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  • Hi, I'm Michael.

  • This is Lessons from the Screenplay.

  • Good Will Hunting has some classic, great moments.

  • How do you like them apples?”

  • But the one I remember, the one that gets me every time,

  • is the final scene between Will and his therapist, Sean Maguire.

  • It's not your fault.”

  • It's not your fault.”

  • Why is this scene so effective?

  • Its power is certainly amplified by the great direction and performances,

  • but from a story standpoint, the scene is emotional

  • because we understand the walls Will has built up around him,

  • and we witness Sean finally tear them down.

  • In his bookInto the Woods,” John Yorke writes:

  • Story matches psychological theory:

  • characters are taken on a journey to acknowledge and assimilate the traumas in their past.

  • By confronting and coming to terms with the cause of their traumas

  • they can finally move on.”

  • "Good Will Hunting" is a film that puts the psychological aspects of story structure

  • right on the surface.

  • So today, I'd like to examine how characters use defense mechanisms to protect themselves

  • To demonstrate how the supporting characters in a story can

  • be designed to weaken these defenses

  • And to show how these elements work together to create a powerful catharsis

  • for both the characters and the audience.

  • Let's take a look at Good Will Hunting.

  • In stories with a positive change arc, the protagonist begins with a weakness

  • a lie they believe about themselves or the world that they will have to overcome.

  • Often, this weakness is rooted in some past trauma,

  • sometimes referred to as the wound.

  • In "Good Will Hunting," Will's wound is his awful childhood

  • growing up an orphan who suffered terrible abuse at the hands of his foster father.

  • This wound spawned Will's weakness:

  • the belief that stepping outside his comfort zone will lead to emotional pain.

  • As a writer, sometimes thinking of characters in this way can feel abstract,

  • but one way to turn weakness into behavior is with defense mechanisms.

  • InInto the Woods,” John Yorke takes the psychoanalytical concept

  • of ego defense mechanisms and reframes it in story terms:

  • Ego defence mechanisms are the masks characters wear to hide their inner selves;

  • they are the part of the character we meet when we first join the story,

  • the part that will - if the archetype is correct - slough away.”

  • In his first session with Sean,

  • we see how Will's fear of exposing his wound in therapy

  • expresses itself through defense mechanisms.

  • Let's let the healing begin.”

  • Will begins by mocking the entire notion of what they're here to do,

  • and as soon as the session begins he refuses to engage.

  • Will doesn't look at Sean for more than a second.

  • He seems more interested in the room.

  • There is a long silence as Sean watches Will.”

  • "Where are you from in Southie?"

  • When Sean tries to connect with him on a personal level,

  • Will changes the subject.

  • Did you buy all these books retail,

  • or do you send away for like a 'shrink kit' that comes with all these volumes included?”

  • In doing so, he flexes his intellect,

  • trying to intimidate Sean into feeling small.

  • But none of these actions are having an effect on Sean,

  • who can keep up with Will and even parry his quips.

  • Will: “What, you lift?”

  • Sean: “Yeah.”

  • Will: “Nautilus?” Sean: “Nah, free weights.”

  • Will: “Oh really? Free weights?”

  • Sean: “Yeah, big time.”

  • Will: “What do you bench?”

  • Sean: “285. What do you bench?”

  • So Will looks for a new tactic, one that will hurt Sean directly.

  • Maybe you married the wrong woman.”

  • Maybe you should watch your mouth.”

  • That's it isn't it? You married the wrong woman.

  • What happened?

  • She leave you?

  • Was she bangin' some other guy?”

  • In a flash, Sean has Will by the throat.

  • Will is helpless.”

  • "Time's up."

  • "Yeah."

  • This scene paints a clear picture of how Will uses his defense mechanisms

  • to avoid dealing with uncomfortable situations.

  • But in this interaction Will is knowingly trying to upset Sean.

  • In the bookPsychology for Screenwritersby William Indick, he writes:

  • The key to writing a defense mechanism is that the characters themselves

  • are completely unaware that they are exhibiting defensive behaviors

  • the other characters in the film and the viewers in the audience

  • watch the heroes and become frustrated with their obliviousness to their own glaring problems.”

  • Will's bigger problem is the defense mechanisms he doesn't even know he has,

  • which is why it's going to take a small army of characters

  • to wear down the protagonist's defenses.

  • InGood Will Hunting,” Will has amazing opportunities before him.

  • Professor Lambeau recognizes Will's genius

  • and tries to set up him with prestigious job offers.

  • “I'll give you a job myself, I just wanted you to see what was out there.”

  • And Skylar is unlike any girl he's ever met.

  • This girl is like fuckin' perfect right now.

  • I don't want to ruin that.”

  • But to pursue these opportunities requires leaving his comfort zone and taking risks

  • which is the thing he is most terrified of doing.

  • So Will unconsciously uses defense mechanisms to justify his inaction.

  • The question isn't 'why should you work for N.S.A.'

  • The question is 'why shouldn't you?'”

  • After turning down a job offer from the NSA,

  • Will lets loose with a worst case scenario of what could happen if he accepted.

  • Now the politicians are sayin' 'send in the Marines to secure the area'

  • 'cause they don't give a shit.

  • It won't be their kid over there, gettin' shot.

  • Just like it wasn't them when their number got called.”

  • Here, Will is using rationalization

  • explaining his decision in a seemingly logical manner to avoid the emotion behind it.

  • But Sean calls him out.

  • You're always afraid to take the first step because all you see is every negative

  • thing ten miles down the road.”

  • Look at me.

  • What do you want to do?

  • You and your bullshit.

  • You got a bullshit answer for everybody.

  • But I ask you a very simple question and you can't give me a straight answer.

  • Because you don't know.”

  • Sean forces Will to see the truth that he's hiding from.

  • Once Will's relationship with Skylar gets serious

  • “I want you to come to California with me.”

  • Will again jumps to the worst case scenario.

  • We could be in California next week

  • and you might find out somethin' about me that you don't like.

  • And, you know, maybe wish you hadn't said that.”

  • Rather than let him get away with rationalizing his refusal

  • “I can't go to California.”

  • Why not?”

  • One, because I got a job here and two because I live here.”

  • Skylar calls him out on the real issue.

  • You're afraid that I won't love you back.

  • You know what? I'm afraid too.

  • Fuck it, I want to give it a shot.

  • At least I'm honest with you.”

  • Skylar forces Will to see the truth he's hiding from.

  • But Will isn't ready to change yet,

  • so an even harsher mix of defense mechanisms are triggered.

  • Will looks Skylar dead in the eye.“

  • “I don't love you.”

  • This is a small scale form of regressionreturning to an earlier safe state

  • before he was in an emotionally challenging relationship with Skylar.

  • In fact, regression is one of the biggest ways Will avoids leaving his comfort zone,

  • expressed by his group of friends.

  • They're immature and fiercely loyal,

  • providing a place where Will never has to grow up or be challenged.

  • And he tells himself that it's ok to have sacrificed his job opportunities and relationship

  • because he'll always have a home with his friends.

  • What do I want a way outta here for?

  • I gonna live here the rest of my life.

  • You know, be neighbors.

  • You know, we'll have little kids, can take out kids to little league together up Foley Field.“

  • But Will is in denial about what he really wants.

  • And Chuckie, his closest friend in the world, calls him out.

  • Look, you're my best friend, so don't take this the wrong way,

  • but in 20 years, if you're still livin' here, comin' over to my house

  • to watch the Patriots' game, still workin' construction,

  • I'll fuckin' kill you.

  • I mean, you're sittin' on a winning lottery ticket

  • and you're too much of a pussy to cash it in.

  • It'd be an insult to us if you're still here in twenty years.”

  • Chuckie forces Will to see the truth he's hiding from.

  • This moment is a turning point,

  • one where Will realizes the only person keeping him from moving forward is himself.

  • Through the conversations with the characters around him,

  • Will's defenses are lowered.

  • But it's not enough.

  • Because this story isn't about getting close to changing

  • and then reverting to previous behavior,

  • it's a story about meaningful changeand that requires catharsis.

  • The wordcatharsisderives its meaning

  • from its use is Aristotle's Poetics,

  • where he used it to describe how a play can provide the audience

  • with a purification and purgation of emotions.

  • Later, the physician Josef Breuer applied the termcatharsisto psychotherapy,

  • describing the process of releasing, and thereby providing relief from,

  • strong or repressed emotions.

  • Because of the dents made in Will's emotional armor throughout the film,

  • in this climactic therapy scene he will finally release his repressed emotions.

  • Upon realizing Sean has his file,

  • which contains images of the physical abuse he suffered, Will asks:

  • Have you had any experience with that?”

  • Twenty years of counseling, yeah I've seen some pretty awful shit.”

  • “I mean, have you had any experience with that?”

  • Personally?”

  • Yeah.”

  • Yeah, I have.”

  • As they commiserate about their painful childhoods,

  • Sean looks for a way to get through to Will.

  • You see this?”

  • This is not your fault.”

  • Yeah, I know that.”

  • Look at me, son.

  • It's not your fault.”

  • As Sean repeats this phrase, Will starts to go through his arsenal of defenses,

  • starting with making light of it.

  • It's not your fault.”

  • “I know.”

  • Then, Will claims to have gotten the message, hoping Sean will stop.

  • It's not your fault.”

  • “I know.”

  • It's not your fault.”

  • Finally, Will turns to aggression.

  • It's not your fault.”

  • Don't fuck with me, alright?

  • Don't fuck with me Sean. Not you.”

  • It's not your fault.”

  • Through their time together, Sean has learned all of Will's defense mechanisms

  • and refuses to let him escape the situation,

  • until finally

  • It's not your fault.”

  • all of Will's walls are torn down.

  • Sean takes Will in his arms and holds him like a child.

  • Will sobs like a baby.

  • After a moment, he wraps his arms around Sean and holds him, even tighter.

  • We pull back from this image.

  • Two lonely souls being father and son together.”

  • The events of the plot have brought Will to a place where he experiences

  • a psychological catharsis,

  • and because we've gone on the journey with him,

  • the audience experiences a dramatic catharsis.

  • Good stories draw us into the world and make us empathize with the struggles of the characters.

  • We witness their inner conflict as they avoid the very thing that will make them whole,

  • often recognizing that same behavior in ourselves.

  • We root for the cast of characters around them,

  • hoping they can help show our hero the truth they're hiding from.

  • And if the story is executed just right,

  • we share in a much-needed catharsis.

  • My personality type is one that can get obsessed with ideas very easily.

  • I can be minding my own business, see something cool,

  • and then decide “I want to do that.”

  • It's how I taught myself how to DJ for a friend's wedding

  • it's how I made this YouTube channel

  • And it's why I'm glad places like Skillshare exist.

  • Skillshare is an online learning community with over 20,000 classes

  • in design, film production, gaming and more.

  • So for example, if you're like me and randomly decide one day,

  • You know, I should learn all about music production,”

  • they have a bunch of courses ready to teach you everything you need to know.

  • Premium Membership gives you unlimited access to high quality classes on must-know topics,

  • so you can improve your skills, unlock new opportunities, and do the work you love.

  • To get 2 months of Skillshare for free, visit the link in the description below

  • and get 2 months of unlimited access to over 20,000 classes.

  • Thanks to Skillshare for sponsoring this video.

  • Hey guys, hope you enjoyed the video!

  • As I was looking at those screenshots from the first few months of the channel

  • I was reminded of how crazy a ride this has been so far.

  • So I just want to thank you to everyone that's subscribed to the channel,

  • who has shared and liked the videos,

  • to all my patrons on Patreon and supporters here on YouTube,

  • to all of you guys:

  • thank you for making this channel possible.

  • Thanks for watching.

  • And I'll see you next time.

Hi, I'm Michael.

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グッド・ウィル・ハンティング ~性格の心理学 (Good Will Hunting -The Psychology of Character)

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    Luke に公開 2021 年 01 月 14 日
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