Effective Protagonists, Part III: Die Hard

After my last post on the dual power of Character wants and effective introductions in Pirates of the Caribbean: Curse of the Black Pearl, somebody made the astute observation that the only protagonists I’ve selected for analysis thus far have been white males.

Well anyway, today we’ll be conducting a breakdown of Detective John McClane in Die Hard.

Continue reading Effective Protagonists, Part III: Die Hard

Effective Protagonists, Part I: Star Wars

What is the most integral element of a film? What keeps the viewer wholly invested in what’s unfolding on the screen? What is it that draws us so willingly and eagerly into the cinematic experience and makes us feel like we’re a vital part of the action?

If you answered ‘full-frontal nudity,’ well dear reader… you just might be on to something.

But the correct and more church-friendly answer is ‘Character.’ If one were to consider Story as an architectural structure – perhaps a Greek temple – Character would be one of the two largest and most crucial loadbearing columns alongside Plot. Which of these two columns is more critical in the support of Story’s narrative integrity than the other is a debate for another day, but I’m personally of the persuasion that effective characters can compensate for an ineffective plot more than the opposite (think about it – if we care about an individual well enough, it’s fairly easy to get invested in whatever they’re doing).

Continue reading Effective Protagonists, Part I: Star Wars