THE EMPOWERMENT THEORY

Machiavelli postulated that man’s quest is for power. He said that no-one is more miserable than a disempowered man.

Ironically, he wrote his thesis as a book called THE PRINCE but when he presented it, hoping to impress his Medici rulers, to reap glory (and status), they hated it. And banished Machiavelli back to his disempowered state.

In his head, the scriptwriter has endless power. He/she is more powerful than Superman, and perhaps as omniscient as a god. The seduction of infinite power could be a valid reason alone to write a script.

Say your job is a janitor during the day. Picking up office workers’ discarded used tissues and dropped apple cores. Scrubbing toilet pans and facing mysterious indelible stains on white towels. But at night your characters (a facet of yourself) have the power to fly, rescue the needy and fall in love…all in your script. Your abilities are only limited by your imagination. You are empowered! Until you have to sell the script, in which case you may crash to earth with a giant thud. But that’s another story.

Immortality is another aspect of empowerment. The gods are immortal, but humans are not. But a film can be everlasting. Especially a classic. So the drive to write a wondrous script appears a way to cheat even death. And that’s mighty powerful.

Often you hear would-be scriptwriters say this, “ I’m going to write a script about my life. It’s more interesting than anything you see on the screen these days”

These are people who desire empowerment in their lives. They want the ability to control the uncontrollable aspects that surround them.

I can’t help but think of the tale of Faust. The doctor who gave his soul for empowerment and immortality. Sadly, it didn’t turn out well.

———————————————–

In conclusion, the scriptwriter is a complex and complicated psychological creature. Often psychically damaged but compelled to do his/her best to repair that inner wound.

We can only wish him/her luck, courage, the avoidance of neurosis and psychosis plus, of course, the occasional brilliant script.

Jack Feldstein.

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!

In an average life, most people have a very constricted time. Rarely is a person satisfied with as much sex, food, money and fun as he/she desires. Mostly, society (and health issues) enforce humans to lead somewhat disgruntled lives. Because the alternative, if everyone did exactly what their hearts desired and damn the consequences, would be anarchy and chaos. Plus obesity and death.

The thing inside us all, in our unconscious, that wants to be free, regardless of outcome, is what Freud named the id.

And it wants to play.

Seemingly, scriptwriters have discovered a method to let their id run free. In a script, they can allow their characters to indulge in any taboo behaviour. And with impunity to boot!

Freud said that every person in your dreams is you. And so logically, every character in a script is thus a facet of the scriptwriter. And when characters have sex, kill, and generally do whatever they want, it’s the scriptwriter’s id at work.

Often you’ll meet a scriptwriter and he/she will be bespeckled and timid. And then you’ll read their script and be astonished at what the scriptwriter has written.

You’ve probably heard these comments said about certain scripts…

“I couldn’t continue reading it after he ate his cat.”

“The fact your protagonist does that with his mother makes him unlikeable.”

“I had to look up coprophilia in the dictionary”

Unchecked by the Super Ego ( the disciplinarian part of the unconscious) the id can truly run free. And occasionally some scriptwriters fall prey to their unencumbered id ruining their script. A good example of this is Joe Eszterhas, the writer of BASIC INSTINCT. By the time Eszterhas wrote SHOWGIRLS, a famously bad film, his id had truly and uncontrollably run amok.

Jack Feldstein.

Previously:
PART 1 – THE AUTISTIC FANTASY THEORY
PART 2 – THE NARCISSISTIC THEORY
Next: PART 4 – THE EMPOWERMENT THEORY

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!