In the opening action sequence, not a word is spoken. 'Max Max 2: The Road Warrior' Character-Defining Action #1 - Cunning Skills This was the first time they were meeting Max. The original Mad Max didn't have much of a theatrical release outside of Australia, so much of the audience wasn't aware that The Road Warrior was a sequel to anything. But it would be his following actions that would define his character further - without any further narration points needed.Īlso, keep in mind that this sequel was released in the United States (and other countries) as The Road Warrior. The dialogue is a stylistic choice that utilizes a narrator whose identity will later be revealed in the final moments of the story. The supercharger On the front of the vehicle dominatesĪnd it was out here in this blighted place, that he learned to live The screenplay briefly describes Max's physical attributes.Ī warrior, dressed in leather and steel, stands on aĪfter some additional images and narration covering the world leading up to the story's timeline, the narrator offers just a few tidbits of this character and where he is today.Īnd became a shell of a man. When we meet him in the sequel, he's a very different man. In that original story, Max was a husband and father that lost his family because of a vile biker gang seeking vengeance on Max's highway police authority. We've met Max before in the original Mad Max. In the post-apocalyptic Australian wasteland, cynical drifter Max agrees to help a small, gasoline-rich community escape a horde of bandits. Download the 'Mad Max 2: The Road Warrior' Script!ĭefining Character Through Action: Mad Max With that in mind, here we present a breakdown of actions that define the protagonist of the classic Mad Max 2: The Road Warrior. The problem with relying on expositional dialogue to inform the viewer is that it feels unnatural and forced. The problem with relying on scene description is that it doesn't offer the eventual viewer the information they need about that character. If they don't use character description, they rely on expositional dialogue that is meant to offer information. Too many screenwriters rely on writing character descriptions when they first introduce their characters. If you open with a character pointing a gun to their head, tears running down their face, you’re telling us that this character is in such a bad place that they’re contemplating suicide.Īctions and reactions are the best character descriptions in screenplays. Now they’re invested in learning whether that killing was justified or not. If you open with a character killing somebody, you’ve made an immediate impression on the reader. Yes, they can certainly use words to describe characters to a reader, but if you really want to make an imprint on the reader’s mind, your character’s actions will speak louder than any descriptive words you can conjure. Screenwriters don’t have the luxury of using words to define characters. In the visual medium of film and television, actions and reactions are the best way to define characters. What are the best examples of feature screenplays and movies that showcase character traits without relying on character description and dialogue exposition?
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