You know the point in the movie where the AUDIENCE-SYMPATHETIC CHARACTER, already keeping the peace between PLOT-ADVANCING CHARACTER and MUTE-UNTIL-NECESSARY CHARACTER, realises that Mute~ has crucial information that will affect the outcome of the film and so does the obvious thing:
AUDIENCE-SYMPATHETIC CHARACTER
(to Plot-Advancing Character)
I need to tell you something –
PLOT-ADVANCING CHARACTER
I don’t have time for this –
AUDIENCE-SYMPATHETIC CHARACTER
But it’s important!
PLOT-ADVANCING CHARACTER
(claps hands over ears)
LALALALALALALALALA!
Moments like these are vital for there to be suspense, victory and/or tragedy down the line. But it’s about as tired and welcome as the telephone call from someone with vital information who won’t spill it over the damned ‘phone.
If I was watching an okay to great movie or T.V. ep and one of these exchanges turned up, the whole thing was spoiled for me. (Nowadays I’m a little more forgiving.) Then a couple of movies seemed to turn the tide. I watched them so many times that, whether I wanted to or not, I’d studied them. Two things I learned from James Cameron‘s The Terminator and Aliens:
One: if there’s potential film-ends-right-now information to be exchanged, introduce an external interruption –
AUDIENCE-SYMPATHETIC CHARACTER
I need to tell you something –
PLOT-ADVANCING CHARACTER
I’m all ears.
A passing .50 CALIBRE SNIPER ROUND vaporizes Plot~’s head.
Two: even better, make the external interruption the pay-off of a much earlier character set-up –
PLOT-ADVANCING CHARACTER
(sotto)
I was thirsty so I got a drink from the fridge... nope. Then I rinsed the glass and set it on the shelf... not there either.
Audience~ enters, flustered:
AUDIENCE-SYMPATHETIC CHARACTER
I need to tell you something.
PLOT-ADVANCING CHARACTER
Hm?
Plot~ continues retracing their steps.
AUDIENCE-SYMPATHETIC CHARACTER
Mute~ said something. I can’t make sense of it but it’s something important.
PLOT-ADVANCING CHARACTER
Really?
(sotto)
Then I sat down to watch the telly...
AUDIENCE-SYMPATHETIC CHARACTER
Mute~ said, “Beep. Beep. Beeeeep.”
Plot~, already half-way to the LOUNGE, freezes mid-step.
AUDIENCE SYMPATHETIC CHARACTER
Does that mean anything to you?
TIGHT ON PLOT~ as he turns – and REAL-TIME SLOOOWS DOOOWN –
ANGLE ON MICROWAVE as it counts down – 0:03, 0:02, –
SLO-MO as Plot~ shoves Audience~ aside –
SUPER-TIGHT ON MICROWAVE L.E.D. as it reads 0:01 –
WIDE ON Plot~ in mid-flight, headed straight for the microwave –
SUPER-DUPER-TIGHT ON LAST L.E.D. DIGIT as it switches from 1 to 0 –
MICROWAVE
Beep. Beep. Beeeeep.
One could argue that the external interruption is a mere variation on the knock on the door or ringing telephone that cuts in on an escalating conversation. I agree: there is that about the first device.
But the second device takes it a step further: by removing the deus ex machina, it makes the characters more responsible for their own – and others’ – destinies. It gives a story that circular/holistic/karmic/we’re-all-in-this-together touch.
Y’know, like in real life. But with more guns and car chases and stuff.
