“One Man’s Trash”: The Best Character Driven Short Film Hidden Within a Popular TV Series

Fans of Tiny Furniture, rejoice! Lena Dunham has announced she is directing a new film. I would love to go into the details and tell you that she’s the perfect director to bring Catherine, Called Birdy to the big screen. Alas, I’ve never read that book, so I have absolutely no idea if this is a good fit for her, but while we’re on the topic of Dunham, let’s talk about her most popular contribution to audiences, Girls. More specifically, let’s talk about one particular (and unnecessarily controversial) episode of Girls, “One Man’s Trash”.

From the people I’ve asked about it, Girls appears to be the kind of show you either love or hate. I would argue that due to it’s popularity, clearly more people love it than hate it, but those that I’ve talked to that dislike the show tend to feel the characters are self-centered and entitled. I actually agree with this, but what I’ve always found hypocritical is that people who dislike Girls’ characters for espousing these traits seem to speak endearingly about the characters in Seinfeld or It’s Always Sunny in Philadelphia for possessing the same qualities.

Remember when George's fiance dies and the cast is devastated?  Neither do I.

Remember when George’s fiance dies and the cast is devastated? Neither do I.

With my two cents out of the way, I’d like to try and focus on the particular episode of “One Man’s Trash” without getting into the controversy mentioned earlier, but rather analyze the show as a standalone piece of the series which structure acts as a guideline for creating a well-made, character driven short.

With that out of the way let me now disclose this post is full of SPOILERS!!!!! Those not familiar with the episode, take some time to watch it. /HBO On Demand/Girls/Season2/Episode5/Watch… Ok, back? Commencing post.

The wonderful thing about this episode is that it can really be viewed separate from the rest of the series. So for all of you that said, “screw it.” and continued reading because you figured you had to get caught up on the whole series before viewing “One Man’s Trash” worry not, you don’t. From the get go “One Man’s Trash” introduces its characters well enough that you’ll have a good idea what’s going on. Ray and Hanna begin, outside of the coffee shop they work at, by discussing whether Hanna has been the first to coin the word “Sexit” (as in you leave an event to go have sex). A quick Google search from Ray dashes Hanna’s hopes of adding to the American lexicon as Urban Dictionary describes it as having to make a quick exit after sex.

Much like Pulp Fiction, “One Man’s Trash” introduces our characters in a non-expositional way, letting us get familiar with the characters by hearing them converse and get a feel for their dispositions. The fact that Hanna and Ray are writing up the menu on a chalkboard in front of a coffee shop gives us enough information that we can infer they work there. Giving information about characters without using exposition is one of the hardest parts of the writing process in my opinion. It seems natural that we would inform the audience about the histories of our characters through dialogue, but unfortunately expositional dialogue is boring. Anyone who’s ever been on that particular type of bad date, where the person across from you relies on telling you every little thing about themselves rather than being engaging, can attest to this.

From there we are introduced to Joshua, played by the one and only Patrick Wilson, or as I like to call him, the Everyman’s Everyman Everymen wish to be. Joshua has noticed that trash from the coffee shop has been mysteriously been found in his designated receptacle. As the title suggests, its female cast primarily drives Girls, but Joshua acts as a participant in Hanna’s self-discovery in this particular episode as we will explore. His entrance is a nice transition. We know that his entrance, as mundane as it may seem, will lead to something more.

Just an Average Joe, doing Average Joe stuff!

Just an Average Joe, doing Average Joe stuff!

That something is the fact that Hanna is the one sneaking trash into Joshua’s trashcan. She could have easily let it go, sneaking off into a corner when Joshua confronts Ray and cease to continue trashbombing Joshua’s residence, letting the whole thing just blow over. Instead Hanna makes the extra effort to go directly to Joshua’s Brooklyn brownstone and fess up to the act. Such an aggressive move reveals that there must be some hidden motive to Hanna’s going the extra mile as Joshua is clearly so curious by Hanna’s arrival that he lets her right into his place.

When Hanna and Joshua begin to make out, before even asking each other’s names, we begin to see the episode entering the rising action. Anyone familiar with Freytag’s Pyramid knows this point of storytelling. It is the moment where we the audience know that the actions being presented before will lead to greater conflicts. Sure, it’s possible that Hanna and Joshua could just bang it out, leaving Hanna with the perfect opportunity to “Sexit”, but it’s probably more likely that this action will have its consequences or reveal more about our characters motivations. This is yet another need within a character driven model. The conflicts that arise must often be a choosing of the characters and not something directly derived from the plot.

As Hanna and Joshua continue their two-day tryst with one another, much is revealed about the two of them. We find that the two could not be more different. Beyond age discrepancies, Joshua is a doctor as where Hanna is now recently unemployed. Joshua is recently separated from his wife, Hanna has a hard time keeping a boyfriend. Yet despite their differences, the two seem to need each other, at least for this moment, as the prospect of Hanna leaving compels Joshua to get on his knees and beg her to stay.

This all comes to a head when Hanna begins to truly open up to Joshua about her problems. Despite Joshua lending her his ear, it’s clear he just can’t relate and it becomes apparent that this short romance is beginning to lose its luster. Going back to Freytag’s Pyramid, this is the climax, or the point of no return. What’s said has been said and through Joshua’s reaction we can see that the two of them probably won’t be able to keep the magic going for much longer. With this reveal the mystery is gone. It’s clear to Joshua that Hanna is not just some alluring, carefree nymph, but a person with very real problems, some he may end up having to deal with.

As Hanna wakes up the next morning, Joshua is gone, back to the responsibilities his life demands of him. The fantasy is over and it’s back to reality. As Hanna takes out the trash one last time, her stride has a confident bounce to it, one that suggests that during these last two days she’s taken something very important away. What that is we don’t really know, but we do know that Joshua and Hanna needed something from one another, even if only briefly, and that has changed them for the better.

"Character Arcs", the type that won't give you coronary disease.

“Character Arcs”, the type that won’t give you coronary disease.

This is a particularly good example of how a good, character driven story should come to an end. When dealing with these types of stories, it’s important to show that the conclusion comes from a change or revelation within the character and not by simply solving some event presented through the plot. For example a film like The Wrestler is probably the best example of this. His relationship with his daughter, his wooing of Cassidy are all driven by his journey to come to terms his past as “The Ram”. In these select plot points, he could either succeed or fail just as long as we the audience witness the end result of his soul searching, expressed when he decides to give the crowd what they want and perform his signature move despite the harm it will most likely cause him.

For those of you interested in creating more character driven stories, I believe “One Man’s Trash” as well as Dunham’s Tiny Furniture serve as good examples to those looking to understand the type of structure these films require. Say what you will about Lena Dunham and Girls, even if you don’t like her characters or writing in general, there’s no arguing that the cast primarily drives her stories. Unlike shows like Entourage, which repeatedly place the same set of characters in various situations, Dunham’s stories are a result of characters trying to find their way through life and the situations that arise from that journey.

Comics and Film

So in the never-ending battle to clear up space on my DVR, I began watching The Director’s Chair on the El Rey network. For those of you not familiar, The Director’s Chair is a sort of interview/master class program where Robert Rodriguez sits down with an established director and the two talk shop (sort of what I plan to do with this blog).

In one episode, Rodriguez was talking to Guillermo Del Toro about actor choices and how they both have that go-to actor that has come to represent their work.   Rodriguez mentioned how he keeps using Danny Trejo just like Del Toro uses Ron Perlman. He likened it to Scorsese’s early work with Robert Deniro. The two directors agreed the reason they keep going back to Trejo and Perlman is because the two actors have such a unique look and that it’s impossible to interchange them with any other actor. I couldn’t help but agree. Their are no Danny Trejo types you can use if you can’t get that trademarked grizzled look that Trejo is so known for. The same goes for Perlman. I mean seriously, can you imagine anyone else playing a live action, sewer dwelling version of The Beast?

Glamour Shots were so popular in the 80's.

Glamour Shots were so popular in the 80’s.

This got me started on my own little theory (really just a hypothesis).

Both Rodriguez and Del Toro have both said in the past that they’re highly influenced by comic books. Both draw and Del Toro has even published his own series. As the two of them discussed the type of presence Trejo and Perlman brought to the screen due to their unique looks, I couldn’t help but wonder if comics played a large role in their casting choices.

I have always respected the amount of detail that comic book artists put into their characters, specifically facial features. They say all you need to play Batman is a good chin, but this is only the case because comic book artists over the years have correlated square jaws with strength. One could also look at the casting of Schwarzenegger in Conan and how it relates to the artistry of Frank Frazetta as an example. Arnold was probably the only one Hollywood could think of that could capture the look Frazetta had attributed to Ron E Howard’s literary series. Frazetta’s scant usage of clothing combined with rippling, inhuman muscles and dark features gave Conan an almost primal look.

Before Electric Muscle Stimulators were invented, all you needed was a bolt of lightning and an epic hawk

Before Electric Muscle Stimulators were invented, all you needed was a bolt of lightning and an epic hawk

As the two directors went into detail about Trejo and Perlman, I realized how the attention to detail found in comics could truly enrich a film production. Del Toro noted that the studio didn’t want to make Hellboy unless he cast a bigger name than Ron Perlman. Del Toro refused to cast anyone else, demanding that only Perlman had the look to pull off the role and it’s a good thing he did. Really, is there any another actor alive that could play that character?

I’ve always kind of looked at comics as a good starting point for anyone interested in making film. By analyzing comics, you can get a good feel for things such as camera angles and what to capture within a frame. Attention to details, specifically when talking about facial features seem to me to be yet another example of how comics can further enrich a film.