In fictional films, characters are born from the imagination of script writers. However, just like real people, fictional characters must have character traits, hobbies, goals, motivations, and struggles in order to be relatable to the audience. Character development is a fundamental part of script writing, since every film needs a plot, which plays out through the actions of its characters.
Films have different kinds of characters, with different personalities. The main character is usually the hero and is called the protagonist, while the “bad guy” is the antagonist. The protagonist and antagonist are typically in conflict. Then there are secondary characters, who either help the main character, oppose them, or are neutral. They are integral to building out the many acts that make up a film and also help audiences understand the protagonist and antagonist.
Developing the characters of the protagonist and antagonist are central to getting audiences hooked to the plot of a story. Script writers should start at the basic level. For example, what is the character’s name, gender, and age? Where do they live, and what do they do for a living?
Further, how do they dress? What are their hobbies? Are they in love?
From there, writers can go deeper into their personalities. For example, what is the character’s general disposition? Are they mostly happy, stern, or sad? What are they afraid of or embarrassed about? What experiences have they gone through to make them this way?
Next are the character’s skills: What skills do they have, and how will they help the character achieve their goals? What are their motivations for achieving these goals?
Script writers should reveal these personality traits through acts in the plot of the film. They can create events in the character’s life to give the audience an understanding of their traits, and build on this through the character’s interactions with others.
Writers can even do some research on human psychology to create their characters’ personalities. For example, they can weave in psychological traits such as agreeableness and conscientiousness. People who are agreeable are trusting, kind, and empathetic, while those who are not are selfish, competitive, and arrogant. People who are conscientious are driven by purpose and are competent and responsible, while those who are not tend to be more free-spirited.
Notably, protagonists should have flaws, just like people in real life. Antagonists, meanwhile, don’t have to be all bad. They can have a sense of morality, however twisted. Such contradictions make for memorable characters.
Whatever the case, as the story progresses, it must be clear what kind of person the protagonist is and why they want what they do. It must also be clear who the antagonist is, and the actions and motivations that make him the bad guy. Think about Harry Potter’s goal to defeat Lord Voldemort because he killed Harry's parents.
To create captivating conflict, the antagonist should be as strong as or even stronger than the protagonist. Writers often have the protagonist fail at early attempts to defeat the antagonist, compelling the character to go through change and overcome their inner limitations before finally reaching their goal.
Secondary characters, while not the focus of the film, ought to have personalities, too. Those who assist the main character can have alternate skill sets or give them emotional support. They could even have quirks that provide comic relief.
Those who oppose the main character provide script writers with an opportunity to explore broader themes, like rivalry between peers. An example is Draco Malfoy in Harry Potter. This gives the plot complexity that engages viewers.
