The puzzle of super-motivation: a guest post by Ray Grewal18/7/2016 Faster than a speeding bullet! Why Superman does what he does… “What is Superman’s motivation?”
This question pops up now and again in creative writing workshops because knowing what the main character is striving to achieve and why is the backbone of any good story. Superman presents a conundrum: why does this superhuman alien while away his days trying to fix our mess? Two answers are always given to this question:
These answers are both wrong. The crime genre aficionados amongst you know that every detective from Wilkie Collins’Sergeant Cuff in ‘Moonstone’ to Sally Wainwright’s Catherine Cawood in ‘Happy Valley’ is fighting for truth and justice (let’s assume ‘the American way’ is to endorse robust democracy and the rule of law so is synonymous with the first two). Whether they do it with a razor sharp intellect like Sherlock Holmes or a dogged tenacity like Columbo they are all trying to catch the bad guys to see them punished for their crimes – just like Superman. But, and you don’t need to be an aficionado to know this, at some point in any good detective story the crime will become personal. Jack Reacher, Hercule Poirot, Sam Spade will all, at some point, stake their reputations, their relationships and even their lives on getting to the truth and they’ll do it for hubris, love and occasionally the greater good – but whatever their reason they’ll have a stake in the outcome. Which is where, we assume, Lois Lane enters the fray. In his infamous, unproduced, screenplay ‘Superman Lives’ Kevin Smith sums up Superman’s take on their relationship like this: “Yes, I do it all for the multitude. But when I save lives, or fight for the weak, I’m saving one life, fighting for one person – again, and again, and again. It’s her, don’t you see? She represents all of them – their hopes, their fragility, their passion. And if ever I feel like no matter how much I do, it’s not enough, I think of Lois. And then I’m off, faster than a speeding bullet…” So really the two answers are one: Superman’s motivation is to fight for truth, justice and the American way because of Lois Lane. But there’s an unfulfilling myopia to this answer that’s borderline racist: we’re an indistinguishable mass to Superman. And it begs the question: if Superman had never met Lois Lane and he came across a child standing in the street with a car hurtling towards it would he let the child die? Of course he wouldn’t – he’s Superman. In my opinion the puzzle as to what is Superman’s motivation has only been successfully solved once: in 1978 in a story by Mario Puzo, in a screenplay re-written by Tom Mankiewicz, in a film directed by Richard Donner. Standing over Jonathan Kent’s grave, his arm around his mother, the rolling Kansas countryside bathed in afternoon sunlight around them, a young Clark Kent utters these words:“All of those things I can do, all those powers and I couldn’t even save him.” From that moment until the end of the film his motivation is clear and simple: on the day he first meets Lois he stops a bullet that would have killed her, he catches her when she falls out of a helicopter, he saves Air Force One when an engine is destroyed by lightening, he stops armed robbers and he catches a thief who falls off a building. Superman is doing for others what he couldn’t do for his father: he is stopping death. But it isn’t enough to cheat death; he must defeat death and this is where Lex Luther comes in. It is a truth universally acknowledged that the antagonist of a story must be the equal to or stronger than the protagonist. Lex Luther is not the antagonist because he will never be stronger than Superman…but he can align himself with something that is: before we know anything about Lex’s fiendish scheme we learn that it involves killing a lot of people – death is coming, in a big way. As the story develops Lex (brilliantly played by Gene Hackman) taunts Superman that no matter how hard he tries he will not save everyone. And, it transpires, Lex is right: alone on a dirt road, Lois’ car gets wedged into a crevice and she is buried alive. Death has won. In a moment of pure rage, Superman defies his father, Jor-El’s edict that he should never interfere with human history and he turns back time. He brings Lois Lane back from the dead. So the answer to the question what is Superman’s motivation? Superman’s motivation is to defeat the only force in the universe that is stronger than he is: death. In 1978 Superman won round one. I’m still waiting for round two. (this post is about the cinematic interpretations of Superman and does not refer to the comics or the television series ‘Lois and Clark’ and ‘Smallville’ although comments and thoughts about these are welcome.) THIS WAS THE FIRST OF A SRIES OF GUEST POSTS BY Ray Grewal
Visiting lecturer in screenwriting at Regent’s University, London.
Freelance writer, editor, reader and tutor working for companies including the BBC, Creative England, the Writers’ Workshop.
Ray blogs regularly at SCRIPTPLAY
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Tag Archives: script
“The War of the Worlds” If you don’t hoax, who will?
Listen or read the Orson Wells radio on “TheWar of the Worlds.”. The sci-fi sceneario of alien invasion became a surprise hoax radio show in 1938. Today, pulling off an event like this seems unlikely, for a few reasons:
a) This storytelling genius was so precocious smart and prolific as to make a thread of absolute masterpieces, only to get blackballed for good by the industry of fear. There are few people like Orson Wells around today.
b) The story of alien pods landing in New Jersey farms was told in a no-TV environment where fact-checking was impossible. Today news data travels faster than gossip and secrets pop like GMO corn.
3) There hasn’t been a good hoax in a while. Too many hoax-check sites out there.
Here is THE WAR OF THE WORLDS – SCRIPT – Orson Welles & the Mercury Theratre on the Air
danny alegi
Ps – make a #littlesecretfilm.
LISTENED TO A SCREENPLAY PODCAST LATELY?
This podcast help new writers press launch their pin-ball into play. After a short personal intro, the useful interview with the creative network Stage32 begins.
The interview is with Richard Botto, head of stage32.com, mighty-popular online hangout for productive writers:
So If you:
are a writer with Hollywood ambition looking for a network
I suggest listening to at least part of this 55 minute podcast
It’s the next best for a screenplay writers, after moving to Los Angeles.
The entire podcast series can be found on iTunes and on www.sellingyourscreenplay.com
if you prefer full engagement the Youtube show is here:
Which online script coverage do you use? [part 1]
Today we start a ride thru script services online, sites that offer feedback and written notes on formatted, completed screenplays. There is a fee to pay, but in this case, it’s lower than the average.
On top of that, Script Analytics offers a proprietary coverage system that you are probably curious to try out. So am I.
STARTUP your STORY – new seminar series
In the past, Cinemahead has created doc and animation films for the the city of Karlstad.
StartUp your Story is our new seminar + workshop series on cinematic story design, story different for writers and non.
We open Friday Feb 21st in Karlstad, Sweden at the modern Karlstad CCC Conference center.
The series will continue in different locations for 2014 with further events and dates TBA.
Each event is divided in two sets/halfs. The first half is a seminar which will be entirely free for students with ID. The second half will be a hands-on workshop on scripts, story lines, idea development and scene doctoring.
START UP YOUR STORY opens at 9:00 AM and ends at 16:00, with a 1 hour lunch break @12:00.
Please note that online registration is required for admission. You can sign up for the seminar in this link. No one can enter after 10:00. Contact us if you are a student to joon for free.
The seminar is based on our freeebook “Start-Up Your Story” that you can download here.
questions?
Contact@cinemahead.com
+ metaphor, – rethoric. Cuaron on shooting his 3-week screenplay.
@Cinemahead we map scripts because it makes the process of writing less painful and more fun. A story map makes the making-of a script faster, visual, imaginative. Plus, it makes it easy to collaborate.
I ran into this YouTube interview with Alfonso Cuaron, director of “Y Tu Mama Tambien”. Listen to what he has to say about coming up with and directing “Gravity”. He says it was “a script that took three weeks to write”, a story rooted in personal adversities.
BACK IN L.A. WITH THE WORKSHOP AGAIN
I am back in Los Angeles at the Directors Playhouse, with a special run of “Story Different” my script development workshop that keeps helping writers and filmmakers win festival awards.
There are new dates upcoming in August.
http://cinemahead.com/workshop-2/sd/
If you're in town, take a look at the calendar or just stop by.
You can always grab a podcast from the resource page
http://cinemahead.com/resources/podcasts/
Steven Soderbergh’s Talk on the death of Cinema
What if the real Harry Potter solved our Energy need?
What would happen if a teenage science genius invented a simple and cheap way to alleviate (or solve) earth’s energy needs? Could it affect climate changes?
What story do you see? An action film about the powerful who own and protect the sources of power and profit? Celebration of ingenuity and youth genius with optimism?
Or an ego-driven idea/dream/fraud that could never see deployment, let alone commercial standing?
PREMISE: what if a young scientist discovers a useful and safe nuclear power-source but is antagonised, challenged, and threatened by those in power to the point that, in order to survive, he must give up his altruistic ideas.
Come to the Cinemahead forum and contribute to this story in the making.
Is there enough conflict for a script here?
Is the kid hero interesting?
Does he have the will it takes?
Are the stakes high enough for crowds to care?
Does what happens with glocal nuclear energy matter?
to the core!
d
The OpenWritersRoom at BBC – until 3.28.2013
You know how, well, access for writers is still kind of a problem? You write the script and it takes 2 years and nobody loves you anymore and all the lost sleep and still you can’t get good readers you can trust, industry folks who care about your work?
In the US you have to find an agent who guarantees that :
a) your script is not stolen, “plagiarised” or “inspired” by someone else’s.
b) can get into a decent pitch meeting (executives are always in a hurry).
In the UK the BBC has re:opened the writersroom doors again!
Here is what you do:
1. Find your masterpiece from last year. (It’s holding up the blue chair)
2. GO in to BBC and plop your script on the pile, digitally speaking.
3. Relax. You got nothing to lose.
What? you don’t believe it?
Real experts will read it, merit will shine, and the bells may toll for you.
go to the BCC.co.uk site or get more info at the awesome mediamuppet.co.uk
if you need to do a rewrite, or your movie was about phone booths and polaroids, stop in our twitter @cinemahead.
Dust dust off those rusty scenes just one more time. Let them shine!
Free Scene Feedbacks from the cinemahead forum You got it, free script consulting until, well, April st1 2013.