How Do You Edit Eport Details In Indesign Character Styles Script Analysis – Where the Wild Things Are – Archetypes and Emotional-Symbolic Screenplay Structure

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Script Analysis – Where the Wild Things Are – Archetypes and Emotional-Symbolic Screenplay Structure

Script Analysis: HOW TO DO IT

SPOILER ALERT: If you haven’t seen “What a Wonderful Place,” you can check it out before you read this article. Let’s leave the question now whether Wild Animals is a good movie. Let’s leave the question whether you like it or not (or a little embarrassed for liking it as much as you did).

And if you feel like you’re wasting your twelve bucks on a show that doesn’t matter, let’s cancel it too. Love it or hate it, Wild Things is a film worth studying, because of the bold and unique way it sets out to influence its writers, both in its own right most, and most of its problems.

IS IT IMPORTANT? HOW TO DO IT?

Wild things are governed by a simple idea – or at least a good idea – that we are seeing the whole world from the perspective of a young man – when he works out his anger at his single life (and more importantly, his divorced parents) by playing with a bunch of animals in his room.

The writer-director team of Jonze and Eggers made the very strong (and risky) decision that nothing in the world of Wild Animals would take place outside of the boy Max’s age. able to imagine. This is embodied in every element of the film:

In the discussion and actions of the Wild Animals (which reason and dream and play and anger and even accept the failure like a child). In a plot limited to the events that an intelligent child should dream about – more thinking about the way children play (with exaggerated simplicity, loose ends, and non-linear and non- sensical elements) than it is with teaching. linear narrative story.

In the production – which seems a lot like a child like Max would think is “cool and talented” than what we have come up with from the grown-ups in Hollywood minds that lead us movies like Harry Potter or Pan’s Labyrinth. Where the Wild Beasts were, the boats to the magical land appeared out of nowhere, the Wild Beasts immediately accepted the boy as King, and pulled out the arms from sand and not blood. We live in a small animal world, and if things seem cheesy, too easy, or just plain goofy, it’s because they have to be.

Because of these choices, the experience of Wild Place is a violation of almost everything that we have come across in Hollywood movies. We pick up the magic and spectacle, and only provide the most special effects. We pick up the rides, which are safe for children, and fun for adults, and change to a chaotic journey that floats along the currents of Max’s joy and anger . We pick up a “good” movie, and change the inner world of the child while playing.

SEE? HOW TO DO IT?

Most Hollywood movies are built around simple techniques. If the character appears at the beginning of the movie as a king, the movie doesn’t end until he realizes that he really is the King. If the character appears at the beginning of the film in a land full of cute animals with anger and depression, the film does not end until he heals their pain ( and himself) and find a way to lead. their peace.

As you can see, the Wildcats don’t play by these rules. Max doesn’t treat Wild Animals. Max didn’t learn how to be a good King. Max has not yet “finished” the story. Instead, he quickly (if reluctantly) abdicated his hat like a child calling in for dinner.

In general, nothing happens in the Wild. And yet, from a character’s point of view, there are many things going on. The difference is that unlike almost all other Hollywood films of its kind, The Wild creates its structure not linearly and logically, but emotionally and symbolically, through the use of archetypes.

WHAT THE HECK IS AN ARCHETYPE?

Archetypes is an idea from the work of psychologist Carl Jung, and later captured by Joseph Campbell and a number of his disciples when they sought to better understand the story. You can spend years studying the many different ways that experts, experts, and authors write essays describing and identifying archetypes.

Fortunately, you don’t have to.

Your job as a writer is not to identify or identify archetypes, but to understand them. And understanding them starts with this simple idea:

An archetype is a character that embodies some repressed elements of your main psyche, and is structurally in your videos to force your behavior to interact with the repressed elements. All movies have archetypes. Big Hollywood movies. Small movies. Broad Comedy. Acting.

Even big stupid movies. They all have archetypes. They should. Otherwise, your main character will have no interaction with the content in his mind, and will not need to go through the story. The difference is that in The Wild, instead of being in the usual linear plot, the archetypes are in a thought and symbol.

THE WORLD

One of the most important things about The Wildcats is how screenwriters Jonze & Eggers create all kinds of real-world emotions and characters that will include the structure of Max’s path. mythical journey. He was alone and lonely. His heart and body hurt. His betrayal came from his sister and his mother. His thoughts are put on hold when his mother and sister form relationships with new people he doesn’t like or understand. He was ashamed of not being able to control it. And more importantly, its violence and destruction to those feelings.

These emotional points have symbolic parallels: Snowball fights that end in tears. The Destroyed Fort. The Heart He Made For His Sister (whom he destroyed when he was jealous of her room). And the time he bit his mother after seeing her with her new boyfriend.

THE TIME OF THE DAY OF THE WORLD

On a metaphorical level, Max’s journey through the world of the Wild is simply the attempt of a child’s mind to recognize its own destructive anger. Every feeling and symbol of the natural world has its Animal World equivalent, creating a metaphorical mirror through which Max can finally see himself and his world more clearly (as as he himself soothes his way from sin and injury).

The Wild bit, just like Max bit his mother. The Wild ones destroy their house, Just like Max destroys his sister’s room. Max tries to connect with the Wild Animals by building a fort and throwing dirt, just like he once built a snow fort and threw snowballs at his sister’s friends. The links are simple, the video is clear and from the line it should take the audience on a journey. But also complex, respecting the complexity of Max’s pyschology, as he navigates the complexity of his parents’ divorce and his thoughts about it, by navigating his relationship with one archetypal Wild Thing after another .

CAROL: A loving, but violent father, that Max’s mother doesn’t want to live with even though Max loves her, and his character Max is acting on his own.

KW: The ideal mother, who “inexplicably” doesn’t want to be with Carol, and instead with “boyfriends” Bob and Terry, owls that Max and KW can’t understand.

JUDITH: The embodiment of her jealousy and resentment – who thinks it’s Max’s job to make her feel good, just like Max wants her mother to make her.

Even Max himself is an archetype: the quintessential Jungian “Hero”. The creator Ego who wants to be the King of his world.

At the end of the story, by dealing with his archetypes and trying to make them what he wants to make himself, Max develops understanding and understanding that prepares him to return to his world new field. He is forced to confront his real father, who his mother is, and even who he is. He is forced to confront the consequences of his choice, and the terrible idea that he will not control, that he is not King, that he will, in fact, be only “a boy, pretending be a wolf, be a miracle. be a king” and in fact the King will not exist at all.

It ends with the gift of the heart that Max did. Not coincidentally, it looks like the one he once made for his sister, and destroyed at the beginning of the movie. Linearly, not a darn thing happened. But metaphorically, emotionally, and symbolically, Max has undergone a major transformation. He should, otherwise he wouldn’t need to go through the story.

THIS DAY

On an archetypal level, Max’s journey echoes the journey of all writers. We must reduce ourselves to children, allow ourselves to play, breathe our own archetypes through the words and actions of our characters, create comparisons and symbols equal to the confusing and conflicting events of our own lives, and ultimately create powerful patterns. we go to unearth our own repressed behavior, and lead us, and our main characters, in a way that changes us both forever.

Although your own work may not be as well-produced as the Wild Animal scene, if the video that appears is small enough to create a journey like this for its character Importantly, think about what explores these emotions, archetypal, and symbols. make yourself work.

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