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  • Suggest You - Screenwriting and the Hero's Journey - Heroes Are Both Passive and Proactive

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    Often the hero is reluctant. It is during reluctance that the hero is passive and pushed (usually by an unbearable antagonism) into proactive mode.

    Maximus does not

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    The Hero's Journey is the template upon which the cast majority of successful screenplays are built upon. Films as diverse as Gladiator (2000), Million Dollar Baby (2004), Raging Bull (1980) and Scarface (1983) were all constructed around the Hero's Journey Template.

    There is a theory that heroes have to be active or proactive.

    This is true. But it is also false.

    Sure, the action moves forward when the hero takes the driving seat - but there is also value in a momentarily passive hero.

    Passivity is most saliently noted in the Refusal of the Call and the Refusal of the Return. But it is also notable in the prelude to the Transformation and other stages of the Hero's Journey.

    Often the hero is reluctant. It is during reluctance that the hero is passive and pushed (usually by an unbearable antagonism) into proactive mode.

    Maximus does not

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    ng Bull (1980) and Scarface (1983) were all constructed around the Hero's Journey Template.

    There is a theory that heroes have to be active or proactive.

    This is true. But it is also false.

    Sure, the action moves forward when the hero takes the driving seat - but there is also value in a momentarily passive hero.

    Passivity is most saliently noted in the Refusal of the Call and the Refusal of the Return. But it is also notable in the prelude to the Transformation and other stages of the Hero's Journey.

    Often the hero is reluctant. It is during reluctance that the hero is passive and pushed (usually by an unbearable antagonism) into proactive mode.

    Maximus does not

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    e. But it is also false.

    Sure, the action moves forward when the hero takes the driving seat - but there is also value in a momentarily passive hero.

    Passivity is most saliently noted in the Refusal of the Call and the Refusal of the Return. But it is also notable in the prelude to the Transformation and other stages of the Hero's Journey.

    Often the hero is reluctant. It is during reluctance that the hero is passive and pushed (usually by an unbearable antagonism) into proactive mode.

    Maximus does not

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    st saliently noted in the Refusal of the Call and the Refusal of the Return. But it is also notable in the prelude to the Transformation and other stages of the Hero's Journey.

    Often the hero is reluctant. It is during reluctance that the hero is passive and pushed (usually by an unbearable antagonism) into proactive mode.

    Maximus does not

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    Often the hero is reluctant. It is during reluctance that the hero is passive and pushed (usually by an unbearable antagonism) into proactive mode.

    Maximus does not want to become a Gladiator (2000). He resists the transformation. He is quite passive in a few scenes. Until of course he is forced, by his Supernatural Aid Proximo, into it.

    What is important to note, however, is that the hero's passivity affects other people and change. For example, Maximus' passivity causes Juba to try to convince him to fight and intrigues Proximo - causing him to force Maximus into the arena and the Transformation.

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