After we are analysing a scene, actors usually come to the conclusion that their character needs the opposite character to ‘perceive’, ’see’, ‘know’, ‘comprehend’ ‘realise’.
This could be true. However these are passive inside goals and they’re solely a part of the story. At ACS, we name a personality’s goal a ‘need’. It’s what they need the opposite character to do now.
When your character needs the opposite character to ‘realise’ one thing, that isn’t the top of their objective. After we need somebody to grasp one thing, we wish them to take motion on the idea of this realisation.
What your character needs the opposite character to do ought to ALWAYS lead to significant exterior motion.
So if you find yourself with ‘perceive they’ve offended them’ or ‘realise they’ve triggered them ache’ – the subsequent query to ask is:
Once they ‘realise’ or ‘perceive’ what’s going to they do? Apologise? Make amends? Fall to their knees and grovel?
Passive inside goals can’t be seen, and so they solely take you half manner in direction of your understanding of the scene. Maintaining digging for a significant motion as a result of energetic goals/needs result in higher motion/performing.
