LovelyOne
and he's only at step 10! I'm certain
The stages of the HERO are:
1) THE HERO IS INTRODUCED IN HIS ORDINARY WORLD.
Most stories take place in a special world, a world that is new and
alien to its hero. If you're going to tell a story about a fish out
of his customary element, you first have to create a contrast by
showing him in his mundane, ordinary world. In WITNESS you see both
the Amish boy and the policeman in their ordinary worlds before they
are thrust into alien worlds -- the farmboy into the city, and the
city cop into the unfamiliar countryside. In STAR WARS you see Luke
Skywalker bored to death as a farmboy before he takes on the
universe.
(to me! Jack looking for the means to save his own skin is the ordinary world its what he's used to..the thing that is getting to him are his feelings for Elizabeth IMO that is the special world. Ted Elliot explained on Keeptothecode/boxofficemojo that Jack was fearing the thought of making Liz an obligation)
"Box Office Mojo: What is the meaning of the series?
Ted Elliott: It's a study of what is a pirate. How free can you really be? What are those trade-offs? Jack kind of represents the ultimate free man? he really has no obligations to anybody, and, obviously, if you make an obligation to somebody, you're limiting your own freedom. But, if you're not willing to limit your own freedom, you can't have those relationships. If you look at Pirates of the Caribbean: Dead Man's Chest from that point of view,you kind of see what really leads to Jack's ultimate fate and why Elizabeth does what she does.
-from boxofficemojo.com"
Ted Elliot keeptothecode.com -"The reason we included the "Why is the rum always gone?" line was not just as a callback to the first movie; it was intended to remind audiences of the specific circumstances that it referenced, and so act as a cue to what Jack had on his mind: the woman who he was first attracted to and then infuriated with (or: the woman who Jack never would have been infuriated with if he had not been attracted to).
So, the deal with compass: Jack simultaneously wanted Elizabeth and wanted to be as far from Elizabeth as possible. Whichever of those he wanted most would cause him to immediately want the other more ... so the compass would not settle, swinging between "Port Royal" and "antipode of Port Royal" (which is sort-of-but-not-quite Singapore, btw).
2) THE CALL TO ADVENTURE.
The hero is presented with a problem, challenge, or adventure.
Maybe the land is dying, as in the Arthur stories about the search
for the Holy Grail. In STAR WARS again, it's Princess Leia's
holographic message to Obi Wan Kenobi, who asks Luke to join in the
quest. In detective stories, it's the hero accepting a new case.
In romantic comedies it could be the first sight of that special --
but annoying someone the hero or heroine will be pursuing/sparring
with the remainder of the story.
(IMO! this could be bootstrap telling him that the kraken is his responsibility and Will coming and asking Jack to help him save Elizabeth as a responsibility. Jack is reluctant to help and face up to her. I do believe that facing up to the Kraken and facing up to Elizabeth is pretty much the same deal.he doesn't want to face up to anything that is on his shoulders..all he wants is to save himself)
3) THE HERO IS RELUCTANT AT FIRST.
Often at this point, the hero balks at the threshold of adventure.
After all, he or she is facing the greatest of all fears -- fear of
the unknown. At this point Luke refuses Obi Wan's call to adventure,
and returns to his aunt and uncle's farmhouse, only to find they
have been barbqued by the Emperor's stormtroopers. Suddenly Luke is
no longer reluctant, and is eager to undertake the adventure. He is
motivated.
(So yeah he runs away from facing up to the kraken..and at the same time he refuses to save Liz when Will asks..he doesn't want to face up to her as a responsibility...he doesn't want to face up to the Kraken as a responsibility)
4) THE HERO IS ENCOURAGED BY THE WISE OLD MAN OR WOMAN.
By this time many stories will have introduced a Merlin-like
character who is the hero's mentor. In JAWS it's the crusty Robert
Shaw character who knows all about sharks; in the mythology of the
Mary Tyler Moore Show, it's Lou Grant. The mentor gives advice and
sometimes magical weapons. This is Obi Wan Kenobi giving Luke
Skywalker his father's light sabre.
The mentor can only go so far with the hero. Eventually the hero
must face the unknown by himself. Sometimes the wise old man is
required to give the hero a swift kick in the pants to get the
adventure going.
(This is TIA..and according to Naomi Harris she has the ability to see into each characters souls and find out what their true desires are. With Jack..she knows darn well that it is Elizabeth because of that line after she asks him about his compass "ayee Jack Sparrow does not know what he want!, Or do know but are loath to claim it for your own"..she's not talking about the chest..Jack WANTS the chest..he's just worried about making Elizabeth a partner..he fears making obligations to anyone but himself...IMO she doesn't help him at ALL when it comes to finding that heart. overcome the fear of making Liz an obligation..It helps in an emotional way when it comes to facing his inmost cave)
5) THE HERO PASSES THE FIRST THRESHOLD.
He fully enters the special world of his story for the first time.
This is the moment at which the story takes off and the adventure
gets going. The balloon goes up, the romance begins, the plane or
spaceship blasts off, the wagon train gets rolling. Dorothy sets
out on the Yellow Brick Road. The hero is now committed to his
journey... and there's no turning back.
(IMO Tia knows that Jack will bump ito Elizabeth in tortuga..she also has just removed Will and sent him on his way to his "destiny"..he's not told where to look for the heart..he just sets off and bumps into his little secret obsession..ELIZABETH..and what do we see all of a sudden? He actually TAKES her on board which is a huge step from running away from her...and IMO its not all about her helping him find the chest..I think that may just be an excuse to himself in a way. There is a moment where he says "It points to what you want most in this world" the camera zooms in, the music is emotional and he hesitates and looks down at her lips..its a significant moment..the man wants her and he's willing to take her on board now. AND the mission to the chest can now start)
6) THE HERO ENCOUNTERS TESTS AND HELPERS.
The hero is forced to make allies and enemies in the special world,
and to pass certain tests and challenges that are part of his
training. In STAR WARS, the cantina is the setting for the forging
of an important alliance with Han Solo, and the start of an
important enmity with Jabba The Hut. In CASABLANCA, Rick's Cafe is
the setting for the "alliances and enmities" phase, and in many
westersn it's the saloon where these relationships are established.
The tests and challenges phase is represented in STAR WARS by the
scene of Obi Wan teaching Luke about the Force, as Luke is made to
learn by fighting blindfolded. The early laser battles with the
Imperial Fighters are another test which Luke passes successfully.
(basically here the hero is supposed to learn the terms of the special world(in Jack's case Elizabeth)..and in THIS case he learns the ins and outs of Elizabeth's mind..what she expects if him..how to make her his...I believe this is what all the Jack/Liz moments were all about..all the flirty stuff etc. He also made an alliance with Norrington..which was a mistake, he's an enemy in terms of the other little "fake quest" Jack is on..It's the part where Jack encounters all the shell people for the first time..I also think this is where he flees..JoD scared the crap out of him.."it betrayed him"..IMO it helps with the next step
7) THE HERO REACHES THE INNERMOST CAVE
The hero comes at last to a dangerous place, often deep underground,
where the object of his quest is hidden. In the Arthurian stories
the Chapel Perilous is the dangerous chamber where the seeker finds
the Grail. In many myths the hero has to descend into hell to
retrieve a loved one, or into a cave to fight a dragon and gain a
treasure. It's Theseus going into the Labyrinth to face the
Minotaur. In STAR WARS it's Luke and company being sucked into the
Death Star where they will rescue Princess Leia. Sometimes it's the
hero entering the headquarters of his nemesis; and sometimes it's
just the hero going into his or her own dream world to confront his
or hers worst fears... and overcome them.
(Jack is in a problem with his emotions..He's terrified to face up to the responsibility of the kraken and at the same time is terrified of making Elizabeth and obligation isn't he? lol)
Cont next page
The stages of the HERO are:
1) THE HERO IS INTRODUCED IN HIS ORDINARY WORLD.
Most stories take place in a special world, a world that is new and
alien to its hero. If you're going to tell a story about a fish out
of his customary element, you first have to create a contrast by
showing him in his mundane, ordinary world. In WITNESS you see both
the Amish boy and the policeman in their ordinary worlds before they
are thrust into alien worlds -- the farmboy into the city, and the
city cop into the unfamiliar countryside. In STAR WARS you see Luke
Skywalker bored to death as a farmboy before he takes on the
universe.
(to me! Jack looking for the means to save his own skin is the ordinary world its what he's used to..the thing that is getting to him are his feelings for Elizabeth IMO that is the special world. Ted Elliot explained on Keeptothecode/boxofficemojo that Jack was fearing the thought of making Liz an obligation)
"Box Office Mojo: What is the meaning of the series?
Ted Elliott: It's a study of what is a pirate. How free can you really be? What are those trade-offs? Jack kind of represents the ultimate free man? he really has no obligations to anybody, and, obviously, if you make an obligation to somebody, you're limiting your own freedom. But, if you're not willing to limit your own freedom, you can't have those relationships. If you look at Pirates of the Caribbean: Dead Man's Chest from that point of view,you kind of see what really leads to Jack's ultimate fate and why Elizabeth does what she does.
-from boxofficemojo.com"
Ted Elliot keeptothecode.com -"The reason we included the "Why is the rum always gone?" line was not just as a callback to the first movie; it was intended to remind audiences of the specific circumstances that it referenced, and so act as a cue to what Jack had on his mind: the woman who he was first attracted to and then infuriated with (or: the woman who Jack never would have been infuriated with if he had not been attracted to).
So, the deal with compass: Jack simultaneously wanted Elizabeth and wanted to be as far from Elizabeth as possible. Whichever of those he wanted most would cause him to immediately want the other more ... so the compass would not settle, swinging between "Port Royal" and "antipode of Port Royal" (which is sort-of-but-not-quite Singapore, btw).
2) THE CALL TO ADVENTURE.
The hero is presented with a problem, challenge, or adventure.
Maybe the land is dying, as in the Arthur stories about the search
for the Holy Grail. In STAR WARS again, it's Princess Leia's
holographic message to Obi Wan Kenobi, who asks Luke to join in the
quest. In detective stories, it's the hero accepting a new case.
In romantic comedies it could be the first sight of that special --
but annoying someone the hero or heroine will be pursuing/sparring
with the remainder of the story.
(IMO! this could be bootstrap telling him that the kraken is his responsibility and Will coming and asking Jack to help him save Elizabeth as a responsibility. Jack is reluctant to help and face up to her. I do believe that facing up to the Kraken and facing up to Elizabeth is pretty much the same deal.he doesn't want to face up to anything that is on his shoulders..all he wants is to save himself)
3) THE HERO IS RELUCTANT AT FIRST.
Often at this point, the hero balks at the threshold of adventure.
After all, he or she is facing the greatest of all fears -- fear of
the unknown. At this point Luke refuses Obi Wan's call to adventure,
and returns to his aunt and uncle's farmhouse, only to find they
have been barbqued by the Emperor's stormtroopers. Suddenly Luke is
no longer reluctant, and is eager to undertake the adventure. He is
motivated.
(So yeah he runs away from facing up to the kraken..and at the same time he refuses to save Liz when Will asks..he doesn't want to face up to her as a responsibility...he doesn't want to face up to the Kraken as a responsibility)
4) THE HERO IS ENCOURAGED BY THE WISE OLD MAN OR WOMAN.
By this time many stories will have introduced a Merlin-like
character who is the hero's mentor. In JAWS it's the crusty Robert
Shaw character who knows all about sharks; in the mythology of the
Mary Tyler Moore Show, it's Lou Grant. The mentor gives advice and
sometimes magical weapons. This is Obi Wan Kenobi giving Luke
Skywalker his father's light sabre.
The mentor can only go so far with the hero. Eventually the hero
must face the unknown by himself. Sometimes the wise old man is
required to give the hero a swift kick in the pants to get the
adventure going.
(This is TIA..and according to Naomi Harris she has the ability to see into each characters souls and find out what their true desires are. With Jack..she knows darn well that it is Elizabeth because of that line after she asks him about his compass "ayee Jack Sparrow does not know what he want!, Or do know but are loath to claim it for your own"..she's not talking about the chest..Jack WANTS the chest..he's just worried about making Elizabeth a partner..he fears making obligations to anyone but himself...IMO she doesn't help him at ALL when it comes to finding that heart. overcome the fear of making Liz an obligation..It helps in an emotional way when it comes to facing his inmost cave)
5) THE HERO PASSES THE FIRST THRESHOLD.
He fully enters the special world of his story for the first time.
This is the moment at which the story takes off and the adventure
gets going. The balloon goes up, the romance begins, the plane or
spaceship blasts off, the wagon train gets rolling. Dorothy sets
out on the Yellow Brick Road. The hero is now committed to his
journey... and there's no turning back.
(IMO Tia knows that Jack will bump ito Elizabeth in tortuga..she also has just removed Will and sent him on his way to his "destiny"..he's not told where to look for the heart..he just sets off and bumps into his little secret obsession..ELIZABETH..and what do we see all of a sudden? He actually TAKES her on board which is a huge step from running away from her...and IMO its not all about her helping him find the chest..I think that may just be an excuse to himself in a way. There is a moment where he says "It points to what you want most in this world" the camera zooms in, the music is emotional and he hesitates and looks down at her lips..its a significant moment..the man wants her and he's willing to take her on board now. AND the mission to the chest can now start)
6) THE HERO ENCOUNTERS TESTS AND HELPERS.
The hero is forced to make allies and enemies in the special world,
and to pass certain tests and challenges that are part of his
training. In STAR WARS, the cantina is the setting for the forging
of an important alliance with Han Solo, and the start of an
important enmity with Jabba The Hut. In CASABLANCA, Rick's Cafe is
the setting for the "alliances and enmities" phase, and in many
westersn it's the saloon where these relationships are established.
The tests and challenges phase is represented in STAR WARS by the
scene of Obi Wan teaching Luke about the Force, as Luke is made to
learn by fighting blindfolded. The early laser battles with the
Imperial Fighters are another test which Luke passes successfully.
(basically here the hero is supposed to learn the terms of the special world(in Jack's case Elizabeth)..and in THIS case he learns the ins and outs of Elizabeth's mind..what she expects if him..how to make her his...I believe this is what all the Jack/Liz moments were all about..all the flirty stuff etc. He also made an alliance with Norrington..which was a mistake, he's an enemy in terms of the other little "fake quest" Jack is on..It's the part where Jack encounters all the shell people for the first time..I also think this is where he flees..JoD scared the crap out of him.."it betrayed him"..IMO it helps with the next step
7) THE HERO REACHES THE INNERMOST CAVE
The hero comes at last to a dangerous place, often deep underground,
where the object of his quest is hidden. In the Arthurian stories
the Chapel Perilous is the dangerous chamber where the seeker finds
the Grail. In many myths the hero has to descend into hell to
retrieve a loved one, or into a cave to fight a dragon and gain a
treasure. It's Theseus going into the Labyrinth to face the
Minotaur. In STAR WARS it's Luke and company being sucked into the
Death Star where they will rescue Princess Leia. Sometimes it's the
hero entering the headquarters of his nemesis; and sometimes it's
just the hero going into his or her own dream world to confront his
or hers worst fears... and overcome them.
(Jack is in a problem with his emotions..He's terrified to face up to the responsibility of the kraken and at the same time is terrified of making Elizabeth and obligation isn't he? lol)
Cont next page