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sometimeaftertwoam

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  1. There's a widely accepted structural perimeter, or axiom in screenwriting that generally insists on character arc. "In what ways is your character different in the end from in the beginning?" Consider Anton Chigurh in No Country For Old Men and Daniel Plainview in There Will Be Blood. I see no arc in who they are as people/characters. Yes, the story itself has an arc, but how are either of these characters different in the end from the beginning? Other examples of such?

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    2. sometimeaftertwoam

      sometimeaftertwoam

      Scott, thank you. This was meant as a conversation piece, not a cry for feedback on a current project. I was simply curious of other instances of characters who don't change yet drive a film well.

    3. axalon

      axalon

      In the two examples you cited the characters change everything around them instead of experiencing change themselves.

       

      In those cases it's more of a destructive wake but there's still change.

    4. Reader George

      Reader George

      Character dynamics are key. In a lot of coverage templates I've seen character arc is a consideration but as noted a main character need not arc.

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