Screenwriting Article – A Cliché Article
Posted onMay 30, 2013 | byadmin
Whenever I’m not totally 100% sure about something, I write an article about it. It forces me to do what I’m scared to do – explore the subject and find an answer, despite the possibility that that answer might not be found. So it’s scary writing these articles. I mean, what if I can’t figure it out? What if this aspect of writing will always elude me? I can’t have that. I must know everything!
Clichés, in particular, have always baffled me. You’d think it’d be as simple as, “Don’t use clichés,” but it isn’t. I’ve fallen in love with plenty of great movies that others have insisted were riddled with clichés. Many times I have to admit they’re correct, and yet I still love the movie. This implies that there are actually plenty of instances where you want to use clichés. But where, why, and how are never as clear as you’d like them to be. So it’s frustrating.
I guess the first thing we should do is define cliché. The wonderful bastion of knowledge known as “Wikipedia” defines them as, “an expression, idea, or element of an artistic work which has become overused to the point of losing its original meaning, or effect, and even, to the point of being trite or irritating.” Okay, sounds simple enough. But it doesn’t explain how something that’s “overused” to the point of being “irritating” can still work.
I pointed this out in an article awhile back. The ending of Die Hard has Bruce Willis limping up to the bad guy with a gun, who’s holding his wife hostage. It’s the most cliché of cliché situations. And yet I’m riveted. I am riveted by a classic cliché. And I can go back to that scene again and again and still be riveted. I asked the Scriptshadow faithful about this, and while I received a lot of interesting feedback, nobody could definitively tell me why it worked, despite its cliché nature. I’m not sure I’m ever going to find that out. But I can tell you what I do know about clichés and maybe that will get us a little closer to the answer.
1) Cliches are more evident when they’re surrounded by bad writing – This may seem obvious, but it’s something I don’t hear very often. When a plot is cleverly constructed, when characters are deep and compelling, when a strong theme is incorporated and the dialogue is sharp and witty, audiences give you the benefit of the doubt and allow you the occasional cliché. In fact, they probably won’t even notice it because it’s buried inside an otherwise riveting story. But when your plot feels slapped together, your characters are thin, and you seem to be making things up as you go along, clichés pop out like weeds in a rose garden. Construct a meaningful well-thought-out story and clichés feel more like honest choices than clichés.
2) The good and the bad cliché – Clichés have two sub-sets, one negative and one positive. The first subset consists of lazy predictable choices. The second is a commonly used story choice brought back again and again because it’s been found to work. Understanding the fine line between these two sub-sets is often what separates the good writers from the bad. Bad writers use clichés because they’re lazy and don’t want to spend the time coming up with a more original choice. Good writers recognize that they’re about to use a cliché and weigh the options of that versus something more original. They know that if they do choose the cliché, it’s because it works best for that particular moment in the story. Batman and the Joker hanging off a building at the end of The Dark Knight is a pretty cliché choice, but it fit the story, it fit the characters, it felt right for that particular moment, so Nolan went with it. As long as you weigh your options and legitimately feel like the cliché choice is your best way to go, you should be okay.
3) If you explore something honestly, it’s less likely to feel like a cliché – Building on that, clichés feel more like clichés when they’re surface level. If all you’re giving us is a quick and dirty examination of the choice, it will scream “cliché.” On the flip side, they feel less like clichés if you dig into and explore them. Take a common cliché story situation – a son who lives in the shadow of his father, or a son who’s always pining for his father’s approval. We’ve seen this hundreds of times before. However, it’s still a relatable situation to a lot of people, and therefore has the potential to be quite powerful. But you have to explore it honestly. You have to go back and write an entire backstory (to yourself, not in your script) of what happened between these two characters to get them to this point. The more specific you can make it, the more real it will feel on the page, and if something feels real, cliché or not, it will probably work.
4) Archetypes – Character clichés are one of the most abused types of clichés out there. Boy, do I see a lot of cliché characters when I read scripts. And yet, these clichés are practically promoted. Character archetypes (the Jester, the Sage, the Rebel, the Romantic Interest) are taught fairly early on in writing classes. And you see them everywhere (Obi-Wan Kenobi is the Sage. Han Solo is the Rebel). So with these cliché character types being so ubiquitous (and promoted), how are we supposed we make them original? The answer is to always add a twist. It’s okay to write “The Rebel” into your story, but give him a twist that doesn’t exactly fall in line with the cliché. So Rocky Balboa would probably be considered “The Rebel,” but he’s got a little bit of “The Jester” in him. He likes to make jokes. He’s got a sense of humor, something you don’t usually see in other Rebel characters. So always look to add that twist.
5) The more familiar the premise, the more likely the clichés – Remember that the premise is what builds up, holds to together, and ultimately defines your story. So if it’s too familiar, so likely will be the variables within it. In other words, a cliché premise is going to result in a lot of clichés. To that end, you really, really, really want to come up with an original premise. Look at romantic comedies, for example, one of the most cliché-ridden genres out there. A couple of writers decided to turn that formula on its head and wrote “500 Days of Summer”. Because we weren’t going down that traditional path, the story choices that presented themselves weren’t traditional. When agents and producers talk about wanting something “fresh,” what they don’t realize they’re asking for is a script devoid of all the clichés they’re used to. And this can be achieved simply by coming up with something unique at the concept stage.
I think, in the end, if you can pull us into your story, if you can make us care for your characters and their predicament, the clichés in your script will fade into the background. They won’t feel like clichés so much as pieces of a story. Having said that, I think that you should always be asking, “Have I seen this in a movie before?” If the answer is “Yes,” or worse, “Yes, I’ve seen it a lot,” then you owe it to yourself to come up with some other options. You might not end up using those options, but you should at least consider them.
Also, whatever cliché you use, whether it be in a premise, a character, a scene, a twist, a line – try to add a new angle to it, even if it’s subtle. That twist is what’s going to obliterate the cliché. So if you have a pirate, don’t make him a big fat cliché jerk, make him funny and goofy and bumbling, like Jack Sparrow.
And finally, recognize that “cliché” is not always a bad word. Familiar story beats and characters keep showing up in movies because they’ve been proven to work. As long as those clichés are the best options available, you should be fine. Now whether this answers the question of why that scene with Bruce Willis at the end of Die Hard works, I don’t know, but I think it’s a good start to figuring it out. What about you guys? What’s your take on clichés? Why do you think they work sometimes and don’t work other times?