[…] Let me be clear, when I say theological, I mean it – in this context …read more […]

I so agree and wish I'd been smart enough to recognize its value sooner. In my superhero/mythological scripts it's more pointed (eg, my MOLLY WANG AND THE LOST KINGDOM). However, your discussion of CHILDREN OF MEN made me realize that it's just good craft when creating a heroic protagonist from an otherwise average human being--the whole Joseph Campbell thing. All my hero/protagonists transform through a crucible. This is the one recommendation I have heard from many mentors. It's been drummed into me (for the better) and, with varying success, is something I've always strived to incorporate in my protagonist. Now I understand better why it's so important and why it engages. Thank you for your insightful perspective!

Having your protagonist be a "chosen one" is shooting for the moon. The story had better make it credible, giving good reason why he or she is chosen because today's cynical audience might see it as lazy writing. In a different sense, Michael Corleone is the "chosen one", with him as the Devil. By the way, Scott, my pastor is a Yale Divinity alum. His name is Jason Cocker at Wilton Baptist Church. He's a great film buff too.

Excellent example for Chosen, using Children of Men, because Theo doesn't want to go on the journey. God chose the Israelite people, partly, because He wanted the world to see how He could take a small group, an unlikely group, and perform miraculous things - namely, bring the Messiah to earth through the lineage of Israel. Likewise, Theo appears to be less than an ideal candidate to save the the world, which makes his feats that much more incredible. And the same goes for Kee.