We all have voices in our head.
You know the voices, the ones who tell us what to do and what not to do, those voices that can simultaneously praise us and condemn us. And since there seems to be an inordinate number of voices in my head, I have given them the collective name "the Committee."
One of my problems with my Committee is that they are always in session. They never take a break or seem to need a rest. Especially in the morning – I wake up and they’re in full swing, in the midst of a deep debate on one or more heated topics. It feels like they’ve been at it for a long time and they’ve clearly made decisions without consulting me. And now I have to scramble and catch up.
Since I have this Committee in my head and can safely assume that every other living human being has one, it must be also true that every character in every story has their own Committee. And since my Committee clearly embodies all the inner workings of my character then it is clear that a major key to truly understanding any fictional character would be to meet its Committee face-to-face.
When I read a well-crafted novel I can feel and often hear the energy of each character’s Committees. Take “My Sister’s Keeper” by the magnificent Jodi Picoult as a perfect example. Each chapter is written from the unique perspective of a different character and we are deeply immersed into their inner drives, motivations, fears and aspirations. We hear those voices.
And Shakespeare, with his brilliant use of soliloquies: “To be or not to be …” is a powerful Committee debate articulated, laid bare and exposed.
But, as filmmakers, we face the profound limitations of the screenplay format where the writer doesn’t have the opportunity to articulate those voices within the character. Yes, I know we make feeble attempts through narration and voice over but for the most part we have to rely on behavior and dialogue to suggest the inner thoughts, feelings and concerns of our characters. How frustrating.
When we are writing we can feel our characters pulsing through us. But how well do we really know these fictional individuals? We think we know them well simply because we created them and they live inside us.
And when we read a screenplay how well do we really understand those characters? How much of what we are experiencing is a result of our own projection?
As writers and directors we are dealing with profound characters about whom we have limited knowledge and understanding. We suffer from the desire, opportunity and ability to control and shape these characters to fit the story as we see it, as we want it. But if we want to create unique and original characters we need to allow them to be authentic, to be themselves. We need to meet them and accept them as who they are.
