Start With the Villain
I’m a huge fan of Villain Speeches. There’s nothing better in a movie or a book than the moment when the stage is cleared and Satan gets to say his piece.
The villain in Gunga Din, played by the great Italian actor Eduardo Ciannelli, is called simply “the Guru.” He’s like Gandhi, if Gandhi had traded non-violence for mega-violence. This speech is kicked off by Cary Grant, as British sergeant Archibald Cutter, confronting the Guru in outrage over his extremely clever plan to lure Cutter’s regiment into a trap and massacre it to the last man.
Mad? Mad. Hannibal was mad, Caesar was mad, and Napoleon surely was the maddest of the lot. Ever since time began they have called mad all the great soldiers of this world. Great generals are not made of jeweled swords and mustache wax. They are made of what is here [points to his heart] and here [his head.] Mad? We shall see what wisdom lies within my madness.
A great villain speech possesses three attributes.
First, it displays no repentance. The devil makes his case with full slash and swagger. His cause is just and he knows it.
Second, eloquence. A great villain speech possesses wit and style. Mick Jagger and Keith Richards knew this when they wrote, “Please allow me to introduce myself, I’m a man of wealth and taste.”
Third, impeccable logic. A villain speech must be convincing and compelling. Its foundation in rationality must be unimpeachable. When we hear a great villain speech, we should think, despite ourselves, “I gotta say: the dude makes sense.”
Here’s the speech that won Michael Douglas an Oscar:
I am not a destroyer of companies. I am a liberator of them! The point is, ladies and gentleman, that greed, for lack of a better word, is good. Greed is right, greed works. Greed clarifies, cuts through, and captures the essence of the evolutionary spirit. Greed, in all of its forms; greed for life, for money, for love, knowledge has marked the upward surge of mankind. And greed, you mark my words, will not only save Teldar Paper, but that other malfunctioning corporation called the U.S.A.
My favorite villain speech from a recent film is this one from Margin Call. Jeremy Irons plays John Tuld, the CEO of a giant Wall Street firm that has spent the previous eight hours ensuring its own survival by deliberately unloading massive quantities of worthless mortgage-backed securities on every customer it can find, thus producing a worldwide stock market crash. Now, at day’s end, Jeremy Irons sits at a linen tablecloth in the executive dining room, savoring a tasty filet. Eighty floors below, the devastated metropolis recedes into twilight.
Kevin Spacey plays sales chief Sam Rogers, the only character in the movie who possesses a glimmer of conscience. He enters and tells Jeremy he’s had enough, he wants out. Jeremy won’t let him go. “When did you start feeling so sorry for yourself, Sam? It’s unbearable.”
So you think we might have put a few people out of business today? That it’s all for naught? You’ve been doing that everyday for almost forty years, Sam. And if this is all for naught, then so is everything out there. It’s just money; it’s made up. Pieces of paper with pictures on them, so we don’t have to kill each other just to get something to eat. It’s not wrong. And it’s certainly no different today than it’s ever been. 1637, 1797, 1819, ’37, ’57, ’84, 1901, ’07, ’29, 1937, 1974, 1987—Jesus, didn’t that one fuck me up good—’92, ’97, 2000, and whatever we want to call this. It’s all just the same thing over and over; we can’t help ourselves. And you and I can’t control it, or stop it, or even slow it. Or even ever-so-slightly alter it. We just react. And we make a lot money if we get it right. And we get left by the side of the road if we get it wrong. And there have always been and there always will be the same percentage of winners and losers, happy foxes and sad sacks, fat cats and starving dogs in this world. Yeah, there may be more of us today than there’s ever been. But the percentages, they stay exactly the same.
[Hats off to the writers of these gems: J.C. Chandor for Margin Call, Joel Sayre and Fred Guiol for Gunga Din, Stanley Weiser and Oliver Stone for Wall Street.]
On any project, I ask myself, “Who’s the villain?” “What does he want?” “Have I given him at least one juicy scene where he really gets to say his piece?”
As writers, if we know who our Bad Guy is and what he wants, we’ve got the whole piece licked. The villain represents and articulates the counter-theme. If we know what he wants, we know what our hero wants: the opposite. If we know the issue or value that our Good Guy and Bad Guy are clashing over, we know our theme. And when we know our theme, we know everything.
I wrote in Do The Work that an excellent way for a writer to proceed is to start at the finish and work backward. That’s really just another way of saying start with the villain and work backward from there.
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