...if your protagonist is, well, kind of a dick? Not a horrible person per se but definitely a dick. I've recently finished my first attempt at romantic comedy, Love You to Death. It was one of the more complicated scripts I've had to write so I'm taking a little extra time to smooth over a couple issues.

One of my biggest issues has been the protagonist who does some pretty bad things throughout the script, namely faking his own death to avoid breaking up with his girlfriend (hence Love You to Death) and subsequently pursuing his best friend's ex, making excuses for himself along the way and even getting other characters to go along with him.

These are all things I knew were bad from the getgo and I don't think it's necessarily important that the audience be on board with him from the start. In fact,  It is, however, important that they be on board with him when he realizes the error of his ways and attempts to redeem himself.

Guilt plays a key role in the script. I've tried to make it apparent that the protagonist that the character has some reservations in regards to his actions so as not to make him a complete shit. At the same time, I've tried to be sparing with the guilt motif. I feel like if the character doesn't have enough conviction in his actions, the whole story becomes pointless. The character also has something of a cocky side as well but asserts in a sort of awkward, misplaced way. I feel like it gives the character more personality but I'm concerned as to whether or not it makes him (more?) unlikable.

At this point, I think it's obvious that I failed to write a romantic comedy, haha. That's okay with me, I guess. I still feel like the story evolved from a rom-com. In any case, this is essentially a redemption story. What are things to consider when writing about a character who does bad things but still requires some part of the audience's sympathy at some point in the story?

You don't have to like the protag of a film, he/she just needs to be intriguing and you (the audience) need to be fascinated by them and want to know what they do next.  There are plenty of films where this is the case -  American Psycho comes to mind.  

You're preaching to the choir, dude. American Psycho is one of my favorite movies. I think that's a different animal though. Patrick Bateman is an absolute fiend. At no point can the audience possibly side with him. What I'm after is how to go about writing a character who isn't so likable from the getgo but can become likable later on. There's plenty of movies like this as well but they vary is success. I feel like writing these kinds of characters is something of a balancing act.

Patton.  I've just been reading about this.  Hang on.

Midnight Cowboy
Godfather
The Butterfly Effect
Citizen Kane
The Good, The Bad, & The Ugly
Kill Bill
Raging Bull
Videodrome

To name a few more.

So long as the character is funny and engaging, you will be completely fine. I'd suggest a darker type of Comedy if you're going that route though -- more Observe and Report and less The Ugly Truth, if you know what I mean.

Personally, I think your premise sounds great! It sounds like something I'd go to the movies for.

--Julio

What would you call Jack Nicholson's character in "As Good As It Gets"??? Complete dick.

In the end, through revelations, we change our minds. And that film is a rom com IMO.

Good luck though, very hard to pull off. Needs to be some witty dialogue on your protags part. But I have no problem with him being a dick... per se.

james

Obviously in drama films you don't have to like the protag. Tony Montana isn't exactly a role model, but he makes for terrific viewing.

With rom-coms, though, I think it's different. You can't just have a character who's a dick. Flawed, yes, but if there's not some shred of likeability in them, then I think an audience just isn't going fully get into it. I didn't see The Ugly Truth last year (funnily enough), but I read reviews of it and a common complaint seemed to be that the characters were just horrible, horrible people. One rom-com I have seen is My Best Friend's Wedding, and throughout that film, particularly in the third act, I really found it hard to go along with the action and back Julia Roberts' character. Why? Because she was a scheming, manipulative bitch who tried to ruin a relationship in order to get what she wanted, no matter what happened to anyone else, and then all she had to do at the end was make one vaguely heart-felt speech and everyone just forgave her. Now, obviously people manipulate to get what they want, but if you're the protag of a rom-com, I've got to like you in order to laugh with you.

It sounds like your character's flaw is selfishness. And there are selfish characters, willing to upset people in order to get what they want, in LOADS of comedies. Vince Vaughn's character in Wedding Crashers, for instance. Obviously I'll need to read the script (which I'm now intrigued to do, btw, so good marketing there), but I think as long as you have a 'save the cat' scene towards the start, and as long as you do work in the arc, then it could be fine.

Right, I'm done talking. Good luck with the script, or if you're about to post it up, look forward to reading it soon.

I agree with Jonny,

If we don't like him, we will be glad when bad things happen to him. It won't be funny. It will be good, I'm glad that happened to him.

He can be a dick, but there has to be *something* that we like about him. Give us an ounce of hope. Otherwise why would we cheer him on through the script?

He needs a good arc, too.

The important part of the equation - and one you cannot equate for at this stage - is the ability of the actor to bring out the likeability. If the character fits your story, then I think the script becomes interesting to the actor; and then it's down to the relevant players to eek out the niceness for those who need to like their leads.

Patrick Bateman is likeable 'cos he taps into many guys' inner demons and Bale brings him a cool and uniqueness that would've probably been missing with any other actor. I just think it was a case of perfect casting and great writing.

With the right balance here, there is no reason to think your script cannot achieve the same.

Your main character can be anything you want him to be as long as there's a story in there somewhere. At first, I wanted to say "as long as there's growth," but not even that needs to be true. As long as you have drama inherent in the story and the audience gets something out of the tale, then your lead can be however he needs to be. Not even likability is necessary; relatability will be the most important thing there. If he's a dick, can we relate to why he's a dick?

Suggest looking at Ghosttown with Ricky Gervais-it's an excellent movie and the protagonist is most certainly a dick...However, it is important to create empathy and not pity.

Good call on some of the films. I definitely took actor's interpretation into consideration. However it's a little more complicated on the page. It's hard to hate guys like Jack Nicholson and Ricky Gervais when they're so good at what they do.

Some good feedback though. I definitely agree the character needs an arc for them to be redeemed in the end. My protag most definitely has one. I suppose I'll have to wait for people to read it to really know if it works or not. It's a very idiosyncratic script with tones ranging from sweet to deranged. I imagine different people will react to it in different ways. I would hope there's a consensus when it comes to the ending though.

Thanks for the feedback, everyone.

I feel like I've read this script before...have I?  Hmmm...

If things are done in a comedic way, your protag can be anything.  If he's a dick in a comedic way, than he'll be "likable", IMO. You know?

Talking about American Psycho, as far as I'm concerned, Bale's performance as Bateman works perfectly within the "tone" of the movie.  It was comedic and over the top.  We loved hating him...or is it that we hated loving him?

But, if that script had been done (written) in a horror tone, Bateman would still have a been a great protag, even though he'd really be the antag.

Know what I'm saying?

Argh...do I know what I'm saying?

Quoted from Dreamscale Know what I'm saying? Argh...do I know what I'm saying?

I don't believe Don has the bandwidth for that topic, Jeff.

Quoted from Blakkwolfe Suggest looking at Ghosttown with Ricky Gervais-it's an excellent movie and the protagonist is most certainly a dick...However, it is important to create empathy and not pity.

This is a pretty good example. The issue with American Psycho is that it's not a rom-com. Like the poster above stated, make American Psycho a straight-forward horror movie and Batemen's character still works.

With a rom-com, you have to look at your target audience. The 'dick' character you create needs to be more than one-dimensional (obviously). Empathy/Sympathy has to occur at one point in your script. Some sort of revelation too, something the audience can attach themselves too.

Bad Santa is also a good example, but it's not a rom-com.

Stew

Bad Santa's another good example, not to mention one of my favorite comedies. Now that you mention it, there's definitely some fun to be had in watching people do bad things and I've definitely tried to capitalize on that. Still, the ending requires some pathos. There's definitely a lot going on with the characters though. Lots of conflicting emotions. I think dramatically, it's very strong. I'm just concerned as to the point in which characters are completely lost to the audience emotionally.

I should note that when I said I failed at writing a rom-com, I wasn't entirely joking. The story definitely started as a rom-com in which the protagonist fakes his death to pursue a new girl (originally not his friend's ex) and his ex is a full blown antagonist who is constantly on his trail coming close to exposing him. Since then, it's become a lot more complicated and the courtship has become a secondary element. I think by definition, the chase is what makes a romantic comedy. As of now, I think it's more of a comedy about love and relationships and not so much the chase. If I had to compare it to an existing rom-com, it'd be Harold & Maude.

Yo, James!  Did I read this awhile back?  It just sounds so familiar...

I sent you a treatment way back. I hadn't even written page then so I think you'll find the actual script's a little different.

Thanks.  Gotcha.  I remember now.

Don't see any problem in it.


The Protag' doesn't have to be this great, almighty god-like person who can sweep anyone off their feet by having one-liners gushing out of their ass.


I, personally, think if you have a character who the film centres on and who is the core of the film, the audience will agree with it and go along with it.

Remember, the Protag could be an Anti-Hero, or just some annoying guy - as long as you make it clear that the film has an assh*ole-of-a-character, it should be okay.

So yeah. I have faith in you and I enjoy your work. So whatever you write I'll enjoy it.


-Rhys