Screenwriting : What are your favourite "plot-light"/"character-driven" films? by Chas Franko Fisher

I'm going to hope that Peter Corey and/or CJ Walley steps in with a far more eloquent and well-thought out response than my own 30 second response... I agree that DIE HARD is a character-driven action movie. But my reason why is not quite how you phrased it, Chas. A character-driven story is not defined by whether or not the character "runs that show from beginning to end." DIE HARD qualifies as what I would call moderately character-driven because McClane's specific character/characterization dictate how the story unfolds. Secondly, and perhaps more importantly, his character journey is tracked in the story. He changes/grows/evolves. The plot events allow for a character journey that forces McClane to address his internal need. The external obstacles/conflicts allow him to address his internal need/would/flaw/area in need of growth. STAR WARS: A NEW HOPE is a highly character-driven sci fi action/adventure. Only by addressing his internal need/flaw can Luke learn The Force, which allows him to start to achieve his "want" - helping to defeat Vader/The Empire. Whereas, I would characterize JAWS as plot-driven because Brody's specific character and his character journey are relatively less important in dictating how that story unfolds. JAWS is not about Brody addressing an internal need/flaw/wound/area in need of growth. It's relatively less focused on unearthing why THIS character in THIS particular dilemma/situation is different from another guy in this same sitch. JAWS is about Brody overcoming external conflicts/obstacles/complications. I may try to chime in again when I have more time to not be half-assed. But let's hope Peter Corey or CJ nail it and save me the time! Lazily yours...

Thanks for the thoughts Regina but I'm not actually looking to define what a "character-driven" film is. I'd just like some examples of some great films that have a really slight plot. Where it is the characters and their interactions that engage, not the plot. While I totally agree with your character plotting of Star Wars, Die Hard and Jaws, you would have to agree that they are all plot driven films. We watch them for the set pieces, for the what-happens-next. So what are your favourite plot-lite films?

"Plot-lite"... LOST IN TRANSLATION is my fave that jumps to mind. I'm not a big enough fan to own these DVDs, so to speak, but people love HALF NELSON and BEFORE SUNRISE and its sequel BEFORE MIDNIGHT as low incident, plot-lite movies. Is that along the lines of what you're asking?

Absolutely :)

@Peter: thanks for the thought and the list. But do you honestly think that THE ROAD WARRIOR is a "character-driven" film?

I haven't seen DINER since I was a kid, but I think it's a well-respected plot-lite movie. Kevin Smith's movies are plot-lite. The mumblecore movies are plot-lite.

Re Kevin Smith: Clerks and Chasing Amy, yes. Dogma, Red State definitely plot driven. Haven't seen Tusk yet.

I'm not saying that characters aren't important in plot driven films (see my DIE HARD point in the original post). But a film about a siege followed by an enormous car chase where the characters are definitely (and deliberately) archetypes without any depth, it is definitely a plot driven film. You aren't sitting there watching Humongous chat to an acolyte about the meaning of life.

Absolutely. Much more important is what they do than what they say. But you don't watch Road Warrior questioning the characters' motivations or who they are, is my point.

The Royal Tennenbaums, Barfly, Rocky, Castaway, The Wrestler, Little Miss Sunshine, Taxi Driver, There Will Be Blood, Scarface, Tangerine, The Tao of Steve, Henry:Portrait of..., Fight Club, Mean Streets, King of Comedy, Cuckoo's Nest, Barton Fink, Raging Bull....and the winner is.....The Big Lebowski!

@Peter: Didn't mean to get under your skin. I should have been clearer: I am looking for example of films to analyse where the plot is not what keeps the audience engaged to try and discern some more character oriented tools for doing so in my own work. Many of your examples were spot on and great food for thought. If you don't want to discuss it further, absolutely OK by me. I love ROAD WARRIOR. My point of view doesn't limit my enjoyment of the film. I am not arguing that it doesn't have a character arc. Most films have a character arc. But if you think that Road Warrior is driven by character MORE than plot (which was my question), than ALL films (bar experimental ones) are "character driven".

It's been years, but in terms of "plot-lite," LEAVING LAS VEGAS, which Robert McKee talks about in his Story Seminar. The small indie MY LIFE WITHOUT ME starring Sarah Polley is very "plot-lite" - kind of a character study. I bet there are lots of indies that should be coming to mind (I'm getting old). I bet some movies adapted from plays would qualify as good examples for your study. Still, I think LOST IN TRANSLATION is my fave.

@Peter: Your examples of THE SEARCHERS and THE PROFESSIONAL are both perfect examples. Strong genre fare where they have decided to engage the audience more with the questions about WHO we are watching, rather than WHAT is happening to them.

@Regina: perfect examples.

Make it a Paul Newman double feature: Hud ('63) and Nobody's Fool ('94). Two great screenplays chock full of lessons for inquisitive screenwriters.

Nice Kerry. Both of those are on my shame list so it will be nice to see.

Hud in particular is one of those mind-expanding scripts for a writer. You watch it and go... holy sh*t, I can DO that? It's a movie I continually revisit in my head when I write. Almost as much as Casablanca and, yes, Die Hard.

Chas - why did you partially change the name of the topic from 'character driven" to "plot less or plot light?" No disrespect intended, but that's like a slight to character-driven films. I think the main difference between a character-driven story and a plot-driven story is that in the former, the character is the key, and in the latter, the action (or plot) is the key. Even in a plot-driven story, the character(s) are key, of course, but in a character-driven story, almost anything can happen (and usually does), and it doesn't have to be so germane to the plot. Using the movies The Wrestler or Barfly as an example of that. In both of those movies - both Mickey Rourke movies, coincidentally - nearly anything can happen that doesn't have to advance the movie to its plot point-structured climax, and does. We can watch both of those characters do almost anything between the beginning and end - not because of the protagonist's goal, but because.....life is life, and they're quite the character, and we love them for that. That's the main difference, I think. In a plot-driven movie, the movie-goer thinks "huh?" when things seem to get sidetracked. But in a character-driven movie, we don't. So I don't think "plot-less" or "plot-light" are good descriptors. The plot is still there, and it can still be quite heavy, but the movies are more about the character and revolve around character, and not around plot/action points. The TV show Seinfeld is also a great example of that as well.

I changed the thread due to the debate I was having with Peter Fleming above. He provided a great big list of suggestions, one of which was Road Warrior. It dissolved into a debate whether it was character driven or not. So I thought that the title of the thread wasn't helping me in my cause. I mean no slight to the films we are talking about here. PLOT = CHARACTER over TIME and all that. They are just words and semantics. I dislike the term "character driven" because it maligns plot-heavy films (like Road Warrior or LA CONFIDENTIAL) where the character arcs are an essential and enjoyable component. But what I was looking for are films - like the ones you have suggested - where the characters are what get you hooked. Films that push that to the point where there almost isn't any plot to discern, like THE WRESTLER.

To be clear: I am not saying films without plot. I am not saying that plot-oriented films don't have characters. ~80% of films are plot heavy. The best ones will always have satisfying characters at their centre. But if you look at films like SHAME or LOST IN TRANSLATION or AMOUR (and many others mentioned above), what plot is there is not what draws the audience in. We aren't watching for the plot. We are watching the characters, to try and understand them (better, if not at all).

Chas - I hear you. Peter - Thanks. Two other good examples of character-driven films are The Royal Tannenbaums and The Aquatic Life with Steve Zissou. So much "side-stuff" goes on...but we love it, because we love the characters. All of Wes Anderson's films are like that. And they all have plots/themes/messages. He's so great at developing unique, rich and flawed characters - we can almost watch them do anything, and not think "Huh? What's that got to do with the movie?"

Hopefull the latest edit to the title satisfies both Bill and Peter ;)

Scarecrow.

@William: Much to my shame, have never heard of it. Tell me more!

@Owen, Under Siege is a Die Hard-driven movie. :) And, for the record, Bill mentioned Barton Fink and Big Lebowski earlier.

CJ - most definitely. By the way, CJ...I heard you were in Las Vegas last week. When I went to try to see you, and told the receptionist my name, he said "I'm sorry...he's completely booked and not available." When I went back a few hours later and the afternoon-shift receptionist asked my name, I said "NOT Bill Costantini"....he said "Good. He'll see you now." That's cold, CJ. That's cold.

Imagine how cool it is to be making a film, and having actors creating great lines in the moment. "You talking to me?"...."funny how?"....."I'm walking here!". Brando ad-libbed much of his stuff in Apocalypse Now. The drill sergeant in Full Metal Jacket ad-libbed his entire monologue. In ways other than acting, great actors can help make great characters, too.

Peter - I don't know about those that you mentioned. I'm glad, though, that Carol Burnett was honored last week by SAG. That was a very nice tribute to one of America's funniest people of all time.

all is lost...

Drive, Whiplash and I have to agree with Regina, Half nelson and CJ, Driving Miss Daisy. Oh, and It's a Wonderful Life.