- [Michael] Hi, I'm Michael. This is Lessons from the Screenplay. In the last couple of weeks, every time I've mentioned to someone that we were working on a video comparing "Sunset
Boulevard" and "Parasite", a very puzzled look would
appear on their face. And to be fair, that's
completely understandable. On the surface, these two
movies look very different. But underneath, they're
actually quite similar. Most films tell stories
of positive change. The protagonist overcomes
a deep character flaw in order to become the
best version of themselves. But both "Sunset Boulevard" and "Parasite" tell stories of disillusionment. Featuring characters who believe they can achieve their dreams, but are ultimately confronted
with a different ugly reality. So, today, I want to compare
the character arcs found in both "Sunset Boulevard" and "Parasite". To examine the lie the character's believe and the truth they're unwilling to accept. And to track how the
decisions each character makes lead to the film's dramatic climax, which will leave the
protagonist's dreams shattered. Let's take a look at "Sunset
Boulevard" and "Parasite". (upbeat dream pop music) In both a positive change arc
and a disillusionment arc, the protagonist begins
the film clinging to a lie and by the end of the film, they're confronted by the hard truth. As K.M. Weiland writes in her book "Creating Character Arcs", "Just as in a positive change arc, the protagonist is growing into a better understanding of the Truth and yet the story is still a downer. The character is moving from a positive outlook to a negative one. His new Truth isn't sunshine and roses; it's cold hard facts." "Sunset Boulevard" tells
the story of Joe Gillis, a young screenwriter in Hollywood who is struggling to make ends meet. The first 10 minutes of
the film are dedicated to showing how desperate Joe is for money. So much so that he has left behind any integrity he once had. - I'd always heard that
you had some talent. - That was last year, this year I'm trying to earn a living. - [Michael] Joe believes money will solve all of his problems. The opening act of "Parasite"
introduces the Kims, a family that, like Joe,
is desperate for money. We see them chasing down free Wi-Fi and working menial jobs
to barely scrape by. But despite their dire situation, the family son, Ki-woo, is
ambitious and optimistic. Trying to sweet talk his
way into a better position. (speaking foreign language) - Ki-Woo believes his family
can join the affluent class if only he can make enough money. These are the lies the characters believe and because both of them are ignorant to the hard truth they
will eventually learn, both Joe and Ki-Woo are
willing to do anything in pursuit of their lies. So when opportunity knocks for
Joe and Ki-woo, they answer. - You're Norma Desmond. Used to be in silent
pictures, used to be big. - I am big. It's the pictures that got small. - [Michael] While fleeing debt collectors, Joe happens to park his car at the home of a former silent movie star who needs a screenwriter to help her work on a comeback script. While Joe thinks the script is terrible, he sees a way to take
advantage of the situation. - You know I'm pretty expensive. I get $500 a week. - I wouldn't worry about money, I'll make it worth your while. - [Michael] Ki-Woo also
seizes an opportunity when his friend asks him to take
over tutoring the daughter of a wealthy family, the Parks. (speaking foreign language) And like Joe, Ki-Woo is
willing to lie to make a little cash. Both characters are now
actively pursuing their lie, and even though a dark
ending to their arcs is on the horizon, at this step of their journey
everything seems great. For Joe, Norma represents
success in an industry in which he is struggling. Her career has brought
her fame, money, comfort, and something Joe has
always wanted, a pool. And for Ki-Woo, the
Parks' home represents a similar dream of success
for himself and his family. But soon they'll be
confronted with a choice and their fate will be
determined by what they decide to do at the midpoint. Midpoints come in many forms, but in almost every case
the midpoint of the story is when the truth makes itself known. As we talked about in our
video on "Collateral", in stories where the protagonist
changes for the better, the midpoint is the
moment at which they can no longer ignore their lie and
have to confront the truth. The same is true of negative change arcs. Both Joe and Ki-Woo are
about to be confronted with the truth, but how they react to the truth will have fatal consequences. As "Sunset Boulevard"
and "Parasite" build to their respective midpoints, everything is going
well for Joe and Ki-Woo. Although Joe isn't
necessarily happy playing house with Norma, - Empty the ashtray will you, Joe Dear? - [Michael] he's gotten
comfortable taking advantage of her vast wealth. In "Parasite", Ki Woo
and his sister Ki Jung use their influence on
the Parks to install their parents in other domestic positions. Culminating in the evening
when the Parks leave for a camping trip and
the Kims can finally revel in their victory and
act like they own the place. In both of these films, the midpoint is an apparent
victory for the characters until the truth rears it's ugly head. For Joe, the truth becomes clear at
Norma's New Years Eve party. - It's a quarter past ten. What time they supposed to get here? - Who? - The other guests. - There are no other guests. We don't want to share this
night with other people, this is for you and me. - Oh? - Hold me tighter. - Okay. - [Michael] Confronted
with the reality of Norma's feelings for him, Joe can
no longer ignore that he's sold his personal and
artistic integrity for money. Prompting him to leave
Norma's mansion and make plans to move in with a friend. - Can you put me up for a couple of weeks? - It just so happens we
have a vacancy on the couch. - I'll take it. - [Michael] Joe even runs
into another young writer, Betty Schaefer, who reminds
him of who he used to be. - It's true, it's moving. Now why don't you use that character? - Who wants true? Who wants moving? - Drop that attitude! Here's something really worthwhile. - [Michael] But right
when it seems like Joe might escape from his lie, a phone call presents him
with a startling revelation that Norma has tried to kill herself. - Madame got the razor from your room and she cut her wrists. - What? Max! Max! - [Michael] So Joe goes
back to Norma and makes a decision that seals his fate. Joe embraces his lie. Choosing financial security
with Norma over integrity. In "Parasite" the midpoint
decision also arises as the result of a startling
revelation for the characters. The Kims discover that the
Parks' former housekeeper and her husband, people who are as poor as they used to be, have been living in
the basement all along. (speaking foreign language) This revelation presents the
Kims with the opportunity to be generous, to show
solidarity with their fellow domestic servants, but instead they choose to
flex their newfound privilege. (speaking foreign language) But in a matter of moments
the tables are turned. When it's revealed that
the Kims have been keeping a secret of their own from the Parks. (speaking foreign language) The resulting struggle
to silence Moon Gwang and her husband to protect
their lie at all costs will set the Kims on a
path they won't be able to turn back from. It's at this point that
Ki Woo and Joe's journeys start to diverge. Both are confronted with
a heavy dose of reality at the midpoint, but how they react to
that reality sends them on different trajectories. Because while Joe continues
to wrestle with the truth throughout the
second half of act two, Ki Woo doubles down on
the lie that he can change his family's life. So I want to pause,
rewind, and discuss two other characters who
have also been on their own important journeys this whole time, Norma and Ki-Tek. At the beginning of
"Sunset Boulevard" Norma is a former movie star who
believes in a lie of her own, that she is still famous
and that the new movie Joe is writing can revitalize her career. - Because they want to see me. Me, Norma Desmond! - [Michael] And no matter
how clear it is to others that she is no longer
an in-demand movie star, Norma's belief persists. - It's important enough for Mr. DeMille to call me personally, but any idea of having
some assistant call me say I'm busy and hang up. - [Michael] Meanwhile
Ki-Woo's father Ki-Tek has been on a journey of doubt. While Ki-Woo's been
ruthlessly pursuing his dream of making money for his family, Ki-Tek has been trailing
along less confidently. At times even making mistakes
that could compromise the family's plan. (speaking foreign language) - [Michael] So although
Ki-Woo fully believes that his family can fit
in with a wealthy family like the Parks, Ki-Tek isn't so sure. And after the midpoint
when Ki-Tek helps restrain the couple in the basement
his uncertainty only grows as he realizes that he is
more similar to the man in the basement, Geun Se, than the Parks. (speaking foreign language) - [Michael] So while
Norma and Ki-Woo double down on their belief in the lie, Joe and Ki-Tek descend
further into doubt as the truth becomes harder to ignore. This doubt continues to
eat away at Joe and Ki-Tek right up until the climax. Here at the climax of the film, disillusionment stories
differ the most from positive change stories. Instead of the characters
learning the truth and growing into the best
version of themselves... - Scott earned the power of self respect. [Michael] The characters in "Parasite" and "Sunset Boulevard" choose
to either ignore the truth or retreat from the life
they once dreamed of. As the Parks throw and
impromptu birthday party for their young son, Ki-Woo is more invested
than ever in his lie that he and his family
will be rich some day, just like the Parks and their friends. So he decides to take
a last desperate action to remove the people who
are threatening his dream. In "Sunset Boulevard" Norma
makes a similar decision and tries to drive away Betty, who threatens to take Joe from her. - May I speak to Miss Betty Schaefer? - [Michael] Both Norma
and Ki-Woo are prepared to do something extreme in
order to preserve their lies, but in both cases it backfires. - What are you doing? - I'm packing. - You're leaving me. - [Michael] Norma
ultimately drives Joe away. - Joe, Joe! - [Michael] And Ki-Woo's
moment of triumph does not go as planned. Ki-Woo and Norma glimpsed the truth, but completely rejected
it and end the film continuing to believe their lies. But while Ki-Woo and
Norma reject the truth, Joe and Ki-Tek accept
the truth which leads to their ultimate disillusionment. (speaking foreign language) - [Michael] In "Parasite"
going into the impromptu party Ki-Tek is more
certain than ever that he and his family don't
belong in the Parks' world and that they can not change their lives. So when Ki-Tek's despair culminates in an outburst of violence, he fully accepts the death
of his dream and descends into the basement to hide indefinitely. In "Sunset Boulevard"
Joe lies to Betty driving her aways because he
believes that he's not good enough for her. - Good luck to you, Betty. You can finish that script
on the way to Arizona. - [Michael] And he decides to give up his dream of being a screenwriter and to leave Hollywood all together. But it's too late for Joe. His fateful decision
at the midpoint to stay with Norma has already sealed his fate, there is no escape. (gunshots firing) All four characters have
reached the end of their arcs and are worse off than when they started. Two have accepted the unpleasant truth, while the other two
still cling to the empty promise of their lies. - All right, Mr. DeMille. I'm ready for my close up. - [Michael] Billy Wilder
who co-wrote and directed "Sunset Boulevard" once
described his film as a movie about a man who wanted a pool, got a pool, and ultimately
drowned in a pool. Not only is it a darkly
humorous way to sum up "Sunset Boulevard", it's a perfect way to describe
the disillusionment arc. A character pursues a dream, finally seems to achieve it, only to realize that the dream is hollow. Movies that follow a negative change arc can help us accept the
loss of a belief system, face a difficult reality, or explore complex social problems. And despite the 70 years
that separate the two films, "Sunset Boulevard" and
"Parasite" both demonstrate how a story of disillusionment
can resonate with and inspire an audience. Hey guys, Micheal here. In the past I found that
a quick path to personal disillusionment is to get
excited about a new project, dive right in, and then watch as my
enthusiasm peters out and the project ends up in a pile with my other unfinished works. But I've also found ways to
prevent this from happening. Which is why I want to
recommend Thomas Frank's class, "Real Productivity: How to
Build Habits That Last". It's one of the many great
resources you can find on Skillshare. Skillshare is an online
learning community for creative and curious people. With thousands of classes in
writing, music, productivity, filmmaking, and more. Premium Membership gives
you unlimited access so you can join the
classes and communities that are just right
for you and your goals. The reason I'm recommending
Thomas's productivity class is that it's all
about the skill that enables you to learn more skills. And as he says, building habits isn't
just about discipline. There are real world steps you
can take to set yourself up for success and keep yourself on track. On a personal note, I have the pleasure of
knowing Thomas and he's shared advice that I use to run
this channel, the podcast, and many other aspects of my life. So check out his Skillshare class today, you won't be disappointed. The first 1,000 subscribers
to click the link in the description will
get a two month free trial of Premium membership so you
can explore your creativity. Thanks to Thomas for all his advice, and thanks to Skillshare
for sponsoring this video. I hope you enjoyed the video. Whenever we come up with a
kind of off the wall idea for a video the tendency
is to be concerned about how the algorithm will treat it. But because of our patrons we always feel comfortable just going for it. So I want to say as always, a huge thank you to
our patrons on Patreon. We make these videos for
you guys first and foremost. Thanks for watching. I'll see ya next time.
