To a first approximation, a character in a movie is interesting to the degree their motive is strong without being legible. Think Ahab or Tyler Durden, Phil Connors in Groundhog Day, Andy Dufrese. If there’s a clear motive, it tends to be nominal (whale, anarchy, girl, escape)
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I’ll throw in: deep characters are generally engaged in deep play a la Geertz’ Balinese Cockfight. It’s reaching for an infinite game from inside a finite game, in a way that defines the self as a non-null element. Affirmation rather than annihilation of the self. Anti-mysticism.
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Are you starting to dabble in fiction again? :)
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Never stopped
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