188 Stage Hero's Journey (Monomyth): Backstory

A preliminary aspect of the road of trials is backstory. This is illustrated in a number of ways. In The Godfather (1972), Michael visists Corleone. In Romancing the Stone (1983), Jack tells Joan about his past and reasons for being in Colombia.

188 Stage Hero's Journey (Monomyth): Bull in a China Shop

The hero is a bull in a china shop during the preliminary stages of the Road of Trials. Wherever he is, his old self has not dissolved away and he is unaccustomed to the ways of this new world, which require the realisation of his much newer self.

188 Stage Hero's Journey (Monomyth): Cast Out

The antihero's fate is to be cast out of the world he has fought so hard to be a part of. One reason is that even the dark world has rules and the antihero, being an antihero, is destined to break them. In Scarface (1983), the restaurant throws him out because he doesn't behave himself. In Goodfellas (1990), Henry is cast out by Frank because he deals in drugs.

188 Stage Hero's Journey (Monomyth): Final Conflict: Battle

Post the Crossing of the Return Threshold and before the Master of Two Worlds and Selves, a hell of a lot happens that is rarely given mention. The Final Conflict (a metaphor for this stage) follows a distinct process. When the battle begins, the Shape Shifter, engaged in a period of dissonance, doesn't believe hero is capable of defeating his (or her) antagonisms. In Straw Dogs (1971), Tom et al continue to attack the house and try to break in. Amy doesn't believe David can keep them out.

188 Stage Hero's Journey (Monomyth): Antihero: Foreboding

The First Threshold is a place where the Hero is afraid to go. Hence there is forboding here. In Scarface (1983), Tony is nervous that the colombians are waiting in the hotel.

188 Stage Hero's Journey (Monomyth): Antihero's Legend

The antihero's legend will have travelled before him and symbols of his nature will be visible – scars or actions of his past. These will reveal the antihero as a dangerous being and explanations will be elicited.

188 Stage Hero's Journey (Monomyth): Atonement and Inner Challenge

The Atonement with the Father is the confrontation with the Inner Challenge. This stage often contains some mentor / father figure representative. In Straw Dogs (1971), David and Amy are in the church hall, the priest lectures and Amy has flashbacksabout the rape.

Humanity

It's hard to define the word Humanity or kindness but it has a great meaning. We come across it in our every day to day life. It sometimes happen that we come across a incident and it touches us and remains fresh in our memory lifelong.

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188 Stage Hero's Journey (Monomyth): What Happens Within the First Threshold?

Within the First Threshold, the Hero experiences New Creatures. The Hero is a Fish out of Water. In Straw Dogs (1971), everyone stares as David enters the pub.

188 Stage Hero's Journey (Monomyth): the Call to Adventure

The Call to Adventure can be very subtle. In Straw Dogs (1971), Charlie helps put the groceries in the trunk. Then Amy suggest that maybe Charlie could help with the garage. Charlie will be happy to do it tomorrow.

188 Stage Hero's Journey (Monomyth): Where to Start - the FADE IN

Writers often don't know where to start. It's easy. It's called a Fade In and it's another word for context. Start with the context. In Straw Dogs (1971), we open with shots of a tiny village in England. In Brokeback Mountain (2005), the first scene sets the context - Ennis is a cowboy in cowboy country.

Character Emotions

Directing audiences to ways of creating believable character emotions.

188 Stage Hero's Journey (Monomyth): The Significance of the Sword

The Sword is a tangible. In Brokeback Mountain (2005), it is Ennis' and Jack's reunion. It is also an Expansion of Consciousness and, in Brokeback Mountain (2005), is represented by Alma seeing Ennis kiss Jack.

188 Stage Hero's Journey (Monomyth): Fear of the Return to the Ordinary World

The Hero - willing and unwilling - often lives in fear of the return to the Ordinary World and the Ordinary Self. In Star Wars (1977), Luke never wants to go back to Tattooine. In Bonnie and Clyde (1967), Bonnie wakes up afraid that Clyde is not there. Even seemingly unwilling Heroes do not return to the same place - the Journey has given them a new capacity and transformed them into a New Self. In The Shawshank Redemption (1994), Andy does not return home but goes to Mexico.