Here are more answers to those questions....
Question: How to make a character fully dimensional? How to avoid the characters sounding the same?
Answer: Movie dialogue is better than real dialogue - it's that clever come back you came up with two days after the argument.
You don't want all characters to sound the same - each should have their own *distinctive* voice, vocabulary, pet words and phrases, and sentence structure - they should all be distinctive and unique... not boring and normal.
First - each of your characters needs to be different, see the world differently, react to the world differently, and have a secret agenda that drives them... and they need to have different attitudes, likes and dislikes, different pet words and phrases.
If all of your characters sound alike, it's because you don't know them. My characters talk *through* me - and I can hear their voices in my head (which makes me crazy).
I write in various coffee shops, and in one there is a girl behind the counter who could find the silver lining in the end of the world. She is *relentlessly* positive. That's her character, and it comes out in almost everything she says. After a while, I just want to slap her... but she'd find something good to say about that.
Another coffee shop has a guy that is all about himself - no matter what he says, it's about him. If the world were going to end in 5 minutes, he's find the way to make that all about him... as if nobody else mattered.
I have a friend who takes everything personally - another form of selfishness - if you say hello to someone else first, he thinks that's a snub.
I know another guy who is ultra negative - he'll find the cloud for every silver lining. You win the lottery, he'll tell you how lottery winners end up broke and miserable. Even when he pays you a compliment, it's got a negative spin on it.
All of these things are *character* - if you really know your characters, they will speak differently because they are different people. Know what is below the surface, what secretly drives them, how the see the world around them.
Next - on a purely cosmetic level - look at pet words and phrases. Make sure no two characters use the same common words: yes, no, true, false, hello, goodbye, etc. Make sure they don't have the same favorite curse word. And take a look at sentence structure - you may have a character that says almost everything in the form of a question. Or someone who talks in long run-on sentences. Or no more than three words in a sentence. Or talks backwards like Yoda. These are the voices I hear in my head when I write.
Knowing your characters is the key to every character sounding different.
Actor Proofing Your Dialogue - Timing is everything in comedy... and one thing we can't really write. That is brought in through performance.
Things we do control are situation and the actual words within the material. So that's where I concentrate. I don't write comedy... I write movies that often end up starring non-actors who are pro athletes. So I can not depend on the acting (delivery) of any line. I have to create an "actor proof" script. A script where *I* do the acting through my writing. That means I have to create a strong emotional situation that Wilson the volleyball could win an Oscar for. Then find lines of dialogue that have double meanings or are packed with emotion - again, something that will work if the actor reads it off a cue card in a monotone. Basically, my script is carrying the actor.
And that is not easy, but I thing some of those things translate to comedy writing. The material has to be funny just sitting there on the page, not dependent on an actor to add that zing that makes it funny. That zing is the bonus.
If we want to hear real conversation, we can just walk down a street. When we pay $11.50 (what it costs to see a movie in LA) we want to see something special. We want interesting dialogue, distinctive dialogue.
Here are some interesting bits of dialogue from the same movie...
"A pocket fulla firecrackers - looking for a match!"
"Way up high, Sam, where it's always balmy. Where no one snaps his fingers and says, "Hey, Shrimp, rack the balls!" Or, "Hey, mouse, mouse, go out and buy me a pack of butts." I don't want tips from the kitty. I'm in the big game with the big players... In brief, from now on, the best of everything is good enough for me."
"The next time you want information, don't scratch for it like a dog, ask for it like a man!"
"Who could love a man who makes you jump through burning hoops like a trained poodle?"
"You're dead, son. Get yourself buried."
"It's a dirty job, but I pay clean money for it."
"What am I, a bowl of fruit? A tangerine that peels in a minute?"
"You've got more twists than a barrel of pretzels!"
"I don't relish shooting a mosquito with an elephant gun, so why don't you just shuffle along?"
"Maybe I left my sense of humor in my other suit."
"I'd hate to take a bite outta you. You're a cookie full of arsenic."
"Don't remove the gangplank, you may wanna get back onboard."
"Don't do anything I wouldn't do! That gives you a lot of leeway..."
"Crow like a hen. You have just laid an egg."
"Tell me sir, when he dies, do you think he'll go to the dog and cat heaven?"
"Start thinking with your head instead of your hips."
"This syrup you're giving out with... you pour over waffles, not over me."
Different characters in the same movie released the year I was born. Movie dialogue has always been clever, witty, interesting - that's why we quote it, instead of quoting what the clerk at Safeway said about paper or plastic.
In fact, even in "realistic" movies, nobody talks like the characters talk. Watch any Scorsese movie - that's excellent, well crafted dialogue. Realistic dialogue isn't real - it's crafted to sound real, but more clever, witty, and concise.
You want the best possible dialogue in your screenplay - dialogue that shows us the character, and is memorable enough that the reader will be talking about it for years to come... after they’ve made the movie.
- Bill
