You will need to be familiar with the movie to make sense of the explanations below, although hopefully, the subtitles will make sense on their own. To familiarize yourself with the story and structure of TAKEN, visit my original TAKEN Beat Analysis post.
AUDIENCE ENGAGEMENT TECHNIQUES
A. WRITE YOUR HERO AS AN ORPHAN. One of the all-time structural favorites that sucks an audience into any story divides the story into four parts. This concept is discussed by Carol S. Pearson in her book, The Hero Within: Six Archetypes We Live By, and is further explored by Jeffrey Alan Schechter in his book, My Story Can Beat Up Your Story, which narrows the structure down to four parts. It goes this way for the protagonist:
Act 1: OrphanAct 2A: WandererAct 2B: WarriorAct 3: Martyr
This perfectly describes Bryan's path. At first, the filmmakers spend considerable time creating sympathy for the lonely Bryan and his adoration and longing for his daughter, Kim, even risking his career as a spy to be home for her earlier birthdays. As the movie opens, Kim celebrates her 17th. Thus, especially in the early scenes of the film, we see how he is obsessed with his princess daughter's happiness and safety. Bryan's character lives for his daughter; he has no other goal in life. Thus, the story is an exploration of what a father is willing to do to protect his daughter, even if it means risking his own life. This is also the major emotional thrust in the Bruce Willis movie Armageddon, where Harry Stamper (Willis) literally gives his life as a martyr for the future of his daughter, Grace (Liv Tyler), who stands in for humanity and all of Earth.
B. EARLY ON, DELIVER UNMERITED HUMILIATION TO YOUR HERO. Humiliation also plays a part when Kim's affections are drawn to the birthday gift of a horse that her rich step-father presents to her, and Bryan's gift of a cheap Karaoke machine is left on the ground, all but forgotten. We yearn for Bryan to one-up Stuart's gift...which he does in the final shot of the movie.
C. MAINTAIN YOUR HERO'S CONSTANT EMOTIONAL FOCUS. As pointed out above, Bryan is a HERO, not a PROTAGONIST, and thus he does not have a physical arc. His goals never morph, which means they are not refined or refocused, as in many other stories where the protagonist unpacks the reality he finds himself in and adjusts his focus. His emotional motivation (if you'll allow the redundancy) remains the same from start to finish. Similarly, Bryan does not have an emotional arc. But his emotion is high and focused and can be described by one word: TENSE, and it doesn't grow deeper or relax until the very end, when Kim is safe in his arms.
D. SURROUND YOUR HERO BY THE MORAL PREMISE VICE AT EVERY TURN. Two meaningful story adages that apply here are: (1) There is no drama without conflict, and (2) The antagonistic force (the villain) must be pervasive and all-powerful. The conflict begins at the level of values—psychological values, from which evil actions are encouraged and launched. Since we have a hero (who has no arc) and who is willing to sacrifice his life to protect life, that means he (Bryan) must be surrounded by the opposite. Pervasively, surrounded by the values that oppose him. Look back at the moral premise statements at the beginning of this post. The value dipoles are Narcissism vs Sacrifice, and Ignoring Evil vs Awareness of Evil. We can stick with the first dipole for this point: Bryan must be surrounded by a Narcissists...and he is, beginning with Lenore (his ex-wife), Kim (his daughter), Stuart (Kim's step-father), and Amanda (Kim's traveling companion). Once onto his quest, the gang of thugs he encounters are all pure-bred narcissists—St. Clair, Marko, Peter, etc., all the way to the Sheik. His only friends, and they are not close, but they are helpful, are his ex-CIA buddies—Sam, Casey, and Bernie. Another way to show the vice is that everyone other than Bryan's closest friends either lies to him, misrepresents the truth, or hides the truth.
E. IN ACT ONE, DEMONSTRATE THE HERO'S SUPERPOWER REQUIRED TO ACHIEVE THE QUEST. Some of Bryan's skill and courage is told to us by Bryan's ex-CIA buddies, but we see it when Bryan saves pop star Sheerah's life from an assassin.
F. THERE SHALL BE NO SLOW PARTS EXCEPT TO TAKE A SHORT BREATH. The adage here that applies is this: Thou shalt keep your hero on the run for the entire story. He must be either running toward or away from trouble. The movie is a constant chase and race against time, and the hero's life (and his quest) is always and everywhere at stake. When the respite occurs, tension remains as the audience waits for the outcome of the respite and the chase to resume. Example: Bryan nurses a trafficked girl back to health as we wait with bated breath—the clock is ticking. Kim, in an act of love, had given the girl her jacket. Bryan has to wait for the girl to regain consciousness to ask her where she got the jacket. The answer (the red door in Paradise) sends Bryan back on the chase, but the respite is so short that the audience is still on the treadmill. When Bryan sits down with Jean-Claude's family for dinner, we know it's only for a moment before the guns come out.
G. THERE MUST BE A DOOMSDAY TICKING CLOCK. Right after Bryan discovers that Kim is kidnapped, he's told that he has 96 hours (4 days) or she's gone forever.
H. THE HERO SAVES THE DAY JUST BEFORE THE TICKING CLOCK GOES BOOM. Just as Kim is rapped and taken out of Paris on a riverboat by the villain sheik, Bryan breaks into the sheik's bedroom, and before Kim's neck is cut by the sheik's jambiya dagger, Bryan shoots the sheik between the eyes.
I. THE LAW ENFORCEMENT OFFICERS MUST BE INCOMPETENT, ABSENT, OR CORRUPT. Jean-Claude is on the take. When Bryan chases Peter at the airport and starts a fight, a traffic jam and a traffic death, the police are nowhere in sight. The tail that Jean-Claude puts on Bryan is easily lost, just as Jean-Claude said it would happen.
J. THE HERO MUST BE SMARTER AND STRONGER AND FASTER THAN EVERYONE ELSE, BUT NOT AT FIRST. Example: Bryan is captured, but he knows that to escape, he can pull apart a steam pipe, turn on a conveniently located valve, and douse the key thug with hot steam. It's almost deus ex machina. Bryan has friends in high and low places, having been in Paris many times in the past on spy missions. He knows the Director of International Intelligence and the owner of a cheap hotel. Bryan knows to remove the bullets from Jean-Claude's gun, which is hidden under his home's toilet. Why? Well, it feels more like a spy movie than putting the gun in a drawer next to J-C's bed.
K. THE HERO NEVER FOLLOWS UP ON HUNCHES, BUT ON CONCRETE CLUES. Further, our hero is smart enough to take the most basic of clues and know exactly where to look. Examples: Bryan finds the SD card from Kim' phone that has a picture on it of Kim and Amanda at the airport, and in the reflection of the poster ad behind Kim and Amanda is a reflection of Peter, the thug that Bryan recognizes and chases. The girl with Kim's jacket tells him to look in the "red door" in Paradise. Bryan is given the name of a Port Clichy where sex workers and trafficking are active. Through a translator, he's told to go to a construction site.
L. THE HERO NEVER WASTES TIME TRACKING DOWN BLIND ALLEYS OR RED HERRINGS. Blind Alleys and Red Herrings are for mysteries. This is the basic difference between mysteries and thrillers. In a thriller, every clue is productive and leads closer and closer to greater danger, an escalation of risks, and the culmination of the quest—Bryan's daughter.
M. THE HERO HAS ACCESS TO NECESSARY TECHNOLOGY AND TRANSPORTATION WHENEVER HE NEEDS IT. Bryan knows where the photo kiosk is that will take Kim's SD card and generate a picture. The kiosk will also enlarge and enhance Peter's reflected image. Bryan is able to plant a radio bug on a thug's jacket and pick up the signal through a car's infrastructure.
Here are no doubt more, but I really must start writing.
