She'll realize that Riley is actually much better with sadness and fear and disgust and all the other emotions in her life in order to make Riley completely happy. So when we actually watch movies wherein characters achieve something simply by just walking through a door, it doesn't feel authentic. In fact, we don't think the character deserves it. We want the characters to actually work for it, because we also know that if you get something for practically nothing, you won't value it.
A character's arc defines the change or transformation a character undergoes from the beginning of a story to the end.
Each choice a character makes has potential risks, impacts, and rewards involved with it. Those can be called the stakes. - The stakes of a story are summed up on one question, why do we care? Why do I care if Nemo and his dad aren't reunited? - You have what's at risk if the characters fail. If the stakes are low, usually it's not a very entertaining film. But the higher the stakes are, the more tension you get, the more enjoyable it is. My favorite film of all time is Jurassic Park and the stakes are pretty high. If you fail the dinosaurs will eat you, that's pretty clear. - You have to be as the audience, gripped by those stakes. "I don't know what's going to happen." - Early on in the arc, I'd say that the stakes wouldn't seem as extreme, maybe. As the story progresses the stakes raise. - We have a lot of conversations about how big our stakes need to be. Does it need to be life and death? Or is it better if it's just, you know, for a comedy sometimes you want it just to be about the character's reputation or something smaller so that you're not bringing too much gravity to a situation. The important thing is, to the character, it should feel like the world to them. Even if it's just a talent show, you want to show to the audience that that talent show is everything to this character. I think by the end of Napoleon Dynamite, we all want Napoleon Dynamite to win that show and to be accepted by everybody. - Anything that is happening with your character I think it's really important to feel the emotional connection of that. If I don't feel it, they're not there.
- Stakes add drama and weight to any choice and can be divided into three categories, internal stakes, external stakes, and philosophical stakes.
- The external stakes are, literally, what's going on in the world. Are they lost? Are they being chased by burglars? Physically, what will happen to them or to the world if they fail? - A great example of external stakes is from Brave. By giving her mom the cake that the witch made, Merida turns her mother into a bear. That is an immediate, physical consequence of her choice that impacts both them as well as the story itself. Then, if Merida doesn't decipher and solve the witch's riddle, her mom will become a full bear and be lost forever.
- Internal stakes usually are psychological. What's going on for the character emotionally or mentally? What are they potentially going to lose? What will they potentially gain? Why is it important that they gain that thing? Why is it sad or difficult if they lose that thing? Asking those questions will help you figure out what those stakes really are. - A good example of internal stakes is from the original Toy Story. Throughout the film, Woody is forced to confront his own insecurity and pride, embrace Buzz as a friend, and learn to share Andy's attention. What's at stake for him, internally, is all of his relationships with the other toys and his very sense of self.
- Philosophical stakes are what is impacting the world. What is making the values or the belief system of this world change? Or not change. And what does it mean if it does or doesn't change? For philosophical stakes, I think Lord of the Rings is a great example. If Frodo doesn't throw the ring into the fire, then Middle Earth is gonna be ruled under evil forever. - When you watch movies that have this pitch battle between ideas, concepts, good versus evil, those kinds of things are philosophical.
External stakes, the possible physical impacts of a choice or action.
Internal stakes, the mental or emotional consequences of a choice, and philosophical stakes. What are the underlying ideas or values in your story? The distinction between internal, external, and philosophical stakes is tricky.
The problem is not the problem. The problem is your attitude about the problem."
- I think if you're looking for what kind of story you want to tell, I actually, what I used to do when I was in school, before I would start making a film, is I would just ask myself, if I could take a vacation anywhere, where would I want to go? You know I'd like to go to a medieval castle. Oh, that'd be a cool place to tell a story. So, you don't even have to necessarily start from a theme or a conflict, just jump into a setting and then start thinking of the characters, and what do they want? And maybe this is a castle that it's been too boring, so they've got to hire a dragon to come attack them. And so we're going to do a talent scout for a dragon. And then you just go from there. So, you know, when in doubt just let your mind go on a vacation. Through storytelling and especially in animation, you can go anywhere that your mind can take you. - Sometimes it's fun to just think about what you would like to see, what would you like to watch? What is something that, for you personally, you would say, oh, I'd love to watch a movie like that, and make it. And even if it's not perfect, it's great to just have things out in the world that are personal to you. And it's good to look at other films for ideas, and inspiration, and structure, and how they, you know, work things out, problems that they may have, but always try to stay true to your gut, and go with something that is important to you. - I went to California Institute of the Arts, the school that was started by Walt Disney specifically for animators, and I studied character animation. And one of the things you learn at Cal Arts is that you have your professors, which are great, they're professionals in the field, the people you're really learning from are your fellow students. They're the people that you are spending every day with, and you're telling jokes to, and you're learning if you're not funny, or if you're pitching your stories and you're realizing oh, you know what? I'm not making JJ laugh. Maybe I should, maybe I could make this story a little funnier. And even to this day, when we pitch scenes to each other, sometimes we forget that we're going to be showing them to billions of people in the world, and we're just trying to make the director and our story crew laugh. Because, at the end of the day, we're just people telling stories to each other.
- What happens when I tell the story to another person, is that all these other things show up, without me asking for them, even while I'm telling them. The story starts to come alive. The characters start to come alive. And then also the person you told the story to will tell you what they thought of it, notes, they're free. They actually are helping you make your story and your character better. So that's why I encourage everybody, if you're crafting a story, and you want it to get better, keep telling your story, over and over again. And you'd be surprised how good those characters and those stories become over a short period of time, and you don't have to sit alone in a room with it, thinking that it's good or bad or whatever, somebody can tell you. - So, another important thing that I'm coming to learn, the more I'm working in the industry, is it's filled with really amazing artists, and you're kind of always struggling to figure out how to stand out. And I think the best way to do that is to worry less about what you think people want from you, and just do, express yourself as best as possible. All the responses I got from the internship, and all the responses I got on my portfolio were just me going back and thinking about what made me laugh, or what were things that my siblings did that made me laugh really hard, and just try to express that into my boards. And people would be like, how did you come up with that? And I'd be like, you know, I didn't come up with it, it's just like, you know, this is me and what I'm exposed to, and people really reacted to that, and wanted more of it, and, you know, thought it was entertaining, or fresh and new. So I think that's the biggest advice I could give is just, you know, figure out what influences you in your life, and try to display that in your art. - So I think a big thing to remember, if you're trying to get a job at somewhere like Pixar, is to be yourself. I know it sounds cliche, but it really is important. - There's a lot of failure of course. There's a lot of times when you're wrong. There's a lot of times when you think that something is working and it's not. That actually is the most important thing that could happen to you as a storyteller, is when things are not working. And when things are kind of only slightly working. You always want to get better, and the only way you're going to get better is if you keep trying.
What is a character?
One of the attributes or features that make up and distinguish an individual.
What are these attributes?
Traits, emotions, context, subtext
Motivations and behaviours
Researching the character
Learn about the context of your character, about the world he or she lives in.
You can research in teorie but try to experience what the subject you are researching is living. For example a homeless, try to sleep on the street one day, capture the emotion, sounds. What are you hearing, seeing and feeling.
General vs Specific Research
General research is what we know from life, what we have learn about the world that surrounds us so far. It's the observation.
You see how people move, what they do, what they wear, the rhythms of their speech or even the thought patterns.
Write about what you know.
Specific research is about reading, talking to people and try to experience things.
Characters don't exist in the vacuum. They are a product of their environment.
Understanding a character begins with understanding the context that surrounds him or her.
Context is like a cup, it’s the space that surrounding the character and the coffee is made of specifics of the story and characters.
Elements that influence the context:
The impact of the Occupation
Ethnic Background, this may influence your behaviours, attitudes, emotional expressions and philosophy.
All characters have a social background, religious, educational and cultural.
Culture determines, speech rhythms, grammar and vocabulary.
You need to research.
Vocabulary is different, mannerism are different, rhythms, behaviours.
How does this affect the life style and behaviour.
Writers set locations the know about, that they have seen or lived.
Search what you need to know.
We can only understand fantasy by reality.
Locations affect many different aspects of the character, example the rhythms of living in a big city vs a calm village.
Tropics: You would want to capture in your characterization the sense of oppression from heat and humidity, or the claustrophobic feeling that can come from the constant rain in the tropics.
The impact of Occupation
Sometimes the context is the character occupation.
Uma pessoa da bolsa tem um estilo de vida e pace diferente de um agricultor.
Tem diferentes valores, atitudes, realidades,preocupações como resultado daquilo que fazem.
Different vocabulary, different place.
Num exemplo de um criminoso que abre cofres ele mete as seguintes questões:
How does he pick his places?
Who does he work for?
Does he work alone, why?
Why did he picked this path rather than other?
Where did he learn is thief skills?
What did he do as a kid?
Who, what, where, when, why.
Quem, o que, onde, quando, porque.
Que tipo de pessoa é esta que abre cofres?
Resistencia a autoridade, money is the only goal, silencioso e discreto, vive fora das regras, cuidadoso, meticuloso.
O tipo de erro que ele irá fazer será envolver se com pessoas,isso traz até si uma série de problemas.
Creating Specific research ou of general research
General research leads writers to actually model a character based on what they met.
If you find a model for your character as a result of research , that's a plus.
But specific character need not to come out of the research. That can come out of your imagination, provided you first understand the character context.
Learn to ask the right questions.
Observe, what do you feel see and ear?
How long does it take?
This depends on what you know before you begin, and on the difficulties inherent in the character and story.
What do I need to know about the context of my characters?
Do I understand their culture?
Do I understand the rhythms , beliefs, the attitudes that are part of that culture?
Have I met, talked to, spend time with people in that culture?
Do I understand ways that they are similar to, and different from the way i am?
Have I spend enough time with a number of different people, so that I won’t create a stereotype based on one or two encounters?
Am I familiar with the occupation of my characters?
Do I have a feel for the occupation, some sense through observation of what the work entails, and how people feel about their work?
Do I know their vocabulary well enough that I can use it naturally and comfortably in dialogue?
Do I know where my character live? Do I know the lay of the land, the experience of walking the streets?
Do I have a sense of the climate, of leisure time, activities, of the sounds and smells of this location?
Do I understand how this location is different from my own location, and what effect this has on my characters?
If my script is set in another period of time, do I know enough historical details about that period in terms of language, living conditions, clothing, relationships, attitudes, and influences?
Have I read diaries or other literature from that period so that I have a sense of how people spoke and the words they used?
In researching my characters, have I been willing to ask for help from resource people - whether librarians or people knowledgeable.
Defining the character Consistencies and Paradox
The first qualities of this person that come up to mind may be what’s consistent about his or her personality.
A friend that is empathetic compassionate other is a good party;
A teacher know for her logic and analysis.
But after you notice what is consistent you also think about the details that are suprising, illogical, paradoxical.
Popular guy that read astronomy books
The guys that uses silly hats
The defining of character is a back and forth process. You question, observe, think through you own experiences, and make others up. You test these against the consistency of your character.
You think about the details that are unique and unpredictable.
How to begin?
1- Getting the first idea from observation or experience
2- Creating the first broad strokes
3- Finding the core of the character in order to create character consistency
4- Finding the paradoxes within the character to create complexity
5- Adding emotions, attitudes, and values to further round out the character
6- Adding details to make the character specific and unique
Observation and imagination work together.
Observe the thinking process of the character while acting.
What is this man personality, what does that action tell you? How old?Who is he?Why?
Falava do exemplo do homem que aquece a manteiga na sopa para derreter e meter no pao.
“Whatever I know I know from my own experience”
Its about adding a part of you in the characters.
You need to learn self examination and know about yourself to some degree.
Physical and physiological, movement, emotion, intention.
The core of a character
Characters must be consistent and this doesn't mean predictable or stereotypical.
Core personality defines who they are and gives us expectations about how they will act.
Em certa parte gostamos da previsibilidade da personagem, quem são, a sua história, o seu código de honra, as suas éticas e a maneira como veem o mundo. A personagem tem de fazer certas decisões que a audiência já antecipa a reação. O desafio na construção de uma personagem é manter esses pontos consistentes e ao mesmo tempo manter fresh, reassegurar alguns elementos base, detalhes e sensacoes do core.