Getting a handle on how your characters
think about how other characters think, can give their decisions and actions
more unity and credibility.
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I know exactly what you think I'm thinking. And it's true. |
The fact that we can think about how other
people think, is known in the world of psychology as having a theory of mind.
We formulate expectations based on what we know (consciously or unconsciously)
about other people, and so we anticipate their responses to events, including
our own decisions and actions. In a recent episode of one of my current
favourite podcasts, Arming the Donkeys, behavioural economist Dan Ariely interviews psychologist Laurie Santos about her research into cheating among monkeys. She and her team were surprised
to discover how cleverly the monkeys managed to deceive the researchers.
Especially because the way they cheat suggests that they must have some theory
of mind, informing their expectations of human behaviour. However, one big
difference between monkeys and humans, is that we’re much better at letting our
desires fool us into misinterpreting other people’s behaviours.
What
Do You Think I Think?
Consider for a moment what you think you
know about someone close to you. A parent, a partner, a child, a friend, a
colleague, etc. Based on your experiences with them, your knowledge of other
people’s experience with them, their own reports, and so on, you probably have
quite a specific, albeit implicit theory about how they view the world. You
have a clear expectation of how they would respond, say, if you told them you’d
been fired, won the lottery, been diagnosed with a serious illness, etc. You
might be less sure of how they would respond if they found out you’d been
gossiping about them, cheated on them, defrauded them, ratted on them, etc.
Less certain, but still.. you have some expectation, based on your theory of
their mind. But also, of course, based on what you would like to be true, or
what you fear might be true. And you become most painfully aware of your theory
about someone else, when it turns out to be wrong.
What
Do Your Characters Think Other Characters Think?
Similarly, characters in a screenplay have
theories about each other’s minds. Of course, these are made up by the
screenwriter, but that doesn’t mean they don’t have to be coherent. When you
put a character in a situation in which, for instance, they have to choose
between being truthful or lying, their choice is going to be informed by how
they expect other characters to behave. And, just as in real life, a scene in a
screenplay becomes dramatic or funny, or both, when one character believes
something about another character and this turns out to be wrong.
When One Character’s Theory About
Another Is Wrong
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I could have sworn he was hot for me. |
I recently got around to viewing Mike
Leigh’s Another Year which includes a wonderful example of how one character’s theory about another
character turns out to be wrong, creating a great tragicomic beat. Mary (played
by Lesley Manville) a nervous, lonely woman approaching middle-age, flirts with
Joe, the 30-year old son of her friends Tom and Gerri, whom she’s known since
he was a boy. She mistakes Joe’s friendliness as a hopeful sign that he’s
attracted to her, and so later she’s devastated when he enthusiastically introduces
her to his new girlfriend. The scene is filled with such painful embarrassment
because Mary’s reaction makes plain to the other characters and to the
audience, just how desperate she is, and how misguided her perception of Joe
was.
I know I’ve been in situations where my
theory about someone else’s mind has been upturned. And I’m not just talking
about that girl I was convinced was in love with me when I was thirteen, but
who turned out to have a crush on my best friend. I’m talking about any
time someone’s reaction doesn’t match your expectations, when you realize you
had the wrong idea about them. You thought they were better, worse, more
clever, stupid, compassionate or cruel than they really are. These are the
kinds of moments that great scenes turn on. In terms of
screenwriting, understanding and showing how your characters think about each
other helps to set up these moments convincingly and effectively.