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Psychology For Screenwriters 1st Edition William Indick - Solutions
4. How do all of these supervillains overcompensate for their feelings of inferiority?
3. Identify five supervillains from movies and reveal the feelings of inferiority behind their superiority complexes.
2. How do all of these superheroes compensate for their feelings of inferiority?
1. Identify five superheroes from movies and analyze their inferiority complexes.
3. While Erin faces a few rivals, there is no real villain in her story – as is typical of heroines’ journeys according to Murdock’s model. If P.G. & E. were represented by a physical character, would Erin’s story be stronger, or was it better to leave the huge utility corporation as a
2. The masculine archetype in Erin Brockovich is represented by a traditional father figure – a surly, but good-hearted, older man.Consider the masculine archetype in your heroine’s story. Would you be better off with a more traditional father figure or a less traditional one? Should he be
1. In Erin Brockovich, the first stage of Separation from the Feminine is not seen explicitly, though it could be inferred. How do you address this stage in your heroine’s story? Would the heroine’s story be strengthened by a more explicit separation from a real feminine figure?
11. Identify the stage of “beyond duality” in Gone With the Wind.
10. Identify the stage of finding the inner man with heart” in Alice Doesn’t Live Here Anymore.
9. Identify the stage of “healing the mother/daughter split” in Girl, Interrupted.
8. Identify the stage of “urgent yearning to reconnect” with the feminine in How to Make an American Quilt.
7. Identify the stage of “initiation and descent to the goddess” in White Oleander.
6. Identify the stage of “strong women can say no” in There’s Something About Mary.
5. Identify the stage of “the illusory boon of success” in Working Girl.
4. Identify the stage of “the road of trials” in The Wizard of Oz.
3. Identify the stage of “identification with the masculine” in G. I. jane.
2. Identify the stage of “separation from the feminine” in Gorillas in the Mist.
1. Identify five movie heroines and analyze their journeys in reference to Murdock’s model.
3. While Erin faces a few rivals, there is no real villain in her story – as is typical of heroines’ journeys according to Murdock’s model. If P.G. & E. were represented by a physical character, would Erin’s story be stronger, or was it better to leave the huge utility corporation as a
2. The masculine archetype in Erin Brockovich is represented by a traditional father figure – a surly, but good-hearted, older man.Consider the masculine archetype in your heroine’s story. Would you be better off with a more traditional father figure or a less traditional one? Should he be
1. In Erin Brockovich, the first stage of Separation from the Feminine is not seen explicitly, though it could be inferred. How do you address this stage in your heroine’s story? Would the heroine’s story be strengthened by a more explicit separation from a real feminine figure?
11. Identify the stage of “beyond duality” in Gone With the Wind.
10. Identify the stage of finding the inner man with heart” in Alice Doesn’t Live Here Anymore.
9. Identify the stage of “healing the mother/daughter split” in Girl, Interrupted.
8. Identify the stage of “urgent yearning to reconnect” with the feminine in How to Make an American Quilt.
7. Identify the stage of “initiation and descent to the goddess” in White Oleander.
6. Identify the stage of “strong women can say no” in There’s Something About Mary.
5. Identify the stage of “the illusory boon of success” in Working Girl.
4. Identify the stage of “the road of trials” in The Wizard of Oz.
3. Identify the stage of “identification with the masculine” in G. I. jane.
2. Identify the stage of “separation from the feminine” in Gorillas in the Mist.
1. Identify five movie heroines and analyze their journeys in reference to Murdock’s model.
3. If you are writing a script with a female hero, try applying an outline based on Campbell’s model to your story, then compare it to an outline based on Murdock’s model described in the next chapter.Which outline best represents the heroine you’d like to portray?
2. Even the most classical of heroes typically do not go through every stage of Campbell’s model. Nevertheless, construct an outline of your script in which your hero goes through every stage. Even though this will probably not be a usable outline, the exercise itself may help you realize the
1. Does your script incorporate a mythological three-act structure, in terms of a Departure, Initiation, and Return? If not, do you think that applying a mythological three-act structure to your story will strengthen your plot?
18. Identify the freedom to live in Indiana Jones and the Temple of Doom.
17. Identify the master of the two worlds stage in Return of the Jedi.
16. Identify the crossing of the return threshold in The Greatest Story Ever Told.
15. Identify the rescue from without in The Empire Strikes Back.
14. Identify the magic flight in The Blues Brothers.
13. Identify the refusal of the return in Dances with Wolves.
12. Identify the ultimate boon in Excalibur.
11. Identify the apotheosis in Indiana Jones and the Last Crusade.
10. Identify the atonement with the father in Pinocchio.
9. Identify the woman as the temptress stage in Basic Instinct.
8. Identify the meeting with the goddess in The Elephant Man.
7. Identify the road of trials in The Lion King.
6. Identify the belly of the whale in Raiders of the Lost Ark.
5. Identify the crossing of the first threshold in Lawrence of Arabia.
4. Identify the supernatural aid in The Wizard of Oz.
3. Identify the refusal of the call in Star Wars.
2. Identify the call to adventure in Rocky.
1. Identify the world of the common day for Frodo in The Lord of the Rings.
3. As an archetypal function, the love scene should provide more than just a physical reward, gratuitous nudity, or sex. The love scene should “complete” the hero in some way. Does your love scene help to complete the hero? If not, how could your love scene provide a symbolic completion or
2. Character development can occur through a variety of transformations. How do your main characters develop or transform?If you cannot see a transformation in their characters, think of how you can create a wound or fault in your character that must be healed.
1. The quaternal whole of the hero character consists of hero (persona), villain (or rival), mentor, and love interest. Does your hero encounter and integrate all three of these figures? If not, do you think that incorporating this idea in your script could add an element of wholeness or completion
4. Identify the theme of synchronicity, as interpreted in this chapter, in five of your favorite films.
3. Watch a movie you’ve never seen before and analyze it from a Jungian perspective. What archetypes can you recognize in this film?How does the hero transform as a result of encountering these archetypes?
2. Do the same for your favorite female film character.
1. Analyze your favorite male film character and identify the four archetypes within that character’s “quaternity.”
3. As an archetypal function, the love scene should provide more than just a physical reward, gratuitous nudity, or sex. The love scene should “complete” the hero in some way. Does your love scene help to complete the hero? If not, how could your love scene provide a symbolic completion or
2. Character development can occur through a variety of transformations. How do your main characters develop or transform?If you cannot see a transformation in their characters, think of how you can create a wound or fault in your character that must be healed.
1. The quaternal whole of the hero character consists of hero (persona), villain (or rival), mentor, and love interest. Does your hero encounter and integrate all three of these figures? If not, do you think that incorporating this idea in your script could add an element of wholeness or completion
4. Identify the theme of synchronicity, as interpreted in this chapter, in five of your favorite films.
3. Watch a movie you’ve never seen before and analyze it from a Jungian perspective. What archetypes can you recognize in this film?How does the hero transform as a result of encountering these archetypes?
2. Do the same for your favorite female film character.
1. Analyze your favorite male film character and identify the four archetypes within that character’s “quaternity.”
7. The Trickster and Shapeshifter archetypes frequently embody the heroic attribute of intelligence, either by posing the hero with intellectual challenges that he must overcome, or by the hero using trickery or shapeshifting himself to outsmart his enemies. How can you use trickery or
6. Similarly, the Anima and Animus archetypes often play the role of love interest for the hero. Does your hero encounter and integrate a love interest? If not, think about how including this archetypal element may add romance or “heart” to your script.
5. The Goddess and Wise Old Man archetypes represent mentor figures for both male and female heroes respectively. Does your hero encounter and integrate wisdom or guidance from a mentor figure? If not, think about how including this ancient archetypal element may add depth to your characters and
4. Often times, the hero has a shadowy backstory – a skeleton in his closet that he must face. Does you hero have a shadowy past? If not, how would including a shadowy past add to his character? If he has a shadowy past, does he deal with it and integrate it in a satisfactory way?
3. The duality of persona and shadow in the Self is typically represented in movies by the hero/villain duality. This duality is most effective when the hero and villain contrast greatly, and are therefore psychologically complementary. If your script has a hero and villain, how can you structure
2. The physical presence of your hero is a big part of the hero’s persona. Try to conjure a mental image of your hero, and then brainstorm through famous movie stars. Pick a movie star that best fits the physical and psychological identity of the character you want to write, and use that star as
1. In order for your hero to develop in the mind of your audience, he must have a clear weakness or lacking in his character. In a Jungian sense, what element of the Self does your hero need to develop in order to be psychologically complete?
9. Identify five movie characters who fulfill the function of the shapeshifter archetype.
8. Identify five movie characters who fulfill the function of the trickster archetype.
7. Identify five movie characters who fulfill the function of the femme fatale archetype.
6. Identify five movie characters who fulfill the function of the anima archetype.
5. Identify five movie characters who fulfill the function of the shadow goddess archetype.
4. Using your knowledge of film, identify five movie characters who fulfill the function of the goddess archetype.
3. List your top 10 film mentors.
2. List your top 10 film villains.
1. List your top 10 film heroes.
4. Rumor has it that “DreamWorks” is planning a remake of Akira Kurosawa’s Ikiru— possibly starring Tom Hanks, with Steven Speilberg as either producer or director. Watch the original Ikiru and consider how it addresses the identity crisis of integrity versus despair. Then think about a
3. The “Baby Boomers” are an audience of lifelong filmgoers who have created (for the first time in history), a glut in the market for films about middle-aged people facing middle-aged issues. The idea that a major motion picture must have a young star in a lead role in order to be successful
2. The challenge of intimacy is an issue addressed in nearly every movie, not just romances. However, the love motif is often the weakest part of the plot – frequently thrown in just to fulfill the “love interest” requirement. Whether you are writing a script with a romantic main plot, or a
1. Your characters’ identities are intimately related to their backstories.How are the backstories of your principal characters revealed? Think about how you can juxtapose the revelation of their backstories with events in the plot in ways that can add tension, suspense, conflict, or drama to
7. Identify three films that deal with the crisis of integrity versus despair. How does the hero establish a sense of identity integrity?
6. Identity five “stagnating mentor figures” from your favorite movies.How does the hero draw the mentor into a state of generativity?
5. Watch some classic romantic comedies such as It Happened One Night, The Shop Around the Corner, When Harry Met Sally, and Sleepless in Seattle. Analyze how intimacy is built between the two principal characters. Pay special attention to the crisis of intimacy at the end of the 2nd act, and how
4. Write a comprehensive biography or backstory for every character in your script. Come up with all the details, such as their dates and locations of birth, their major subjects in school, hobbies, dreams…even when and where they lost their virginity. Creating these biographical details of your
3. Identify two films in which the hero’s backstory is revealed through flashbacks or dream sequences.
2. Identify three films in which the hero’s backstory is revealed through personal disclosure.
1. Using your knowledge of film, identify two films in which the hero’s backstory is revealed through biographical opening scenes and/or voiceover narration.
4. Rumor has it that “DreamWorks” is planning a remake of Akira Kurosawa’s Ikiru— possibly starring Tom Hanks, with Steven Speilberg as either producer or director. Watch the original Ikiru and consider how it addresses the identity crisis of integrity versus despair. Then think about a
3. The “Baby Boomers” are an audience of lifelong filmgoers who have created (for the first time in history), a glut in the market for films about middle-aged people facing middle-aged issues. The idea that a major motion picture must have a young star in a lead role in order to be successful
2. The challenge of intimacy is an issue addressed in nearly every movie, not just romances. However, the love motif is often the weakest part of the plot – frequently thrown in just to fulfill the “love interest” requirement. Whether you are writing a script with a romantic main plot, or a
1. Your characters’ identities are intimately related to their backstories.How are the backstories of your principal characters revealed? Think about how you can juxtapose the revelation of their backstories with events in the plot in ways that can add tension, suspense, conflict, or drama to
7. Identify three films that deal with the crisis of integrity versus despair. How does the hero establish a sense of identity integrity?
6. Identity five “stagnating mentor figures” from your favorite movies.How does the hero draw the mentor into a state of generativity?
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