#ThinkpieceThursday – Destructive Lovers

Thinkpiece Thursday

by Guest Contributor Oscar Harding

There are two possible endings to every love story, either the characters are together at the conclusion or they are apart. If characters are to stay together they must work through their differences and, basically, grow up and grow together. When a love story ends tragically either one character can’t grow up or some greater internal force keeps them apart, like honor or duty.

Recent examples of each end are, Barry Jenkins’ 2016 best picture-winner Moonlight, and Abdellatif Kechiche’s 2013 Palme D’or-winner Blue Is The Warmest Colour. Spoilers follow for both films. 

In Moonlight, central character Chiron (Ashton Sanders), discovers his sexuality and his love for friend Kevin (Jaden Piner). They are torn apart by Kevin’s brutal betrayal until their reconciliation after more than a decade.

In Blue Is The Warmest Colour, central character Adèle (Adèle Exarchopolous) has some awkward sexual experiences with men before realizing that enigmatic Emma (Lea Seydoux) is the one for her. But two fall out forever over Adèle’s impulsive affair.

Moonlight is a Power of Love story, and Blue is the Warmest Colour is a Power of Idealism story. In a Power of Love story, the couple ends up together. In a Power of Idealism story, they are separated lovers who are haunted by loss and longing.

In Moonlight, Chiron is a shy alienated Power of Reason character and Kevin is a charming eager to please Power of Ambition character. Kevin’s desperate desire to fit in explodes in violence toward Chiron as Kevin tries to fit into a toxic culture of the thuggish gang masculinity. Only drug dealer Juan (Mahershala Ali), a kindly Power of Love character provides the understanding and nurture that Chiron needs in his social isolation. 

Chiron and Kevin are reunited after years apart. A more mature and humbled Kevin discovers Chiron has protected himself with the outward toughness of a thug. Kevin has found contentment as a fry cook who supports his son.  Kevin’s honesty and tenderness give Chiron what he needs- love, not lust. Their relationship shows both men hope for real happiness.

In Blue is the Warmest Colour, both Adèle and Emma are Power of Idealism characters. They are intense, passionate, and gifted. Emma is a bold vibrant painter and Adele is a talented writer, too afraid to show her work and risk possible rejection.

Emma is devoted to Adèle.  Adele is the great love of her life and muse for her glorious early paintings. She believes Adèle is perfect.   Adele is unwilling to accept Emma’s adoration and be satisfied. Adèle fears Emma will ultimately reject her.  She has an affair when Emma is preoccupied with helping a friend.   When Emma discovers Adele’s betrayal they have an explosive screaming break up.

Years later they meet and a reconciliation is possible. But Emma has completed her emotional journey.  She has grown up and finds contentment and peace in an ordinary domestic life.  This grounds her creative growth and helps her mature as an artist.

Adele cannot move past her torment over her lost “great love’ with Emma.  She is adrift in loss and longing and wants Emma back, or to have an affair at the very least.  Emma refuses.  She cherishes her family. Even though Adele is still her passionate “great love” Emma walks away from her. Adele simply cannot move on.

Power of Idealism stories always end with separated lovers.  Other examples are Bridges of Madison County, Casablanca, or Gone with the Wind.

Power of Love stories always end with the lovers together.  Examples are every romantic comedy you’ve ever seen.

Character is structure. Will your couple live happily ever after despite their differences? Or will the lovers part ways, remembering always that “great love” that got away?

 

 

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Why is the Cop on the Job?

In a serialized cop drama the mechanics of “How” a crime is solved is so much less important than “Why” the cops are doing what they are doing and “Why” they are affected by the job. If there is no “Why” it’s just cops going through the motions, which can make a serialized story feel by-the-numbers and hollow.

The “Why” provides the emotion, passion, and inter-personal conflict between the individuals in the story (and all the internal conflict within the character). Too often writers simply project their general idea of being a cop and use the mechanics of “How” to put the cops through their paces— Instead of being specific about “Why” one particular individual is a cop and “Why” he/she does the job in a particular or unique way.

There are four basic categories of “Why” anyone becomes a cop (or a doctor, or any other professional):

1. It’s a job. Being a cop is solid union employment and a dependable way to make a living and support a family. The cop does what is expected and punches out. The cop puts in the time and is concerned and responsible on the job. But he or she doesn’t take the job home and retires as soon as is feasible.

2. It’s a career. Being a cop is a good opportunity for advancement. The cop is working to achieve something else. The job is a means to an end (rising through the ranks, running for political office, becoming a consultant, etc.) It is a stepping- stone to something else and worth the hard work and extra effort to achieve a larger goal.

3. It’s a vocation. Being a cop is a life mission or a higher calling. The cop is there to make a difference, have an important impact, or change people’s lives. The work is a consuming passion for the cop. There is no dividing line between work and personal life. Work is the cop’s life.

4. It’s a mistake. Being a cop is not a good fit. The individual is a cop for the wrong reasons or the wrong motivations. Or the reality of the job doesn’t conform to the ideal of the job or the fantasy of being a cop. In any case, the individual puts in the time and effort, got the job, and now is trapped.

Any kind of employment, but particularly policing, has a variety of people who look at the “Why” of doing the job very differently. All individuals naturally assume their “Why” is the most valid reason or, if everyone else was honest, is the real motivation for anyone doing the job. This is a great opportunity for personal conflict in a story. Too often in cop shows (or shows featuring the medical profession) everyone is doing the job for the same reason. That isn’t the case in life and it shouldn’t be the case in drama.

Layered onto “Why” someone is employed as a police officer (it’s a job, a career, a vocation, or a mistake) is the “Why” of the individual’s Character Type. Looking down on nine different police officers toiling away long into the night it might be easy or convenient to believe they are all working hard for the same internal motivation or with the same value system and world view in mind. But every one of the Nine Character Types sees the world very differently, believes very different things about how the world works, and sees the primary role of a cop from a unique perspective.

1. Power of Conscience cops believe policing is an important duty and carries with it the responsibility of making the world a better place. Doing the right thing is crucial to these kinds of cops. Their struggle is what is the higher duty or the most right—law or justice. (These two principles are not the same thing). Hill Street Blues‘ Joyce Davenport (Veronica Hamel) is this kind of character. Howard Hunter (James B. Sikking) is the comic version on the same show. Homicide’s Tim Bayliss (Kyle Secor) is also a Power of Conscience character. Rylan Givens (Timothy Oliphant) in Justified is a more recent example. Although not a cop show, the sheriff Rick Grimes (Andrew Lincoln) in The Walking Dead, was a Power of Conscience law enforcement officer.

2. Power of Will cops believe policing is a matter of strength and the ability to dominate the situation. The use of power is crucial to these kinds of cops. Their struggle is what actually constitutes strength or power— excess or restraint. (Does compassion and tolerance make you stronger or weaker?) NYPD Blue’s Andy Sipowicz (Dennis Franz) is this kind of character. A more recent example is Vic Mackey (Michael Chiklis) on The Shield.  In The Walking Dead, Shane Walsh (Jon” Bernthal) is a Power of Will law enforcement officer.

3. Power of Ambition cops believe policing is a matter of winning or losing. Appealing to other’s self-interest is the way to get things done. Their struggle is with short cuts vs. the long hard patient slog—results or process. (If no one else plays by the rules why should they?) Hill Street Blues‘ John “JD” LaRue (Kiel Martin) is a Power of Ambition character. A more recent example is Lieutenant Cedric Daniels (Lance Reddick) on The Wire.  Shane Vendrell (Walton Goggins) is another example of this kind of cop in The Shield.

4. Power of Love cops believe policing is caring for others and helping them succeed. Compassion and understanding is crucial to how they get the job done. Their struggle is when to employ “tough love” or just give up on someone. (When does empathy or understanding simply enable bad or destructive behavior?) NYPD Blue’s Bobby Simone (Jimmy Smits) is this kind of character. Another example is Phil Esterhaus (Michael Conrad) on Hill Street Blues. Woody Harrelson as Detective Marty Hart in True Detective is a Power of Love cop.

5. Power of Idealism cops believe policing is a matter of individual style and personal excellence. Use of unique talents and refusing to buckle under to stupid bureaucrats is crucial to their method of policing. Their struggle is how to maintain their individuality and still be part of a larger organization. (When does being a maverick or a rebel cause more harm than good?) Homicide’s Frank Pembleton (Andre Braugher) illustrates the Power of Idealism character as a cop.  Another example is Detective Jimmy McNulty (Dominic West) on The Wire.

6. Power of Reason cops believe policing is a matter of keeping personal self-control and maintaining the social order. Objectivity, expertise and a depth of knowledge are crucial to getting the job done. Their struggle is to connect with their own emotions. Dexter’s title character (Michael C. Hall) is one of the best recent examples of this kind of character on the police force. Monk’s title character (Tony Shalhoub) is the comedic example. Sofia Helin as Saga Norén in the Swedish series The Bridge is another great example of this kind of cop.

7. Power of Truth cops believe policing is a matter of uncovering secret agendas and avoiding hidden pitfalls. Establishing trust, knowing who your friends are, and being attuned to conspiracies are crucial to getting the job done. Their struggle is to accept the ambiguity of the job and the possibility of never finding real certainty. (Is the “truth” a moving target or something fixed and certain?) Homicide’s conspiracy obsessed Steve Crosetti (Jon Polito) is this kind of character. Hill Street Blues’ loyal to the core Frank Furillo (Daniel J. Travanti) is another example.  Kurt Wallander (Kenneth Branagh) on the UK version of Wallendar is a Power of Truth detective so is Matthew McConaughey as Detective Rusty Cohle in True Detective.

8. Power of Imagination cops believe policing is a matter of listening to your instincts, following hunches, or special intuitive clues. Often access to what others cannot see or hear or a quirky special kind of insight is crucial to doing their job. Their struggle is how to interpret their unusual intuition or how best to communicate it to others. (Do they take me seriously or do they think I’m crazy?) This kind of cop is rare on television. Hill Street Blues’ Michael (Mick) Belker (Bruce Weitz) is an uncouth ruffian version of the Power of Imagination character.  Another example is police consultant Allison DuBois (Patricia Arquette) in Medium.

9. Power of Excitement cops believe policing is an adventure and a thrill ride. Their charm, good-humor and ability to get themselves in and out of traps is crucial to how they do their job. Their struggle is in following orthodox rules when it is so much more interesting to play fast and loose, improvise, and shoot from the hip. (Are we having fun yet?) Beverly Hills Cop’s Axel Foley (Eddie Murphy) is the quintessential example of this character.

The “Why” of policing combined with Character Type creates a variety of complex and interesting individuals. It would be possible, for example, to create four very different Power of Conscience characters depending on whether they view policing as a job, as a career, as a vocation or as a mistake.

Their values and their world views would not change but their attitudes would clash. For example: How these characters define their “higher duty” or what is the “most right” is hugely influenced by the reason they are on the job. Those different perspectives provide enormous potential conflict. Here is the breakdown:

1. A Power of Conscience cop who sees policing as a job would probably believe the higher duty is owed to family. This cop would follow the rules, be conscientious, but not take the job home.

2. A Power of Conscience cop who sees policing as a career would probably believe the higher duty is owed to the organization or society. The higher the cop rises, the more effective the position becomes to do good and improve the larger situation. This cop would be relentless in seeking opportunities to advance a larger moral agenda.  And the issue of “how much bad am I willing to do in service to a good cause” would be a recurring personal theme.

3. A Power of Conscience cop who sees policing as a vocation probably believes the higher duty is owed to the victims of crime. This cop’s passion would be justice for the victims and punishment for the criminals. His or her personal life would be consumed by this life mission.

4. A Power of Conscience cop who see policing as a mistake would probably believe the higher duty is owed to one’s self. Policing can be a dirty murky business where there often is no right answer and true justice is hard to find. This lack of clear-cut black and white or right and wrong would probably be an unbearable burden on this individual– giving rise to external moral outrage and internal guilt or self-loathing. How can I be good or worthy in a cesspool?

Creating an ensemble which clearly addresses “Why” the cop is on the job combined with Character Type provides an endless source of internal and external conflict. Making use of the full variety of human experience in specific combination creates memorable partnerships, unforgettable enemies, and extraordinary individual characters.

#TypesTuesday – Archetype or Character Type? Wizards in Harry Potter

dumbledore-etbscreenwritingI was having a conversation with a friend the other day about archetypes. I must admit, I am not a fan. To me an archetype is a job description: a wizard, trickster, mother, hero, outlaw, seductress, judge, or mystic simply do different kinds of work in a story.

Let’s take the first job on the list, wizard. The Harry Potter book and film series features many different wizards. Each has his or her own individual kind of wizardry and distinctive personality.

That’s the problem with archetypes. There is no one way to be a wizard. There are lots of different ways to play that role in a story. Different wizards view their role or job differently, believe different things about the world, and frame their responsibilities very differently. In a story, a character’s job or role is much less important than how the person sees the world, understands that role, and fulfills his or her duties.

That’s where Character Type comes in. Character Type determines how a person views the world, sees his or her place in it, and develops a philosophy of life and love, Character Type creates innate strengths and weaknesses and determines the lessons to be learn over the arc of the story. Different Character Types are concerned about very different aspects of their role or job. For example:

A Power of Will wizard is most concerned with using his or her abilities for vengeance or to expand and defend a personal domain or to bend others or the elements into submission.  Lord Voldemort is a great example.  “There is no good and evil, there is only power…and those too weak to seek it.”

A Power of Conscience wizard is most concerned with the justice and ethics of magic and how it is most rightly or properly used.  They do not break rules or tolerate misbehavior.  Minerva McGonagall is a great example:    ‘Now, I must warn you that the most stringent anti-cheating charms have been applied to your examination papers. Auto-Answer Quills are banned from the examination hall, as are Remembralls, Detachable Cribbing Cuffs and Self-Correcting Ink. Every year, I am afraid to say, seems to harbour at least one student who thinks that he or she can get around the Wizarding Examinations Authority’s rules. I can only hope that it is nobody in Gryffindor.”

A Power of Ambition wizard is most concerned with the flash, dazzle and showy presentation required to be impressive, gain prestige, status, being popular, or acquiring a grand reputation.  Draco Malfoy is a great example:  “My father told me all the Weasleys have red hair, freckles, and more children than they can afford… You’ll soon find out some wizarding families are much better than others, Potter. You don’t want to go making friends with the wrong sort. I can help you there.”

A Power of Truth wizard is most concerned with divining oracles and prophesies or delving into deep dark hidden secrets.  They are secret keepers and it’s hard to know where their real loyalties lie.  Severus Snape is a great example:  “What made you think he’d really stopped supporting Voldemort, Professor?”  Dumbledore held Harry’s gaze for a few seconds, and then said, “That, Harry, is a matter between Professor Snape and myself.” Snape has the most surprising reveal in the story, which changes our whole view of him at the end.

A Power of Reason wizard is most concerned with the magical formulas or precise processes that lead to specific knowledge or expertise.  Hermione Granger is a great example:  “That’s what Hermione does. When in doubt, go to the library.” She is a little off-putting and can be very condescending but she is one of the smartest and best informed young wizards in the group.

A Power of Excitement wizard is most concerned with adventurous exploring, wild experimenting or creating the chaos that makes magic fun and surprising.  They hate being bored or trapped. Sirius Black is a great exmple:  “Personally, I’d have welcomed a dementor attack. A deadly struggle for my soul would have broken the monotony nicely. You think you’ve had it bad, at least you’ve been able to get out and about, stretch your legs, get into a few fights…. I’ve been stuck inside for a month.”

A Power of Love wizard is most concerned with relationship magic, bonding spells, and creating mutual alliances.  These Character Types are stalwart friends and are self -sacrificing for others.  Harry’s best friend Ron is a good example:  “We’re nearly there,” Ron muttered suddenly. “Let me think — let me think…” The white queen turned her blank face toward him. “Yes…” said Ron softly, “it’s the only way … I’ve got to be taken.” “NO!” Harry and Hermione shouted.”That’s chess!” snapped Ron. “You’ve got to make some sacrifices! I take one step forward and she’ll take me — that leaves you free to checkmate the king, Harry!”

A Power of Idealism wizard is most concerned with creating magic that is completely unique, entirely special, and is a reflection of his or her deepest passions.  These are the truly exceptional wizards, those who are the legends.  Dumbledore is a good example:  “Professor Dumbledore, though very old, always gave an impression of great energy. He had several feet of long silver hair and beard, half-moon spectacles, and an extremely crooked nose. He was often described as the greatest wizard of the age.”  Harry Potter is also such a legendary wizard, specially marked, and charged with a unique and extraordinary destiny.

A Power of Imagination wizard is eccentric, slightly dreamy and live in a world of their own.  Although unassuming, these Character Types have enormous heart and bravery.  These kinds of wizards can see and hear things others don’t or simply miss.  Luna Lovegood is a great example:  “Oh, yes,” said Luna, “I’ve been able to see them (winged horses) ever since my first day here. They’ve always pulled the carriages. Don’t worry. You’re just as sane as I am.”

Each type of wizard looks at the role of magic through very different personal lens of Character Type. Resorting to an archetypal “wizard” too often leads to stereotypical behavior that is cliched. There is no one way to be a wizard just as there is no one way to be a cop, a nurse, a priest, a mother, or a fool. Each Character Type makes the role, the job, the archetype entirely his or her own.

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Vintage Cop Shows – Why Is The Cop On The Job?

Andy-Sipowicz-etbscreenwriting

I recently had a question from a reader about how different Character Types do the same job OR how the same Character Types might do a job differently.  This previous post answers both questions.  I love questions from readers.  Be sure to submit yours.

Three cop shows changed forever how police work is depicted on television. Each show was original and iconic in its own time. Each remains an example of emotional storytelling at peak intensity and engagement. Let’s look at Hill Street Blues, Homicide: Life on the Street and NYPD Blue and the lessons that can be drawn going forward.

Hill Street Blues redefined the cop/crime genre through intertwined partnerships that combined police officers’ stressful work lives with the conflicts in their private lives. Very few investigations or interrogations were ever featured on the show. Instead, each episode charted a “day in the life” of the precinct from the early-morning roll call to a late-night rehash of the day’s events. This recap was usually in the bedroom with lovers Captain Furillo and Public Defender Joyce Davenport. Hill Street Blues focused almost exclusively on the interpersonal relationships between the core cast members. The show also introduced a more “documentary” look and feel to the genre. Real-life personal issues and situations were explored in a raw and more explicit manner than previously depicted on earlier shows such as Columbo or Kojak. Real-life street slang was used throughout the program.

Homicide: Life on the Street exploded television racial stereotypes with multi-dimensional complex depictions of African Americans. The show was set in Baltimore, a predominately black American city. The storylines managed to cross racial barriers that were previously taboo on television. Homicide also broke many of television’s editing and narrative continuity rules. Jump cuts were numerous and unpredictable shifts in the narrative marked it as one of the most unconventional programs at that point in the genre. With a sharp unflinching honesty about race, prejudice and violence, the detective’s job is depicted as repetitive and emotionally draining. The show examined the enormous toll that policing took on individuals and on partnerships.

NYPD Blue was set against the backdrop of urban decay in New York City. Career cops were depicted as complicated, complex and often deeply flawed human beings. Although the show featured risky adult material, most of the stories were about families and the terrible emotional aftermath of violence. Less attention was paid to the crimes than how the crimes affected the relationships in the core cast. NYPD Blue was really about one man’s journey toward redemption. Andy Sipowicz (Dennis Franz) began the show as a drunken abusive racist cop who is about to be thrown off the force (for good reason). Seventeen years later, he’s earned the top position in the precinct and, although still Andy, is fit to lead.

Each of these classic cop shows focused on the “Why” of the human cop story rather than the “How” of the crime story. That’s what made them successful. And that’s what separates these shows from the current generation of procedural cop shows like Law & Order (and all its varieties). But even in the Dick Wolf Law & Order universe, “Why” each person does the job is based on the individual’s very clear Character Type. For example: Jack McCoy (Sam Waterston), over many years on the show, still wrestles with the same questions of ethical principle vs. political expediency and law vs. justice. His “Why” is clearly driven by the Power of Conscience.

In a one-hour drama it is only possible to do one thing well– procedure or personal relationships. There isn’t time to do both well. There currently is lots of procedure on television. Perhaps it’s time for the pendulum to swing back to emotional personal relationships in cop shows.

Clear true emotions travel. They connect with the audience and move them week after week to watch a show. The definition of “to be entertained” is to feel something. In the classic cop shows discussed above, the mechanics of “How” a crime is solved is so much less important than “Why” the cops are doing what they are doing and “Why” they are affected by the job. If there is no “Why” it’s just cops going through the motions, which can make a story feel by-the-numbers and hollow.

The “Why” provides the passion and inter-personal conflict between the individuals in the story (and all the internal conflict within the character). Too often writers simply project their general idea of being a cop and the mechanics of “How” to put the cops through their paces— Instead of being specific about “Why” one particular individual is a cop.

There are four basic categories of “Why” anyone becomes a cop (or anything else for that matter):

1. It’s a job. Being a cop is solid union employment and a way to make a living or support a family. The cop does what is expected and punches out. The cop puts in the time and is concerned and responsible on the job. But he or she doesn’t take the job home and retires as soon as is feasible.

2. It’s a career. Being a cop is a good opportunity for advancement. The cop is working to achieve something else. The job is a means to an end (rising through the ranks, running for political office, becoming a consultant etc.) It is a stepping- stone to something else and worth the hard work and extra effort to achieve a larger goal.

3. It’s a vocation. Being a cop is a life mission or a higher calling. The cop is there to make a difference, have an important impact or change people’s lives. The work is a consuming passion for the cop. There is no dividing line between work and personal life. Work is the cop’s life.

4. It’s a mistake. Being a cop is not a good fit. The individual is a cop for the wrong reasons or the wrong motivations. Or the reality of the job doesn’t conform to the idea of the job or the fantasy of being a cop. In any case, the individual puts in the time and effort, got the job and now is trapped.

Any kind of employment, but particularly policing, has a variety of people who look at the “Why” of doing the job very differently. All individuals naturally assume their “Why” is the most valid reason or, if everyone else was honest, is the real motivation “Why” anyone works at the Station House or Precinct. This is a great opportunity for personal conflict in a story. Too often in cop shows (or shows featuring any profession) everyone is doing the job for the same reason. That isn’t the case in life and it shouldn’t be the case in your drama.

Layered onto “Why” someone is employed as a police officer (it’s a job, a career, a vocation or a mistake) is the “Why” of the individual’s Character Type. Looking down on nine different police officers toiling away long into the night it might be easy or convenient to believe they are all working hard for the same internal motivation or with the same value system and world view in mind. Every one of the Nine Character Types sees the world very differently, believes very different things about how the world works, and sees the primary role of a cop from a unique perspective.

1. Power of Conscience cops believe policing is a duty and a responsibility to make the world a better place. Doing the right thing is crucial to these kinds of cops. Their struggle is what is the higher duty or the most right—law or justice. (These two principles are not the same thing). Hill Street Blues‘ Joyce Davenport (Veronica Hamel) is this kind of character. Howard Hunter (James B. Sikking) is the comic version on the same show. Homicide’s Tim Bayliss (Kyle Secor) is also a Power of Conscience character. Rylan Givens (Timothy Oliphant) is a more recent example.

2. Power of Will cops believe policing is a matter of strength and the ability to dominate the situation. The use of power is crucial to these kinds of cops. Their struggle is what actually constitutes strength or power— excess or restraint. (Does compassion and tolerance make you stronger or weaker?) NYPD Blue’s Andy Sipowicz (Dennis Franz) is this kind of character. A more recent example is Vic Mackey (Michael Chiklis) on The Shield.

3. Power of Ambition cops believe policing is a matter of winning or losing. Appealing to other’s self-interest is the way to get things done. Their struggle is with short cuts vs. the long hard patient slog—results or process. (If no one else plays by the rules why should they?) Hill Street Blues‘ John “JD” LaRue (Kiel Martin) is a Power of Ambition character. A more recent example is Lieutenant Cedric Daniels (Lance Reddick) on The Wire.

4. Power of Love cops believe policing is caring for others and helping them succeed. Compassion and understanding is crucial to how they get the job done. Their struggle is when to employ “tough love” or just give up on someone. (When does empathy or understanding simply enable bad or destructive behavior?) NYPD Blue’s Bobby Simone (Jimmy Smits) is this kind of character. Another example is Phil Esterhaus (Michael Conrad) on Hill Street Blues.

5. Power of Idealism cops believe policing is a matter of individual style and personal excellence. Use of unique talents and refusing to buckle under to stupid bureaucrats is crucial to their method of policing. Their struggle is how to maintain their individuality and still be part of a larger organization. (When does being a maverick or a rebel cause more harm than good?) Homicide’s Frank Pembleton (Andre Braugher) illustrates the Power of Idealism character as a cop.  A more example is Detective Jimmy McNulty (Dominic West) on The Wire.

6. Power of Reason cops believe policing is a matter of keeping personal self-control and maintaining the social order. Objectivity, expertise and a depth of knowledge are crucial to getting the job done. Their struggle is to connect with their own emotions. (When is objectivity actually alienation?) Dexter’s title character (Michael C. Hall) is one of the best recent examples of this kind of character on the police force. Monk’s title character (Tony Shalhoub) is the comedic example.

7. Power of Truth cops believe policing is a matter of uncovering secret agendas and avoiding hidden pitfalls. Establishing trust, knowing who your friends are and being attuned to conspiracies are crucial to getting the job done. Their struggle is to accept the ambiguity of the job and the possibility of never finding real certainty. (Is the “truth” a moving target or something fixed and certain?) Homicide’s conspiracy obsessed Steve Crosetti (Jon Polito) is this kind of character. Hill Street Blues’ loyal to the core Frank Furillo (Daniel J. Travanti) is another example.  Kurt Wallander (Kenneth Branagh) on the UK version of Wallendar is a more recent example.

8. Power of Imagination cops believe policing is a matter of listening to your instincts, following hunches and special intuitive clues. Often access to what others cannot see or hear or a quirky special kind of insight is crucial to doing their job. Their struggle is how to interpret their unusual intuition or how best to communicate it to others. (Do they take me seriously or do they think I’m crazy?) This kind of cop is rare on television. Hill Street Blues’ Michael (Mick) Belker (Bruce Weitz) is an uncouth ruffian version of the Power of Imagination character.  A more recent example is police consultant Allison DuBois (Patricia Arquette) in Medium.

9. Power of Excitement cops believe policing is an adventure and a thrill ride. Their charm, good-humor and ability to get themselves in and out of traps is crucial to how they do their job. Their struggle is in following orthodox rules when it is so much more interesting to play fast and loose, improvise and shoot from the hip. (Are we having fun yet?) Beverly Hills Cop’s Axel Foley (Eddie Murphy) is the quintessential example of this character.

The “Why” of policing combined with Character Type creates a variety of complex and interesting individuals. It would be possible, for example, to create four very different Power of Conscience characters depending on whether they view policing as a job, as a career, as a vocation or as a mistake. Their values and their world views would not change but their attitudes would clash. For example: How these characters define their “higher duty” or what is the “most right” is hugely influenced by the reason they are on the job. Those different perspectives provide enormous potential conflict. Here is the breakdown:

1. A Power of Conscience cop who sees policing as a job would probably believe the higher duty is owed to family. This cop would follow the rules, be conscientious and not take the job home.

2. A Power of Conscience cop who sees policing as a career would probably believe the higher duty is owed to the organization or society. The higher the cop rises, the more effective the position becomes to do good and improve the larger situation. This cop would be relentless in seeking opportunities to advance a larger moral agenda.

3. A Power of Conscience cop who sees policing as a vocation probably believes the higher duty is owed to the victims of crime. This cop’s passion would be justice for the victims and punishment for the criminals. His or her personal life would be consumed by this life mission.

4. A Power of Conscience cop who see policing as a mistake would probably believe the higher duty is owed to one’s self. Policing can be a murky business where there often is no right answer and true justice is hard to find. This lack of clear-cut black and white or right and wrong would probably be an unbearable burden on this individual– giving rise to external moral outrage and internal guilt or self-loathing. How can I be good or worthy in a cesspool?

Creating an ensemble which clearly addresses “Why” the cop is on the job combined with Character Type provides an endless source of internal and external conflict. Making use of the full variety of human experience in specific combination creates memorable partnerships, unforgettable enemies and extraordinary individual characters.

What is Power?

51F7BV3TWPL._SL500_AA300_I was watching an interesting British mini-series, The Politician’s Wife, last weekend. The series is about a faithful political wife who supports her husband through an infidelity scandal. In this story, unlike The Good Wife, the protagonist exacts painful political revenge over the course of time.

In The Politician’s Wife, a bit of advice from one of her husband’s advisors (and a long time family friend) instructs her: “Power, real power, is invisible and therefore inviolable.”  That is a view of power from a Power of Will character.  Real power need not be seen it only need be felt.

What do other movie or television characters have to say about power:

In Schindler’s List Oskar Schindler tells Amon Goeth what he believes real power is:

Oskar Schindler: Power is when we have every justification to kill, and we don’t.

Oskar Schindler: Power is when we have every justification to kill, and we don’t.
Amon Goeth: You think that’s power?
Oskar Schindler: That’s what the Emperor said. A man steals something, he’s brought in before the Emperor, he throws himself down on the ground. He begs for his life, he knows he’s going to die. And the Emperor… pardons him. This worthless man, he lets him go.
Amon Goeth: I think you are drunk.
Oskar Schindler: That’s power, Amon. That is power.Oskar Schindler: Power is when we have every justification to kill, and we don’t.

Amon Goeth: You think that’s power?

Oskar Schindler: That’s what the Emperor had. A man steals something, he’s brought in before the Emperor, he throws himself down on the ground. He begs for his life, he knows he’s going to die. And the Emperor… pardons him. This worthless man, he lets him go.

Amon Goeth: I think you are drunk.

Oskar Schindler: That’s power, Amon. That is power.

Power, real power, is mercy and pardon according to a Power of Conscience character.

In Death of A Salesman, Willie Loman tells his son what he believes real power is:

“The man who makes an appearance in the business world, the man who creates personal interest, is the man who gets ahead. Be liked and you will never want.”

Power, real power, is popularity and personal magnetism according to a Power of Ambition character.

In Gladiator, Maximus tells his fellow soldiers what he believes is power: “What we do in life echoes in eternity.”

To a Power of Idealism Epic Hero power, real power, is honor and the memory of honor.

In Batman Forever, the Riddler flatters himself: “For if knowledge is power, then a God I am.”

To a Power of Reason Character power, real power, is intellectual superiority.

In The X Files, Fox Mulder says to Dana Scully:  “The truth will save you, Scully. I think it’ll save both of us.”

To  Power of Truth character power, real power, is the ability to discern the truth and reality from illusion.

What are your favorite movie quotes about power?  Let me know and I will tell what Character Type the protagonist is.

Battleship

I arrived at the WGA screening expecting to see an arty, cerebral, independent film, Wes Anderson’s Moonrise Kingdom, and realized something was odd when Hasbro got a big credit in the first few moments of the opening.  I had the times wrong and Battleship was playing on the screen.

My expectations were low, my aisle seat afforded me a quick painless getaway, and yet I stayed.  I actually enjoyed the movie.

imagesPower of Idealism bad boy Alex Hopper (Taylor Kitsch, Friday Night Lights) is a colossal screw-up. It’s love at first sight when he spots Sam (Brooklyn Decker) at a bar.  She won’t give him the time of day.  He makes a big over-the-top romantic gesture of getting her an after hours chicken burrito in ten minutes just to talk to her. This is involves a breaking into a convenience story through the roof, falling a full story several times but beating the time limit imposed by her impossible request.

Power of Idealism characters are misfits, mavericks and rebels. They believe that life and love should involve a grand passion, big romantic gestures, and an individual heroic destiny (even if it others see their actions as doomed, crazy, or just being a jack-ass).

images-1Alex’s Power of Conscience brother, Stone (Alexander Skarsgård), demands Alex get some discipline and learn responsibility by joining the Navy.  The two brothers serve together on a destroyer. The story opens during NATO exercises and international competitive sports.

Power of Conscience characters know instinctively if something is wrong, unjust, unfair, improper, corrupt or out of line. Their judgment and response is swift and immutable. These characters believe they are their brother’s keeper. They feel responsible for the greater good and for doing good.

As he rises through the Navy, Alex continues to be a grandstander and a rebel lone wolf hero. He tries to kick a goal by himself after he is injured by a competing Japanese officer.  Alex misses and the Navy loses the game to Japan.  Alex and the offending Japanese officer develop an intense animosity off the field that explodes into a brutal fist fight.

Meanwhile, the egg heads at NASA try to contact other life forms in deep space after they discover an earth-like planet light years away.  Naturally, a hostile alien invasion ensues. The alien’s superior technology and advanced weapons systems terribly out-match what earth has to offer.

81836-29574Power of Love Seaman Jimmy ‘Ordy’ Ord (Friday Night Lights Alumn Jesse Plemons) is Alex’s reliable side kick.  Jimmy comes up with a crucial bit of information about a possible alien personal weakness.

Power of Love characters are the helpful best friend, the loyal sidekick, or adoring love interest who devotes him or her self to helping the hero succeed. They will always tell the hero the hard truth when that’s what he or she needs to hear.

Brooklyn_Decker_Battleship_Profile.jpg_0Alex’s now girlfriend, Power of Love Samantha, turns out to be the daughter of Admiral Shane (Liam Neeson). She sticks by Alex through thick and thin.  Sam is a physical therapist on Oahu, working with wounded post-amputation Navy veterans who are relearning life skills and coping with their loss.  One of  her patients is Power of Will Lt. Colonel Mick Canales (real-life veteran and double amputee Gregory D. Gadson).

Power of Will characters fear showing any sign of weakness or vulnerability. Mick Canales feels he is now half a man because he is unfit to be a soldier.  Mick turns weakness into strength and is a key player in battling the aliens on the ground near their communications center.

battleship_rihanna-500Rihanna is the cool sarcastic Power of Reason gunner and expert shot in the crew.  Power of Reason character always try to maintain a sense of cool detachment and personal objectivity.  They excel in their area of expertise.

I found the film goofily charming and agree with the review in Time Magazine:

The creative team behind this ocean-bound thriller decided to fill the narrative black hole with a few ingredients all but absent from today’s summer tent poles — namely mystery, nostalgia and a healthy dose of humility. Just as blockbusters have made the hard turn towards fantasy heroes who solemnly go about their business in high-def-but-low-impact 3D cage matches, Battleship is an unapologetically goofy, surprisingly enigmatic, refreshingly self-deprecating deviation from the norm. I hesitate to confess that I had more fun here than I did at The Avengers, because low expectations surely had a lot to do with it, but it’s the truth.

In order to best the aliens Alex must learn team work and, at times, defer to the Japanese officer who was once his adversary.  The two men develop mutual respect and Alex learns to pick his shots. Cleverness, timing, making the most of what you have, good instincts and most of all teamwork between young and old and Japan and America is what ultimately saves the day.

Unlike most action heroes, who simply possess expert skills, Alex is learning as he goes, and we learn through his eyes. As his crew develops a new attack plan for the final climactic brawl, there’s something slightly more fulfilling about a strategy that’s evolved throughout the film.
There’s something decidedly retro about the grid sequence, where winning the war at sea has less to do with technology than with instincts, trigger fingers and the equipment at hand. In fact, there’s something delightfully old-school about all the action in Battleship. As classic rock blasts in the background, the movie increasingly shifts its attention away from the spinning, glowing alien ships to the inner workings of mankind’s floating fortresses, paying tribute to veterans and the ingenuity of those in the armed forces. Sure, it’s slightly jingoistic, but when the aliens are calling for backup, we want to cheer for our side.

Unlike most action heroes, who simply possess expert skills, Alex is learning as he goes, and we learn through his eyes. As his crew develops a new attack plan for the final climactic brawl, there’s something slightly more fulfilling about a strategy that’s evolved throughout the film…

…There’s something decidedly retro about the grid sequence, where winning the war at sea has less to do with technology than with instincts, trigger fingers and the equipment at hand. In fact, there’s something delightfully old-school about all the action in Battleship. As classic rock blasts in the background, the movie increasingly shifts its attention away from the spinning, glowing alien ships to the inner workings of mankind’s floating fortresses, paying tribute to veterans and the ingenuity of those in the armed forces. Sure, it’s slightly jingoistic, but when the aliens are calling for backup, we want to cheer for our side.

If you want to read the full Time Magazine review go to http://entertainment.time.com/2012/05/17/battleship-more-f

#TypesTuesday – The Avengers

The Avengers is a continuing box office smash hit.  The clarity of the characters, their witty on-point interactions, and their specific personal conflicts with each other contribute just as much to the movie’s success as the smash-em-up-whiz-bang action.

The character moments were my favorite parts of the movie because, I confess, the 3-D gave me a splitting headache and the action scenes go on a tad long for my personal taste.

The movie begins with the premise that humanity will be annihilated if Loki, the bitter banished demigod, opens a hole in space to let in an invading mechanized army. Loki is adopted, hates his brother, Thor, and wants to destroy the earth Thor loves and protects.

This crisis brings together the reluctant Avengers teammates.  Each portrays his or her Character Type with nearly pitch perfect attitude and dialogue.

The-Avengers-2012-upcoming-movies-29945637-1280-1024Loki is a Power of Idealism demi-god villain:  Loki (Tom Hiddleston) and these Character Types believe they are meant for some kind of heroic destiny.

He says: I am Loki, of Asgard. And I am burdened with glorious purpose.

These characters are “divas” and want to be seen as special, unique, and extraordinary– something out of reach for Loki, who is always in the shadow of his more perfect “brother” Thor.  It was Thor who got all the glory and Loki is furious about that. A bit of dialogue says it all–

Tony Stark: Loki wants everyone to see what he’s doing.
Steve Rogers: Yeah, I caught his act at Stuttengard.
Tony Stark: That was a preview, this will be opening night. Loki’s a full-fledged diva, everything’s got to be about him. He wants a parade, flowers, anything that’ll bring in an audience. He needs someplace where everyone can see it’s him and he’s doing it, somewhere where his name is up in lights!
[pause]
Tony Stark: Sonofabitch!
[heads to Stark Tower]

Tony Stark: Loki wants everyone to see what he’s doing.

Steve Rogers: Yeah, I caught his act at Stuttengard.

Tony Stark: That was a preview, this will be opening night. Loki’s a full-fledged diva, everything’s got to be about him. He wants a parade, flowers, anything that’ll bring in an audience. He needs someplace where everyone can see it’s him and he’s doing it, somewhere where his name is up in lights!

chris-hemsworth-thor-movie-costume-mjolnir-hammer-488x341Thor is a  Power of Love demigod:  Thor (Chris Hemsworth) uses his strength and power to care for and protect the earth.  Despite everything, he still is attached to his adoptive brother, Loki, as evidenced in the following exchange:

Bruce Banner: I don’t think we should be focusing on Loki. That guy’s brain is a bag full of cats. You can smell crazy on him.

Thor: Have a care how you speak. Loki is beyond reason, but he is of Asgard. And he is my brother.

Natasha Romanoff: He killed eighty people in two days.

Thor: He’s adopted.

Thor is the son of Gaea, the nurturing mother earth herself. In his comic book backstory Thor is a caring doctor, Donald Black, who is willing to defy the might of Asgard for the woman he loves.  Power of Love characters are incredibly strong characters and are ferociously unstoppable when something they love and care for is in threatened.

iron_man_the_avengers_2012_movie-t2Iron Man is a Power of Excitement man-made superhero in his mechanized suit:  In his own words he is Tony Stark (Robert Downey Jr.), genius, billionaire, playboy, philanthropist. In addition, he’s a jokester and an agent of chaos, who loves to stir things up. He’d especially like to see the Hulk get unleashed.

He says: “Dr. Banner, your work is unparalleled. And I’m a huge fan of the way you lose control and turn into an enormous green rage monster.”

Stark speaks frequently in the movie about escape or wanting to escape. Steve Rogers, Captain America, chides him for that saying Stark doesn’t have it in him to make the “sacrifice play” that puts others first. Tony Stark’s rakish push-the-envelop devil-may-care attitude continually presses everyone’s buttons in the story, but his charm, ready wit, and natural talent as an improvisor helps save the day.

Chris-Evans-in-The-Avengers-2012-Movie-ImageCaptain American is a Power of Conscience government laboratory experiment turned superhero: Steve Rogers (Chris Evans) is a super-soldier who believes in following rules, following orders, and the importance of the chain of command.  He can seem a little stiff and humorless at times but he is 100%  reliable, trustworthy, and always puts the good of the team first. The difference between Rogers and Stark is summed up in this exchange:

Steve Rogers: We have orders, we should follow them.

Tony Stark: Following’s not really my style.

Steve Rogers: And you’re all about style, aren’t you?

Tony Stark: Of the people in this room, which one is A – wearing a spangly outfit and B – not of much use?

Stark surprises Rogers at the climax. And Rogers learns to improvise more, following Stark’s example.

imagesThe Hulk is a Power of Will gamma ray experiment gone-wrong superhero:  Bruce Banner (Mark Ruffalo), in his Hulk state, is all angry impulse. He is primitive. He’s strong. He is a mass of instinctual drives and impulses that only finds satisfaction in “Hulk smash!”  In his normal human state Banner controls his anger enough to be a protector (as a doctor in remote India) rather than a destroyer. But his raw uncontrollable instinctual side is never far away.

Steve Rogers: Doc… I think now is the perfect time for you to get angry.

Bruce Banner: That’s my secret Cap, I’m always angry.

The-Avengers-Black-Widow-Headshot-360x273The Black Widow is a Power of Truth super-spy: Natasha Romanoff (Scarlett Johansson) doesn’t have super powers per se but she is as skilled a warrior as any of her other Avengers teammates. She lives in a spy vs. spy world that is filled with hidden dangers, secretive enemies, and concealed pitfalls. With the Black Widow– “Things are never what they seem.” “Trust no one.” “Question everything.” “Watch out for secret agendas and hidden pitfalls.” Just when an adversary thinks she is most vulnerable she is actually conducting a brilliant and treacherous interrogation.

hawkeye-the-avengers-01-610x458Hawkeye is a Power of Reason ultra-expert archer:  Clint Barton (Jeremy Renner) is a loner and a bit alienated, the perfect combination for his backstory and continuing role as sniper. He is a cold and calculating and spends the first half of the movie under the mind control of Loki.

There isn’t time for very much character development in The Avengers, but what there is is spot on.  Each hero is absolutely true to his or her Character Types in both word and deed. When every bit of dialogue and action has to count as character development, the Character Types will help you be as economical and on target as the characters here.

Dogtooth – Day Two – #40movies40days

dogtooth03Last night I saw Dogtooth, the 2011 Academy Award nominated Best Foreign Language Film from Greece.  There’s going to be no rhyme or reason in selecting the films for my 40 movies in 40 days project.  I’ve decided to go wherever the spirit leads me.  Once I start watching a film I am going to view it all the way to the end and see what it might have to say to me.

Last night, my random choice was Dogtooth, mostly because I could stream it instantly on NetFlix, but also because I had heard good things about it as an overlooked Oscar nomination (mostly from my alt film friends).

WARNING: this film is not for everyone.  It is strange, perverse and quite disturbing– but fascinating after some slow-going.  My opinion reflects the common consensus and the film has a 93% fresh critical rating on Rotten Tomatoes, with the “strange perverse” caveat.

The film enters, without explanation or set up, into the insular world of a reasonablely wealthy family in Greece.  Three adult children (without names) live with their parents, completely isolated from the outside world.

The first scene opens on  a vocabulary lesson, via cassette recorder, providing the definitions of a number of words whose meanings are arbitrarily switched– the word “sea” the adult children are taught means “armchair.” When asking to pass the “salt” the word they are taught to use is “phone.”

They are also taught the outside world is extremely dangerous and even fatal.  (A non-existant fictional “older brother” they are told ventured outside and was devoured by a housecat– one of the most dangerous and ferocious animals on the planet who feeds on human flesh).  The father returns with ripped clothes and smeared head to toe with blood to report the grim news.

dogtooth2The family compound (house, pool, large garden) is located inside a tall hedged fence that completely obstructs the view.  Only the father ventures outside, in the safety of his car.  He owns a large factory and is a dead-pan but accomplished and probably expert business man.  He’s made up a variety of stories about why no one ever sees his family and why no one is ever invited to the house.  (He is a Power of Reason character and alienation vs connection is a common thread through-out the movie.)

The mother is an obsessive Power of Love character.  She willingly goes along with the father to protect the children from outside “bad influences” and to keep them safe, secure, always in her orbit and completely dependent on her.

The family television only plays video cassettes made by the father which depict family scenes and family events.  When the father buys groceries all the product labels are carefully removed and discarded before any item is brought into the house.  The father “translates” an English language Dean Martin record, which the children are told was made by their “grandfather,” as an ode to family loyalty, fidelity and trying hard to please your parents.

The mother never leaves the compound but does have access to a rotary telephone, which is hidden and locked away in the parent’s bedroom.  The adult children believe she occasionally retreats to her room to talk to herself.  When one of the girls sneaks into the bedroom she has no idea how the phone works or what it is.  When she accidentally dials a number and hears a voice, the girl is terrified and immediately hides the phone again.

The adult children live a strange bizarre life and have no real context for anything.  They are at the edge of rebellion but when they question the parents the adult children accept the warped answers they receive.  The parents aren’t depicted as evil or horribly abusive (well maybe a couple of times).  They are strange, inappropriate and consumed with constructing a completely insular world of rather twisted innocence.  They enthusiastically celebrate all sorts of family events.  They laude their children’s achievement goals (all sorts of little contests are devised). They are mostly benevolent despots.

dogtooth_15bThe only stranger the family sees is the female security guard who (while blindfolded) is occasionally driven to the compound to have joyless mechanical sex with the adult son.  When one of the daughters gets hold of her contraband videotapes of American films (Rocky, Jaws and perhaps Flashdance) the daughter begins to quote from the movies and acts out the dance sequence from Flashdance.  The isolation is shattered and things end as strangely as they began.

So where exactly did this lead me?  Lots of metaphors have been offered about the film– but as I thought about the film I wondered my own unquestioned assumptions, definitions and fears.   How much of what I believe did I inherit or do I accept without examination?  How many of my beliefs are warped or distorted by someone else’s experience that is presented as fact or “truth”?

pa1b10_cola_basted_ham_lgIt reminded me of the old story about the ham in the pan.  The story goes like this– A woman is cooking Easter dinner for her family and cuts off the ends of ham before tucking it into a very large pan and putting it into the oven.

Her small daughter asks her why she cuts the ham like that.  The mother answers that it is the way it’s always been done.  But then the mother wonders about this.  She asks her own mother about the reasons for cutting off the ends of the ham.

Her mother replies that it was how she was taught to prepare a ham.  They finally ask the family matriarch and she says that the oven in her home was too small to accommodate a large ham so she had to trim either end to make it fit in the pan and in the oven.

How long after the reason is obscured, has changed or become irrelevant do our assumptions and behavior patterns remain the same?  Sometimes what we are told is false, like in Dogtooth, and the warnings, information or attitudes passed on simply represent someone else’s fears, good intentions or experience, without any true contextual basis in reality or in our own experience.

1wJ4VAE4iooCFor example, how many of my attitudes and assumptions toward money come from parents who were born just after the Great Depression?  I am revisiting a wonderful book, The Energy of Money, during this 40 days.  The book’s premise is– everything about who you are is intensified in your attitude about money.  Money is just a form of energy– how much energy you expend getting it, holding on to it or spending it.  Like all energy, it has a flow.  This flow can be blocked or squandered in response to fears, false assumptions or living in a way that is not intentional (not paying attention!)

How should my energy flow be focused in pursuing my projects?  How do I not squander or dissipate my energy by frantic activity.  How do I assess just what I want in evaluating and pursuing each project?  How do I do that intentionally and in reflection of who I want to be?

I am incredibly lucky and very blessed.  My father was extemely proud of me.  As a creative person I was never told that I should have a “back up plan” or I should study something “practical.”  He and my mother always believed I could do whatever I set out to do– no matter that I was a girl.  All good!

One of the last things my father said to me before he died was that he was only sorry he wouldn’t live to see my “great” success.  By that time I had been in a long-term mostly happy marriage (I still am), I helped raised one of my siblings (in my home) who was going through a rough patch in young adulthood, my husband and I owned a house, I had a law degree and a Masters Degree, I enjoyed a flourishing teaching, writing and consulting career and I had written several books– wasn’t that great success?

I know my dad meant that remark in a kindly way.  But maybe I have been chasing something that is always just beyond my reach and not defined by me.  I am not done by any means.  There are always further mountains to climb, bridges to build and to cross and obstacles to overcome– In this next 40 days I want to make sure those mountains, bridges and obstacles are mine– and not the unexamined reflections or desires of someone else.  I want to pursue only those projects that represent the best of what I can offer and which reflect the best of who I want to be.  I want to live more intentionally– at least during this 40 days of time.

How do you go about being intentional in your work?  Who defines you and your beliefs?  Do you ever wonder about that?  What fears or false assumptions might be standing in your way?  Comment here or on my ETB FaceBook page.

DAY ONE  POST- RANGO- IS HERE

NFL Leadership Styles – Can You Help?

Sometimes it is really useful to look at the Character Types of real people to see how what they do or say defines them.  The SuperBowl and the magnificent victory by Green Bay and their young quarterback Aaron Rodgers is a great example to start off with.

I’d like to type all the major players in the NFL in terms of their leadership styles.  I’m looking for some help here– with quotations or a link to a video as an illustrations.  I did a similar article on Celebrity Chefs on TV and how their cooking and food presenting style reflected their Character Type  Can you help fill out the NFL roster and comment on your favorite players?  Interview or commentary links or player quotes are really useful as illustrations.  See the leadership definitions below.

aaron-rodgersPOWER OF CONSCIENCE

Let’s start with Aaron Rodgers as a Power of Conscience leader.  Notice in his David Letterman interview below he talks about leading by example.  That is what the best Power of Conscience characters do.  He also talks about responsibility, duty, preparation, practicing hard and putting in the time to do the job well. That doesn’t mean he isn’t passionate about the game or inspirational– it just means that those qualities are not the primary attributes of leadership to him.

The Power of Conscience character leads by showing fairness, firmness, consistency, justice and providing a good example.  They believe the rule of law is humankind’s salvation.
The best Power of Conscience leaders are “servant leaders” who have  the humility to serve the greater good of others. Power of Conscience leaders teach their followers to be of service themselves.

The Power of Conscience character leads by showing fairness, firmness, consistency and providing a good example.   The best Power of Conscience leaders are “servant leaders” who have  the humility to serve the greater good of others. Power of Conscience leaders teach their followers to be of service themselves.

Here is Aaron Rodgers on leadership in his own words.

Dandy Dozen Movies FootballPOWER OF IDEALISM

Power of Idealism leaders are passionate and emotional leaders. They are inspiring and challenge their followers to give their all to a glorious cause.  They create a sense of special destiny and often link their mission to the grand heroism  or glories of the past.  These characters lead their followers into a lost cause or an impossible battle.  They know the odds are grim and victory is improbable but they charge in anyway.  What they are after is valor, honor and a grand and glorious legacy—the kind of immortality to inspire others in story, song or legend.  Who in the NFL leads in this way?

The player who comes to my mind is George Gipp.  In the film, Knute Rockne All American, Knute quotes George like this:

Knute Rockne: Now I’m going to tell you something I’ve kept to myself for years. None of you ever knew George Gipp. He was long before your time, but you all know what a tradition he is at Notre Dame. And the last thing he said to me, “Rock,” he said, “sometime when the team is up against it and the breaks are beating the boys, tell them to go out there with all they’ve got and win just one for the Gipper. I don’t know where I’ll be then, Rock,” he said, “but I’ll know about it and I’ll be happy.”

POWER OF REASON

Power of Reason characters are more loners than leaders.  When they are  put in charge (or they take charge) they use their intelligence, expertise, knowledge and technical skills to lead (or sometimes to dominate) others.  They are most comfortable as experts or technicians.

These characters are not very skilled at interpersonal relationships.  They don’t naturally engage or charismatically inspire others.  They usually don’t like the genial chit-chat of team banter and camaraderie. Instead, these characters  attract followers with their problem-solving abilities, technical ability, specialized experience or practical know-how.

When Power of Reason characters want to take command they argue that they are the most experienced or qualified to lead.  They argue that they are in fact the intellectually or skills-based superior choice.  Who in the NFL leads like this?

imagesPOWER OF AMBITION

Power of Ambition characters are most often potential leaders, protégés and young, upwardly mobile strivers.  They are impatient, high-energy individuals who want to get things done and who put a very high premium on accomplishment (right now!).  They are often willing to take short cuts and cut corners to get ahead.  They value fame, popularity and status.

These characters think well on their feet and are flexible and adaptable in a crisis.  They can talk themselves into or out of any situation.  When it serves their purpose they can fit in, with an almost chameleon-like ability, in any situation.  They can be witty, engaging, amusing and “great in the interview room.”  They are very charming and personable, if rather boasters and braggers.

The fictional player who fits this type is Brian “Smash” Williams’s (Gaius Charles) on Friday Night Lights.  He is talented, arrogant and likes taking short cuts and avoiding hard questions.

Smash Williams: Takin’ it like a man, Matty. You know, avoiding the calls, ducking out, hidin’ in the bushes.

images-1POWER OF WILL

Power of Will characters bring many wonderful leadership qualities to the NFL community.  They are decisive and authoritative.  Others naturally look to them to them to take charge.  They are strong, bold and  forceful leaders.  These characters stand out from the crowd with a commanding presence.   Their philosophy is “win or die.”  They see the world as a battlefield where only the strong survive.

Power of Will characters motivate others through the sheer force of their personality and their innate toughness and charisma. They are big dynamic characters who can “fill up a room.” Each wonderful quality of Power of WIll leadership has a set of corresponding Trouble Traits.  Decisiveness becomes rashness when a leader fails to delay action long enough to fully consider the consequences of an action or doesn’t have the patience to listen to others.  Leadership that is unilateral and absolute or will not permit dissent easily slips into dictatorial megalomania and colossal paranoia.  Who in the NFL leads like this?

The person who comes to mind first for me is iconic Green Bay Coach, Vince Lombardi, who famously said:  “Winning isn’t everything, it’s the only thing.” He was a big larger than life leader who had incredible force of will.

POWER OF EXCITEMENT

Power of Excitement leaders make everything fun and can recast anything as a amusing game.  Their boyish charm and charisma can make them natural leaders. People gravitate toward these characters and follow them quite joyfully, rather like children who follow the lively, captivating music of the Pied Piper.  They have lots of natural or innate talent but often lack the discipline and drive to excel under difficult circumstances.

Power of Excitement characters rarely are happy in a leadership position.  They do not like the responsibility, follow-up and attention to detail that real leadership requires.  If it’s not interesting, amusing or enjoyable these characters get bored, don’t show up or make a quick exit.  Power of Excitement characters excel at  instigating and finding interesting opportunities, but don’t always count on them to bring any crucial item in on schedule.  Is there anyone in the NFL like this?

POWER OF LOVE

Power of Love leaders rarely like to be out in front in a take charge position.  They prefer to exercise their control as the “power behind the throne”.  Power of Love characters usually “lead” in supportive roles.  They are great mentors and excel at providing encouragement and emotional support.

Power of Love characters view leadership as serving others, being of practical use and creating the sense they are indispensable.  These characters get real satisfaction from pushing others forward and seeing them do well.  They tend to bond with individuals more strongly than the team as a whole.  Who in the NFL leads like this?

POWER OF IMAGINATION

Power of Imagination leaders are able to sense the deep internal connections that bind and unify all of us.  They lead by bringing together and inspiring others to see this bigger picture, this sense of common purpose or a larger universal mission.  At first glance, these assembled individuals might seem to be contentious or have little or nothing in common.

Power of Imagination  characters inspire united action by convincing disparate individuals that:  “We’re all in this together” and “If we work together we will all achieve something important or worthwhile.”  They are often gentle, shy or unassuming individuals who are the glue that holds a team together.  Who in the NFL leads like this?

favre vikingsPOWER OF TRUTH

Power of Truth characters often use an initial affable and friendly approach to solving problems, pursuing goals and leading others.  These characters don’t tend to be natural leaders. They don’t generally gravitate toward the front of the group.  They tend to be too suspicious, anxious, self-doubting and second-guessing to expose themselves to the front and center scrutiny of others.

Brett Favre is this kind of leader.  I wrote an analysis of him in an earlier post.  Power of Truth characters value loyalty and commitment very highly, but they can be very unsettled and indecisive. They can become self-doubting and suspicious to the point of paralysis.  At that point, they no longer trust their own instincts.

Brett’s is legendary for his retirement indecisiveness. In their darkest moments, these characters worry that they can’t believe anyone or anything.  They suspect everyone is lying to them and every situation is not what it seems.  They constantly look for little clues to confirm their doubts, suspicions and anxieties.  These characters continually test and probe when operating out of fear. They insist others constantly prove themselves.  They try to read the secret meaning in, or second-guess every move, every action and every decision made by others.

I’d love to fill out these profiles in leadership with your favorite NFL nominees.  It’s most useful if you have quotes or links to interviews or commentary that backs up your choices.  Please comment below or on my FaceBook ETB Page.  Please share it with your football-loving friends so we can get a dialog going.

Modern Day Sherlock Holmes on the BBC

1. Have you seen BBC’s Sherlock Holmes? Thus far it’s a three-episode series set in contemporary London, and to podge a British term, it’s brill. Smart, fast-paced, relying more on intellect and issues about character than on the stars’ appearance, it won thumbs up from all four members of my family.
What they do well, IMHO:
a. Respectful blending of past with present: Watson is a recovering war vet, wounded from a tour as a physician in Afghanistan. He’s a blogger!  Despite modernization, though, the essence of the series feels true to the original books.
b. Technology is important in the sleuthing process, but not the focus. This is not a series about gadgets.
c. There’s a fascinating and believable relationship between Watson and Holmes in which each make the other bigger. Without Holmes, Watson would be limping in a half-existence,  devoid of the risk and stimulation which is his life’s blood. Watson, on the other hand, both grounds Holmes and validates him.
d. The writers have set up a central question about Sherlock, articulated by Lestrade in this quote: “He’s a great man. if we’re very lucky, one day he might be a good one.”
Will Sherlock cross from brilliance into psychopathy, perhaps out of sheer boredom? Will he learn to engage emotion and vulnerability along with his impressive intellect, particularly around the female sex? These are great questions to have a viewer asking within a few moments of beginning a series.

bbc-sherlock-holmesHere is a post from a wonderful blogger Jan O’Hara writing on Tartitude.  She was thinking about Sherlock Holmes and asked if I thought he was a Power of Reason Character.  My answer was:  Sherlock Holmes is indeed a Power of Reason character– Everything can be explained/deduced rationally and logically. “It’s elementary, my dear Watson.” Power of Reason characters care more that something makes sense or is practical and less that it is moral or kind. Moving from a cold clinical analysis toward a more human evaluation (which takes into consideration connection, caring and a real valuing of others) is their journey toward greatness.

Here is Jan’s review of the new BBC re-envisioning of Sherlock Holmes in a modern day setting.  Looks interesting.

1. Have you seen BBC’s Sherlock Holmes? Thus far it’s a three-episode series set in contemporary London, and to podge a British term, it’s brill. Smart, fast-paced, relying more on intellect and issues about character than on the stars’ appearance, it won thumbs up from all four members of my family.

What they do well, IMHO:

a. Respectful blending of past with present: Watson is a recovering war vet, wounded from a tour as a physician in Afghanistan. He’s a blogger!  Despite modernization, though, the essence of the series feels true to the original books.

b. Technology is important in the sleuthing process, but not the focus. This is not a series about gadgets.

c. There’s a fascinating and believable relationship between Watson and Holmes in which each make the other bigger. Without Holmes, Watson would be limping in a half-existence,  devoid of the risk and stimulation which is his life’s blood. Watson, on the other hand, both grounds Holmes and validates him.

d. The writers have set up a central question about Sherlock, articulated by Lestrade in this quote: “He’s a great man. if we’re very lucky, one day he might be a good one.”

Will Sherlock cross from brilliance into psychopathy, perhaps out of sheer boredom? Will he learn to engage emotion and vulnerability along with his impressive intellect, particularly around the female sex? These are great questions to have a viewer asking within a few moments of beginning a series.