Pat dropped a really solid breakdown on why characters are the make-or-break element of a script, even if the plot is tight and the dialogue is snappy. The big idea is that memorable characters live in two layers at once: the external version we see on the surface (job, vibe, role in the story) and the internal engine underneath it (wounds, fears, false beliefs, what they really need). He walks through a practical, repeatable character-building process: define what they want, what’s blocking them (externally and internally), how they’ll change from Point A to Point B, and what in their backstory created the mess. He also hits on a few fun craft reminders like “flaw plus humanity” (make them difficult, but give us a reason to root for them), exaggerate traits so they’re unmistakable, and make sure each character has a distinct voice and a strong intro moment.
Check it out: https://www.stage32.com/blog/creating-characters-that-executives-cant-fo...
From a DP POV, this kind of work matters because it gives us something specific to light, frame, and move around. A character’s internal world should show up in blocking, lens choice, and composition, not just in dialogue.
Question for the lounge: What’s the one character tool that helps you most? A clear want/need? A backstory wound? A strong intro scene? Or something else?
I use a clear want/need a lot in my scripts, Lindsay Thompson. I even give characters who show up for like 20 seconds a want/need.