Moving Images, Understanding Media

Chapter 7 From Page to Screen 255

story around a three-part conception (beginning-middle-end), and keeping

all the developments of the story to a central plot. While there have been

diff erent cycles and trends in mainstream Hollywood storytelling during the

decades since then, many American screenwriters have regularly returned

to these values.

The Motors of Story

In order for characters to drive the narrative forward, they must make choices

that aff ect what will happen next. For a choice to be truly dramatic in nature,

its alternatives must be compelling. For example, an actor who is simply

running from one life-threatening tight spot to the next is probably showing

us activity but not making dramatic choices. When thinking about the actions

of characters in a movie, it is useful to ask the following questions:

• Is this action helping to defi ne the character?


• Is it an independent choice or only a reaction?


• Is it aff ecting the outcome of the story?


• Is there anything at stake in this decision?


• Will a diff erent choice lead to a completely diff erent situation for the
  character?
  In other words, choosing what to have for dinner is probably not an
  important dramatic decision. Th at is, unless the two options represent a major
  turning point in the existence of the character, which is doubtful. Running

Figure 7-5 Anita Loos with

seated actress Jean Harlow

in a publicity still for Red-

Headed Woman. (Courtesy

MGM/Photofest)

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