[Quick Summary: The daughter of a detective falls for the playboy that her father is shadowing.]
Q: When creating romantic chemistry, "start with the status quo,"* right?
A; Yes. It is "what is missing" from the protagonist's life.
Q: So "what is missing" = the antagonist.
A: Not exactly.
Q: Ok, if it's not "getting the guy," then what is it?
A: It is what the protagonist is missing emotionally, which the antagonist may point out or helps her realize.
Q: What does status quo look like on the page?
A: There's a good example in today's script.
The writers took their time laying out Ariane's inner and out life.** She's curious, smart, but feels excluded.
So when she and the playboy hit it off later, we understand why she's so taken by him. She's included in on a grand adventure, which fills that emotional need.
In this scene from the first ten minutes:
- We see that Ariane yearns for adventure, love. She is lonely.
- We want to root for her. She's considerate about her Papa, persistent, curious.
- Note also how humor is used to establish the fun tone, especially Ariane's parting line.
THE OFFICE
Ariane puts the cello aside, gets up, comes into the office. Chavasse has opened the briefcase, and taken out the camera.
ARIANE: I'm worried about you, Papa. You've been working every night.
CHAVASSE: It's my busiest season.
ARIANE: You need a rest, Papa.
CHAVASSE: Thank you, darling, but in my profession -- it's like being a doctor. I have to be on call night and day. A good doctor can never rest -- not until the patient is out of bed.
ARIANE: I never thought of it that way.
CHAVASSE:You shouldn't think of it at all!
ARIANE: Sorry, Papa.
CHAVASSE: How are things at the Conservatory?
ARIANE: So-so. We're rehearsing.
CHAVASSE: Rehearsing what?
ARIANE: A symphony. Haydn's 88th. You see -- I always tell you what I'm doing. But you never tell me what you're doing.
CHAVASSE: That's because I love you. And because I want to protect you from these sordid matters I have to deal with. Now go back to your cello.
ARIANE: Yes, Papa. Wouldn't you like some breakfast?
CHAVASSE: Later. I have some work to do in the darkroom. I'm expecting a client.
He has taken the roll of film out of the camera, now crosses to the door of the darkroom, opens it.
ARIANE: When Mama was alive, I'm sure you discussed your work with her.
CHAVASSE: Your Mama was a married woman.
ARIANE (with affection): I'm so glad.
She goes back to her room.
WHAT I'VE LEARNED: I often worry about taking too long to establish the status quo. However, this script showed me I should take my time for a great pay off later.
Love in the Afternoon (1957)
by Billy Wilder and I.A.L. Diamond
Based on the novel by Claude Anet
*For more explanation and examples, see Ch. 7 "Structuring Conflict" in Writing the Romantic Comedy (2020, 20th anniversary edition), by Billy Mernit (here).
**I found it interesting to see that it took the writers 36 PAGES before the girl and guy meet in person! Though to be fair, she learns about his situation through her dad and sees his photo early on.
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