Hey, welcome back, we're gonna look at creating characters and those villains. Now if you remember a script is a story that has drama. And this drama is caused by characters having problems and challenges that they're trying to overcome. Now, why do we care so much about characters that don't exist? That's because most people have empathy, and characters and see real enough and alive enough can create that empathy or an audience. And some films, the characters don't stimulate empathy, but they're interesting enough to keep the audience's attention.

So how do we create interesting and memorable characters alive and stimulated? Well, we take our cue from real life. Now when I'm in public, I observed people, some people stick out, I form an opinion and I remember it's because of how they look, talk act, and how they react to people and situations. If I overhear them, what they say also helps me Forming pressure. And then it happens. We form an impression of a character based upon what we see in here on the screen.

And you will be writing those details in your script. Our minds are made to observe and assess what in who is around us. We collect dots of information in our minds the four ways to connect the dots. Let's say you and a friend, right a restaurant, your friend points to a woman at the other table says, Oh, she's the ex marine was an artificial leg who robbed a bank and got caught by the police when she stopped to save a drowning. That's all you need to start seeing that woman a certain way. Your mind will be creating a Mini Movie in your mind.

We'll be connecting those dots of info and form your own backstory. you'll wonder why a war veteran, the robber bank. Chances are you'll remember and like your friends the restaurant, you give the audience just enough dots of information so they can connect. These dots are the characters that parents What they're saying and what they're doing. It can even be what they don't say, in the store. It could even be what they don't do in the story.

Like jerell, who stay silent in the script. As a life you also notice that what person dresses day after day, as I talk, and walk and whether they walk that talk, even a person's car can give you clues about the personality. Such as Is it a budget car, luxury car? Is it new? Is it old? Clean, dirty?

Is it old, but spotless? Now you might be thinking, do I have to create so much detail? That's pretty much recall. There are characters that have the bare minimum of info for the audience to go by. Remember that video on YouTube of the baby Guana versus snakes. That's just the bare bones entity in a dire situation that kicks up our empathy right away.

So let's take a look at something that Holly was saying. Stress, which is like a booty and Baxter. Now there's a problem with likeability. I know the Hollywood Studios tend to stress that, but I think it's due to the fact that a lot of audiences they like to, like the characters that they're following. And you've probably seen films that had characters that were hard to like, but are still interesting and compelling. So the audience really doesn't have to always like a character.

Go for understanding, go for compelling. And as far as backstory, well, I'd say forget about unless you love thinking, if it helps to create a character, go ahead and create a backswing. But the audience does find without. If you watch those spaghetti westerns with Clint Eastwood in them, I mean, there's no there's no backstory for his character. He's known as the man with no name. But consider this.

If you want a backstory that doesn't take up much time, you can write a short one, and be like your friend. It's a restaurant, pointing at that mystery. woman who was a bank robber and Savior and drowning kids. And best of all, try to do a visual example of that is the first few minutes of Alfred Hitchcock's rear window. Now, pretty much he gives you all the backstory, you need to know how the main character broke his leg. But you can also have a character reveals something about their past or another character's past just by talking about it.

Now you can do this, but it better not be just exposition and info dumping, it would have to be vital to the story and theme. An example of this would be like in Star Wars A New Hope. Obi Wan Kenobi briefly tells Luke Skywalker about his father by giving him just enough info for Luke and the audience to connect the dots. Now remember that in the central part of the story are obstacles and that includes people they can be. And these people are called villains. Now, their struggle is real.

Villains also have needs and wants They happen to be needs and wants are extremely dangerous to your characters. That's why they're called antagonists. A well developed antagonist can be seen as a protagonist with their own predicament solution plan obstacles, consequences stakes, if you tell the story from their point of view, and villains should have lots of determination and energy to pursue their goals, their characters represent opposing sides of the thing. So this leads us to the lievable characters. So it's about letting the audience be involved emotionally after they get a feel for how your characters act and react. It's about what your characters would do.

Remember, even if your plot doesn't make much sense, at least have your characters actions and distinctions Make sense? If you've established how your characters behave, and then so make them say and do things are totally out of character without any logical OR justifiable reason, your audience will no longer being gauged, and they will no longer care. So important thing is, you have to make your characters understandable. You have to show their needs, their wants, and flaws through a plot that's well structured. So even though in real life, your characters don't exist, you have to make sure their struggles seem real. And you can base many things on how your characters face these particular four struggles.

And these include death, isolation, meaninglessness, and freedom. All of these issues makes one ask, Who am I? What does the world think I Oh, what do I want? So you do the same thing with a character. You have to think about how your characters would deal with these issues of being cute. Your story will also show how they tackle these serious issues.

Your characters will do what we do. They're gonna struggle, they're gonna learn, they're gonna adapt, and hopefully, will become different and better version versions of themselves, the audience will not only root for them, they'll probably remember. So that wraps up pretty much this lesson on creating characters. And when we're going to do is we're going to take a look at what these characters are going to be doing, and importantly, what they're going to be saying. So that's gonna lead us to the next lesson, which is darling.