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First Look: BLADE RUNNER 2049 review

First Look: BLADE RUNNER 2049 review

Our Ian Kennedy on why it’s a fitting follow-up, why you should watch it in IMAX 3D, why it’s like the original in some unintended ways too, and why some audience reaction will suffer as a result…

I’ve got a long history with BLADE RUNNER. I saw it as a teenager in the 90s, again at University where I also attended lectures about it and wrote an essay about it, and I was also tasked with writing Example Development Notes for it during my time training up to join WriteMovies (which I’ll publish for you to read here – a good example of how our Development Notes look to take even the best scripts to the next level! Here’s another example about BLADE RUNNER from a more recent trainee). So you can imagine how excited I was to interview BLADE RUNNER 2049’s VFX Consultant Post Production, Habib Zargarpour, in the run-up to the sequel’s release. While we wait on official approval to publish that, I’ve now had the chance to catch the movie itself, and I wasn’t disappointed – though I think some people will be.

Habib recommended I catch the film in IMAX 3D, for reasons he explains in the interview. And boy was he right. That technology has been truly nailed now, and paired to a uniquely visualized movie like this, it really looked and felt like all the actors and scenes were happening right before my eyes. The 3D is subtle and natural, not artificial and showy, and became an important part of the experience. It’s hard to exaggerate what a naturally immersive experience the IMAX 3D made it. The visuals were stunning throughout – a great job from everyone involved, of which there were hundreds across the globe!

The original explores what it is to be human, and raises the unnerving prospect that replicants may actually be more human than us in some ways. BLADE RUNNER 2049 takes that further – almost the whole story is told from replicants’ points of view, and it takes their world to important new places and times, showing us why perhaps it’s their side we should have been on all along – something the original only hints at. The most interesting character in the new film, though, is actually Joi, the AI who acts as wife to Ryan Gosling’s low-key ‘Blade Runner’ cop – bewitchingly fascinating and uncanny throughout, and easy to fall in love with.

I noticed an interesting parallel to the original – just like for BLADE RUNNER, the trailers sold it as more of an action movie, where the movie actually gave us much more of a slow-burn mood movie (more subtle thoughtful than action-packed, like director Denis Villeneuve also gave us in ARRIVAL – read my Insights into that film here) – and that gap in expectations may result in exactly the kind of mixed audience reactions the original got at first! So far the critics’ reactions I’ve seen are good, and I think it’ll definitely find its place, but in the main, this is definitely NOT an action movie, and long passages focus much more on the vacant emotional life of Ryan Gosling’s inexpressive cop than on plot development – in fact the eerie sound design is often used to make up for the lack of plot development. Some audiences – probably ones who hadn’t seen the original – may even find the storytelling slow and unengaging, especially in the first half. In other hands this story would have made a much sharper two-hour movie, not the 2hrs43mins we’ve been given here, but for me it’s great to see genuinely thought-provoking and subtle films getting their chance at last – I wrote a series of Insights articles about that earlier this year comparing ARRIVAL, MOONLIGHT and MANCHESTER BY THE SEA.

So, this is a great movie, but maybe not in all the ways you’d expect. But with its haunting themes and stunning visuals, you might enjoy it even more second time around. Can’t wait to tell you the inside story from Habib!

© WriteMovies 2017. Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.

Why Hollywood is ready for subtle storytelling at last. Part 3: The ARRIVAL of a new, subtler wave in cinema?

Why Hollywood is ready for subtle storytelling at last. Part 3: The ARRIVAL of a new, subtler wave in cinema?

Ian Kennedy continues to discuss the sublte storytelling reneaissence in cinema and how ARRIVAL could be the sign that this trend will continue…

In the cases of MOONLIGHT and MANCHESTER BY THE SEA, personally I appreciated them more than I enjoyed them! I can see why they were successful and critically acclaimed, but they never fully won me over. I took more of an interest in the film ARRIVAL, a film that applies similar subtlety in its storytelling techniques, but within the usually bombastic high-budget genre of sci-fi… and the ARRIVAL storytelling deserves a close look too.

Spoilers alert… this article will discuss the outcomes of the story in order to demonstrate how and why it works. 

On the face of it, ARRIVAL is about an alien invasion, but this extremely provocative scenario provides the vehicle for subtle implicit storytelling rather than an action-packed, over-the-top, blockbuster story in the usual style.

Instead of invading or threatening humans, alien ships simply hang in air in obscure places, waiting for us to travel to them and engage them. We, as a race, have to work out why they’ve shown up unannounced and, more strangely (to audiences, at least!), why they are seemingly serene and peaceful.

Our protagonist, Louise (Amy Adams), an expert in languages, is called upon to decipher the language of the aliens in an attempt to avert any possibility of interplanetary war against clearly superior opposition (or even against fellow nations). So this becomes a story, not about alien invasion, but about communication – about why we and other creatures need to reach out to one another to survive. Telling this story from female perspective with great subtlety makes it a far more stimulating and rewarding thought-experiment than the usual whizz-bang sci-fi fare.

In a clever manipulation of our expectations of storytelling, this film presents us with a series of flashbacks showing the bereavement of Louise. Only at the end of the film do we discover these are actually premonitions of what will happen to her, which are generated by her understanding the language that the aliens teach her, which enables us and them to predict the future, and link past, present, and future in ways we could not have imagined. The aliens finally reveal they’ve done this, not because they want to conquer us, but because in thousands of years they’ll need our help. War is averted – through their subtlety and inaction, they’ve negotiated a peace treaty with us.

Conventional sci-fi stories play out male obsessions with power, control, colonialism, war and exploration, whereas ARRIVAL embodies a more subtle and feminine approach to the profound questions of life which sci-fi is uniquely placed to explore. Although there is an explosion in middle of the film (something that is poorly explained and has limited consequences on the story), the real story explosion takes place in our mind and in the hearts of our main characters, as the clues fall into place and the scenario begins to make sense. This film intentionally confuses its audience, so that its reveal can be more mind-blowing to us.

MOONLIGHT, MANCHESTER BY THE SEA, ARRIVAL – in all 3 of these films, we see subtlety is used to reward intelligent audiences. Audiences who are tired of having their intelligence insulted by convention get rewarded for their patience, through stimulating and often powerful and unconventional stories.

MOONLIGHT winning Best Picture and Best Adapted Screenplay at the Academy Awards 2017 suggests critics, audiences and awards ceremonies are now more open to subtle and implicit films.

In return, these films have been rewarded by audiences, awards ceremonies, and critics – hopefully this signals the beginning of a new era of cinema and film storytelling, in which writers and audiences will be rewarded not through explosions or CGI action, but through the emotional and intellectual connection they make through the characters they’re watching. At WriteMovies, that suits us and scripts we love just fine. We look forward to sharing more of these with you in months and years ahead…

 

 

Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.

© WriteMovies 2017

Why Hollywood is ready for subtle storytelling at last. Part 3: The ARRIVAL of a new, subtler wave in cinema?

Why Hollywood is ready for subtle storytelling at last. Part 2: MANCHESTER BY THE SEA’s complex Protagonist

We delve into what MANCHESTER BY THE SEA storytelling and narrative techniques were implemented to make this film a subtle success.

Spoilers alert… this article will discuss the outcomes of the story in order to demonstrate how and why it works.

MANCHESTER BY THE SEA tells the story of a withdrawn and passive protagonist, Lee Chandler, portrayed by Casey Affleck. The writer/director Kenneth Lonergan deliberately creates a narrative in which the protagonist resists positive growth and development. This is an important rejection on mainstream Hollywood storytelling gurus, who emphasize that change in the protagonist needs to be the driving force of the narrative – that the protagonist must strive towards a personal goal to earn our empathy as an audience. But it certainly isn’t, in the Manchester by the Sea storytelling!

In fact, this protagonist is so set against positive growth, that when presented with attractive women hitting on him, he doesn’t even acknowledge their advances, and starts fights with random guys instead at whatever bar he’s getting drunk at. It’s hard to imagine a writer rejecting the mantra of ‘positive character growth’ more vividly. The driving force of the story is Lee unwillingly forced to become a father figure again, when his brother dies and he is made custodian for his nephew. Normally, this would form the platform for a feel-good movie. Not here – Lee never willingly ‘accepts the call to action’, however many opportunities the story gives him.

It is a long time before the audience is given a reason for why Lee has become so averse to happiness and positive growth. We learn that he (accidentally) started a fire which killed his children. We even see his estranged wife moving on – she is now pregnant to her new partner. At the climax, she even tries to help Lee move on, but his decision is expressed by the line “I can’t beat it.”

Lee lets his demons, guilt and rage at himself consume him. The nearest thing we get to personal and positive progress is his final decision to move away from his nephew again, but this time to get a sofa-bed in his new apartment, so that his nephew can visit sometimes. A feel-good movie would have played out this story arc in a completely different way, and would have provided many more notable plot developments along the way to force and test his progress.

In conventional stories about men accepting forms of custody over children – such as THREE MEN AND A BABY or ABOUT A BOY (or even the upcoming adaptation of Stephen King book, THE DARK TOWER film), the presence of a child and unexpected custodianship creates a catalyst for transforming a progressive character into an empathetic protagonist. Lee, in a similar scenario, never adjusts to it and fails to find his own catalyst for personal growth – the sort of plot convention that we would normally expect to find in a screen telling of a story like this.

The subtlety of storytelling carries this film. Whereas Affleck’s performance as Lee is praised for portraying seething rage below his character’s actions, in practical terms all of these behaviors are mostly shown implicitly not explicitly. And they are played out in unexpected scenarios, rather than directly confronting issue head on like conventional stories would do.

Acclaim for MANCHESTER & criticism from some audiences against it are two sides of same coin – mainstream audience members may find this film slow and actionless compared to what they are used to, but these are the same qualities that critics and the Academy have been keen to back. Cinema has been dominated by so much heavy-handed, on-the-nose storytelling, for example in the endless succession of superhero movies, that it has left critics and pros hungry for a new, realistic, refreshing approach to storytelling, and that is something MANCHESTER BY THE SEA provides.

Next up – The ARRIVAL of subtlety in sci-fi!

 

Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.

© WriteMovies 2017

Why Hollywood is ready for subtle storytelling at last. Part 1: Shedding some MOONLIGHT on subtle characterization and storytelling.

Why Hollywood is ready for subtle storytelling at last. Part 1: Shedding some MOONLIGHT on subtle characterization and storytelling.

Watching several of the most acclaimed movies of the last year, one thing that really stood out to me was how subtle and low-key they were. MOONLIGHT, MANCHESTER BY THE SEA, and ARRIVAL have a lot of differences, but they’re all more subtle scripts than we’re used to seeing at the cinema. Their success points to a new willingness in Hollywood, critics and audiences for subtle storytelling – as long as the subject matter is deep enough to deserve it! At WriteMovies we’re pleased to see this happening – and we think that the kinds of script we back and pitch can benefit.

Spoilers alert… this article will discuss the outcomes of the story in order to demonstrate how and why it works. 

Imressive MOONLIGHT street art.

First up, let’s take a look at MOONLIGHT, the winner of Best Picture and Best Adapted Screenplay at the 2017 Oscars. This is a low-key story about a gay black character who grows up in Miami. The protagonist of this three-chapter story behaves in a quite withdrawn way – his unwillingness to speak for himself is the most vital character trait.

Similarly to how the same quality characterizes the protagonist in THE KING’S SPEECH, this reticence represents an inability to overcome his personal demons, as well as his closeted homosexuality. However, in THE KING’S SPEECH, King George VI can speak, just not that well, but MOONLIGHT often doesn’t even go that far.

The film begins with a lengthy period with our protagonist as a boy, known as Little. Little is taken under the protection of a local drug dealer, after he runs away from a group of children trying to hurt him. Little begins the story running away, being taken care of, and not taking care or standing up for himself. In fact, it takes a long time for Little to even say anything, and even then, it’s brief.

 

 

This huge silence really nails down the central question of MOONLIGHT. Will Little ever be able to speak for himself, to express what he needs, and achieve his goals as a person?

This lack of dialogue from the protagonist, which notably goes against convention, can result in a passive protagonist. Mainstream story and screenwriting gurus recommend putting the protagonist front and center as the driving force of the story – whereas this film makes a virtue of doing the exact opposite. Even the climax of the film, the main achievement of change in his life is simply that he finally admits to his on-off friend/lover about his feelings, and even this is staged very implicitly. We understand by it that maybe from now on he won’t spend his life living in the shadow, living in in silence. But as far as big plot developments, and character arcs go, that’s about it. Two assaults in the middle of the film – the first against him, the second by him in revenge – are almost the only moments of plot development that are visible, not subtle.

The only part in MOONLIGHT that can be considered “action”, a physical emotional action that is not highly implicit, is when the protagonist is beaten up and finally takes sudden and shocking vengeance against the culprit. This sparks an immediate end to the teenage chapter in his life, and the next time we see him is as an adult, when he is now a full-time drug dealer, his life course set by his previous experiences.

 

MOONLIGHT’s non-sensationalist handling of drug dealing is one of its greatest strengths. The serious consequences and impact that drugs have on real people is clear – especially in the protagonist’s own mother – but the film doesn’t make judgment on those who pursue this lifestyle and means of income – there is no prejudice against it.

The successful subtlety of this film is perhaps clearest in the climax of the first act. The protagonist finally asks his mentor if he sells drugs to his mother, whose addiction is a major issue in their lives. Little’s mentor acknowledges both of these things. This confirmation sets Little on a new path that will take him away from both his mother and his mentor. This moment of self-determination alienates him further from the people around him, heightening still further his withdrawn personality traits. Once again, this is handled in a subtle and tasteful manner by both writer and director. Proving that subtle scripts can definitely work!

Next: MANCHESTER BY THE SEA – a protagonist who fights to NOT grow as a character!

 

Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.

© WriteMovies 2017

Winning writing is a team game: winning competitions is only the start…

Winning writing is a team game: winning competitions is only the start…

Why winning writing depends on being a team player…

iankennedyinsights

Winning one of our competitions has several perks – the cash prize, the year of free script development and mentoring, the free publicity, and, of course, the potential that your script will be promoted to talent agents, producers, and studios within the international film industry – and for the best winning writing, we’ll even pitch it ourselves (and that’s something we promise in our competition Terms and Conditions).

(more…)

Winning writing is a team game: winning competitions is only the start…

INSIGHTS – Sociopaths: What really makes people (and characters) ‘bad’ or ‘evil’ (or sometimes just brilliant) – PART TWO

Part Two: Understanding sociopaths and their role in our writing and lives

iankennedyinsights

 

In my first article about this, I looked at what a sociopath is, what distinguishes them from a “psychopath” (sometimes!), and some of the real-world implications of these differences. Now I’m going to explore deeper into what difference these insights can bring to our lives and particularly our writing. (more…)

Winning writing is a team game: winning competitions is only the start…

INSIGHTS – Writing Sociopaths in Scripts: What really makes people (and characters) ‘bad’ or ‘evil’ (or sometimes just brilliant) – PART ONE

INSIGHTS – Writing Sociopaths in Scripts: What really makes people (and characters) ‘bad’ or ‘evil’ (or sometimes just brilliant) – Part One: What is a Sociopath and what’s it got to do with writing?

iankennedyinsights

What really makes people (and characters) ‘bad’ or ‘evil’ (or sometimes just brilliant) and what’s it got to do with writing? By Ian Kennedy, WriteMovies Director of World Wide Development.

The author, made to look like a bad'un by a vlittle girl who was actually the one stealing his phone.

The author, made to look like a bad’un by a cheeky little girl who was actually the one stealing his cellphone. Early signs of her future disposition? Or just harmless good fun? Well, better not to judge and presume.

I was lent a fascinating pop-psychology book last year which really opened my eyes. Now the bad things that people do in the world all make good sense to me, and the things that other people agonize about in ‘public morality’ don’t trouble me. But what’s most useful about this book and this approach – which we should all handle with caution anyway – is what it can teach writers about how to understand and explain ‘bad’ people in their stories. Really, it’s an interesting account of a vital aspect of life, that we should all be aware of, especially writers, and which gives us a great view into it.

I treat all theories as a kind of prism. You can look through them to see the world from an interesting, vivid new angle. But they’re never a total, complete or full picture of things – in fact the deeper you go into them, the more distorted you’re probably making things look. But the perspective they give can be extremely useful. I’ve actually found this one very therapeutic in life – I’ve been able to relax about a lot of things in life that really used to trouble me, after a year of watching these ideas playing out in the world.

For writers, a very high proportion of antagonists – and a growing number of protagonists – fit the personality type I’ll describe in this article, so understanding the reasons behind it is extremely important for writers. In this article, I’ll show you how to use this aspect of human character to help you craft driving characters who’ll convincingly challenge your other characters right to the limit. We see so many stories in which the ‘villains’ feel hollow, stereotypical and one-dimensional. But if a writer can truly understand the cause of that person’s condition, then they can ensure that their ‘bad’ or ‘evil’ characters can still transcend stereotypes and truly convince us. Stories are always at their most powerful when they’re utterly convincing, about some important aspect of life.

Sociopaths leave a long shadow, but then again don't we all. Author self-portrait by proxy

Sociopaths leave a long shadow, but then again don’t we all. Author self-portrait by proxy

I’ve laid the article out with a series of activities, to help you put yourself into the mindset of these people and characters better. Too often, the problem with antagonist characters, is that they’re written “from the outside” rather than with the understanding that enables us to let them speak and act convincingly for themselves. We tend to lose interest in stories with one- or two-dimensional villains once we’re reaching adulthood, because they just don’t feel real or threatening enough.

 

Firstly… think back through all the news stories about people whose actions have ever shocked or appalled you. Write out this sentence starter, and complete the sentence, for every story you’ve ever been appalled by.

How could anyone…?

 

 

The main inspiration for this article is: THE SOCIOPATH NEXT DOOR, by Martha Stout phD (Officially: THE SOCIOPATH NEXT DOOR: The Ruthless Versus the Rest of Us, Broadway Books 2005).

Stout is a practicing psychologist, and she’s an instructor in the psychiatry department at Harvard Medical School, so she’s got the credentials to back up her work. But there are plenty of fair criticisms of the book – such as this hostile review in the New York Times, from another psychology author: http://www.nytimes.com/2005/03/06/books/review/the-sociopath-next-door-ruthless-people.html?_r=0. So I recommend we look at this theory in the way we would one by Freud or Marx. It’s not necessarily true – but it’s interesting and potentially a powerful tool for us as writers, if we handle it right.

 

One of Stout's examples is a guy who just serially leeches off women with a pool in their garden. Lazy, yes. But evil? Arguably not.

One of Stout’s examples is a guy who just serially leeches off women with a pool in their garden. Lazy, yes. But evil? Arguably not. Capitolo, Italy

Is bad really bad? How bad is bad? – The difference between a sociopath and a “psychopath”

Well actually, there’s no reason to assume that someone who is a sociopath – or even a psychopath – is actually bad at all. They may use their energies and talents to pursue goals that actually do a lot of good in the world – maybe in a destructive way sometimes, but with good intentions. But as writers, we probably need to most improve our understanding of the ‘bad’ or ‘evil’ ones, who we often rely on to give our stories some kick.

Clearly, a lot of violent people can be described as ‘psychopaths’, and many of us might use the term interchangeably with ‘sociopath’ – but we’re wrong to. When we consider their crimes, it’s easy enough to recognize that known psychopaths are somehow ‘different’ from the rest of us, and that ‘no normal person’ would do the things they seem to do – mass murder, serial killings etc. But what is a ‘psychopath’? What’s the definition of this? Can you suggest the difference between a psychopath, and someone who is “only” a ‘sociopath’?

Complete this sentence:

The definition of a psychopath is someone who…

Only scroll down when you’ve sketched out a few ideas…

 

 

 

 

 

There are lots of forms of violence, many of them are fun and socially acceptable. Sumo robot fighters, controlled via the internet. Berlin's hacker-maker HQ, 2015

There are lots of forms of violence, many of them are fun and socially acceptable.
Sumo robot fighters, controlled via the internet. Berlin’s hacker-maker HQ, 2015

A definition of “psychopathy”

Well, let’s handle all this carefully as well, for reasons you can see here: http://www.medicaldaily.com/psychopath-definition-may-be-different-you-thought-7-facts-about-psychopaths-361112. But the most useful definition of a “psychopath” I’ve come across is that a psychopath is a person who cannot empathize with others. They can’t relate to the feelings of other people, and are therefore less likely to respect that other people (or animals) therefore deserve to be respected, valued or given any rights in life. So if you’re writing a character who behaves in those ways, that’s your working definition of this person’s personality type: they have no empathy with others. This is the cause – and the behaviour they exhibit in your story is the effect. It’s important to write these characters that way round – to avoid cliché and stereotyping, and to generate genuinely new and convincing stories and characters.

Now, it’s important to say that even a “psychopath” isn’t necessarily a violent or dangerous or even bad person – lots of “psychopaths” successfully integrate into society and can be excellent at the work they do – perhaps especially if it needs a ruthless streak. For example, boxer Tyson Fury and soccer star David James have both said on public record that they suspect they may have the “psychopath” personality type (http://www.bbc.co.uk/sport/boxing/34341535, https://www.theguardian.com/football/blog/2013/feb/09/david-james-psychopaths-football). Most of the time, when people refer to psychopaths, what they mean is “violent psychopath”.

Of course, a lot of psychopaths may also be sociopaths – there’s plenty of overlap. But I’d like to suggest that we find the actions of sociopaths much harder to recogniZe, accept and deal with than “violent psychopaths” – because these people are not different from everyone else in any recognisable (or even provable) way!

So now try to complete this sentence. Try several options before you scroll down:

The definition of a sociopath is someone who…

 

 

 

Darth Vader's revenge (by carving knife, on a Yoda cake). Star Wars party, Nottingham, England 2015

Darth Vader’s revenge (by carving knife, on a Yoda cake). Star Wars party, Nottingham, England 2015

A definition of “sociopathy”

According to Stout, a sociopath is someone who has no conscience.

That means they also have no guilt, shame or remorse. Ever. But in every other way, they can come across as a completely normal human being. And – crucially – because they do have the power to empathize, they are able to present themselves much more convincingly as a perfectly normal – even wonderful – human being. Which is the front behind which they can pursue their goals with the kind of ruthlessness that Stout is preoccupied with.

I’ll explain a bit about the possible causes and clinical and treatment aspects of this in a follow-up article. But it’s vital to recognise that because of this definition – it’s actually impossible to ever know if someone is a sociopath, and probably libellous to infer that they are. Better to keep your views to yourself – but it’s useful to be forewarned and forearmed about these kinds of people’s existence, and that’s the point of Stout’s book. She gives eye-opening true examples of children, bosses, boyfriends and many other people who – in so many different forms – are playing out sociopathic personalities and goals unnoticed within society, but wreaking havoc upon the people unfortunate enough to fall under their influence. It’s a quick, vivid read.

The subtitle of Stout’s book is “The Ruthless Against the Rest of Us.” Apparently, 1 in 25 Americans is a sociopath – that’s a huge number of people we can’t help dealing with in life, and no doubt a disproportionate quantity of the people in the news. But significantly less people become sociopaths in cultures like Japan where the culture insists more on the interrelatedness of all things. So perhaps sociopathy correlates with individualist cultures and attitudes. Indeed, it’s easy to see how someone who refuses to accept any kind of shame, guilt, or regret would also refuse to take responsibility for personal actions or obligations to society, and therefore would naturally champion individualism and deregulation in all matters in life – but of course many perfectly responsible people also favour those views, and I’ve heard enough firsthand stories from all sides to confirm that there are horrible people on every side of the political spectrum. I suspect that a sociopath has no shame about pursuing whatever their goals or values are, and are liable to egotism and a superiority complex (even a ‘moral superiority’ complex) – out of their sense of how foolish and inferior other people are to let their lives be stunted by a naïve sense of conscience when such higher goals ought to be within their reach. What losers!

And it is a typical trait of sociopaths to see life as a game, in which there are only ‘winners’ and ‘losers’. Sociopaths are usually determined to be winners – but what they consider to be ‘winning’ could take any number of forms. So the key is always to understand what this person actually wants. Because it may be as simple as ‘a picture postcard family’. And there may nothing that they may stop at, in order to achieve it. And no regrets about the collateral damage they cause in order to do so. Dumping their dying spouse might be a perfectly valid method to achieving that goal, in their minds. But this doesn’t mean that in their way they’re not generous, responsible, thoughtful, and kind, in every other context in life.

Now take a look at these three characters who some might consider to be showing sociopathic traits – the three I’ve chosen I’ve chosen intentionally because what they do is not “bad”, nor are they what most people would consider as bad, but the personality traits are there that we might associate with a sociopath.

  • Greg House is someone who views each patient as a puzzle, as a game, and he has to figure it out before time runs out. This is his game – he wins by curing the patient and loses if they die. Now we do see over the 8 seasons of HOUSE that he can empathize with others, of course, he also has that infamous House ego, too. But on the rare occasion he does show guilt… but is it mainly guilt at his own failure?
  • A clearer example may be the character on which House is based, Sherlock Holmes, especially in Benedict Cumberbatch’s BBC incarnation (who describes himself as a “high-functioning sociopath”). His character has the ego, and when someone smarter (Moriaty) comes along he must ‘outdo’ him, and he wins this game by ultimately cheating death in the episode “The Reichenbach Fall”. Sherlock is the smartest and greatest detective there is. Sherlock even has the catchphrase “the game is on” to really show that he thinks life and these cases are just a game.
  • Work in progress, in Berlin's hacker-maker community HQ. 2015

    Work in progress, in Berlin’s hacker-maker community HQ. 2015

    Finally, Sheldon Cooper of THE BIG BANG THEORY, another egotistical character who believes he is better than everyone else. Sheldon is even a childish person who loves comic books, science-fiction, and more “nerdy” things. While his friends and colleagues also like this stuff, they live their lives as adults and are not as attached to these things as Sheldon is. Importantly, Sheldon does show some limited ability to empathize with others, but when apologizing he does so with a sarcastic manner – he knows he should apologize but he doesn’t really mean it. But is Sheldon actually a sociopath, is he somewhere on the autistic spectrum, or is he just a headstrong geek? Either way – he is a multi-dimensional comedy character.

These characters all show some sociopathic traits and they have been specifically chosen because they aren’t bad people or what we would usually associate a sociopath as being.

Spend the next week looking around for signs of sociopathy at work in the world. Then come back to my follow-up article with a view of whether or not you actually think these ideas are useful for us as people or writers. This article is a speculation, about things that can’t really be proven. So you should treat it as a point of departure for your own view of the world – not a ‘grand theory’ to shoehorn everybody and everything into somehow. Next time out, I’ll show you how to use it as a tool to build strong and convincing characters who will naturally generate antagonism around themselves.

 So what do you think? Agree, disagree? Do you have better definitions or examples? Keep the discussion flowing on our Twitter and Facebook pages!

Click here to read PART TWO…

 

Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.

© WriteMovies 2017

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