“Do we need to worry about you?” CIA officer “Hoffman” (Scott Shepherd) asks Tom Hanks’ lawyer character, “Donovan,” thirty minutes into Bridge of Spies. “Not if I’m left alone to do my job.”
Thematically we immediately get where this story is going. We feel it. Donovan against the world. A man who wants to do what’s right: so please just get out of my way. But, of course, like all great storytelling, there has to be obstacles getting in the way, and indeed the CIA is just one obstacle our hero Hanks is facing in his determination to defend a Cold War Russian spy. Do we have to worry about you? The clever phrasing (from a Coen brothers’ script) summarizes more than what’s bugging the CIA man. The “we” is the fears of the entire American population for whom communism gave them quite a lot to worry about. Now one of their own was prepared to defend the enemy – really? Yes, and get out of my way.
A powerful scene that sets up just how isolated our hero is. The stakes have been raised. A true underdog if there ever was one and he accepts that role – bravely. Leave me alone to do my job. All of us know – even in small, less Hanksian ways – what that feels like. We relate, so we participate. Hardly a day goes by when there isn’t a new underdog story playing in theatres and televisions (and offices) everywhere. We root for that theme. We connect to it. It works – and not just in movies.
Theme is the heart and soul of the story. What it’s really about. So here I was this week, happily connecting to this simple underdog tale when, in a private discussion with the trials’ predictably biased judge, Hanks amps the story up even further by posing a “What if.” The ideal scenario building question from which to plan – or in this case, hope for – the next move. Who hasn’t had inspiration flash into their heads when thinking about, ‘What if?’ (Caution: use it wisely.)
Two great scenes, two great questions. Theme developed…and we the audience are ready to go further into this compelling narrative. Unfortunately, however, the rest of the script does not cooperate. With disappointment, I watched as the story started to lose its powerful thematic foundation, the very heart of its early success. The Donovan we are keen to cheer for – indeed worry for – begins to fall flat, and not even the beautiful Berlin studio sets (and classic Spielbergian directing) could piece the Hanks I met jousting with the CIA back together again.
So what happened and what can we as storytellers learn? “Theme is what I mean.” I emotionally connected to this character who was prepared to battle the long odds to do what he felt, deep, deep into his heart, was right. The tried and true story formula worked. First the CIA guy then the world! When Hanks stormed out of the bar I was right there with him. Now deliver more scenes like that to motivate us to continue following – participating – to wherever Hanks was determined to take us. Put him deeper into the challenges that all good underdogs have to face…and finally out the other side victorious (of course).
It didn’t happen (other than the happy ending).
Tension creates attention. But there was so little tension in the second half that by the time the ending came around I was no longer emotionally invested in Donovan’s underdog plight. In fact, it was far from underdog. It was more like disgruntled employee just doing his job and going home at five. Nothing particularly exciting or compelling in that. Sorry.
Watch Bridge of Spies and keep an eye out for those two fantastic scenes. Then ask yourself: how can I apply a similarly motivating structure to my next story – be it 90 seconds or 90 minutes? Start by grabbing the audience. And then keep them there. Put scenes of difficult decisions and choices in front of them – a hero’s challenge that we all understand. You don’t have to have underdog situations (and characters) in order to guarantee success, but you must have problems and challenge. If not, well, you can be sure of the audience response, the kind of which we can all – unfortunately – relate to: boredom. When that happens, the story’s twenty-first century enemy has spoken…and the hero is quickly defeated (which, in today’s world, usually means smartphones serving up other distractions).
Stick with a simple plan, a relatable theme. We won’t need to worry about losing you during your next story if you do.
You are now free to go do your work.