Well, first, I know all the guys that you’d hire to come after me. They like me better than you. Second, you’re not gonna go to the cops because… Let’s face it. You’re not gonna go to the cops. Third, you shook Sinatra’s hand. You should know better, Willy.
Jemma indulged in a little roll of her eyes at Daisy’s
exaggeratedly-shocked tone, hidden as she was rifling through her closet for
something to wear on her date with Fitz that night. Once Bobbi and Daisy had
found out about the event (Jemma suspected that Fitz had let it slip to Hunter,
who in turn had spilled the beans to Bobbi, who then passed the information
along to Daisy, but she didn’t have any solid proof), the two had showed up at
her doorstep and barged into her flat, demanding details.
Fortunately, Fitz had left earlier that day to head back to
his own flat in order to find some nicer clothes to wear and get ready as well,
so he hadn’t accidentally overheard any of Daisy’s loud and embarrassing
comments and questions.
“I mean, I never thought Fitz would work up the courage – I
was so sure that it would have to be you who made a move for anything to
happen, Jem, and you’ve been insisting for months now that nothing could happen between you guys,” Daisy
continued, gesturing widely with her hands as she went on, her eyes rounded
with continued shock.
Leaning further out of her closet to make their conversation
easier, Jemma reminded her, “I still have to be careful, you know, even though
I’m sure now that Fitz feels something for me in return. And, besides, I still
can’t be guaranteed that it’s the same as how I feel for him.” Ignoring the
eye-roll Daisy gave and the low scoff that issued from Bobbi, she continued, “We
have to take things slowly and cautiously, because well…we aren’t just two
people going on a date – we’re Evelyn’s parents first.” She nodded then to
where Evelyn was happily perched on Bobbi’s lap, playing with a set of plastic
tools that Fitz had delightedly purchased for her recently.
CHARACTERSAnother essential element in film narrative
Stories can’t exist if either plot or characters are missing. But at their best, characters don’t have merely a technical function as if they were just pieces on a chessboard. After all, we go to movies in large part to witness stories about characters whom we can imagine as real people, with complex personalities and lives.
Round characters - Charlotte and Bob are round characters in Lost in Translation (2003). We recognize them as “real” people by their natural appearance, contemporary clothing and overall look, fashionable lifestyle, and, most of all, the free will with which they make their own choices in life. Here, at a contentious dinner in a Japanese restaurant that is as foreign as their relationship, their friendship begins to unravel over the issue of their age differences.
Flat characters - By contrast, Frodo in LOTR: The Return of the King is a flat character who is nonetheless the ideal hobbit in looks and manner. This image is from the penultimate scene, in which Frodo says good-bye to his fellow hobbits. Sweet, dedicated, and adventurous as he is, Frodo is a one-dimensional character whose actions are controlled by the overall mythical tale in which he is caught.
Protagonist - The central figure of a story and is often referred to as the hero, a protagonist is not necessarily a hero. In the movies, today’s hero can be a virtuous person Lieutenant Ellen Ripley in Alien. There are also heroes who show a darker, more hostile nature, such as Travis Bickle in Taxi Driver.
Antagonist - A character opposing the protagonist, and thus, in all likelihood, the one who provokes the protagonist’s actions or reactions. The scenario can be as simple as the hero (protagonist) versus the villain (antagonist). But because we know that life is more complicated than that, we should be prepared to see the antagonist as not just one character, but also as a group of characters such as the CIA versus Jason Bourne in The Bourne Supremacy.
Character motivation - Revenge is one of the clearest and most powerful forces motivating a character. In Steven Soderbergh’s Ocean’s Thirteen, revenge is all that Danny Ocean wants and needs. Danny wants to avenge the wrong done when Willy Bank double-crosses Danny’s pal Reuben Tishkoff. Here, Danny leads a discussion of why and how he and his crew are going to do this. By the end of the movie, Danny and his gang have stolen a vast sum of Bank’s casino’s money as well as his diamond collection, and destroyed much of his new hotel. Indeed, Danny’s revenge is sweet.
Danny Ocean: What are you doing?
Rusty Ryan: Sleeping. Why are you dressed?
Danny Ocean: It’s 5:30, day of. Gotta go, let’s go!
Rusty Ryan: It’s 11:30. The night before.
Danny Ocean: [realizes he was given a prank wake-up call by Toulour]
Rusty Ryan: Oh! Oh he’s mean. He’s just mean spirited. All right, how many espressos have you had?
Danny Ocean: Five.