"Normally, we see characters that have God complexes. How interesting, I thought, it would be to capitalize on that. And say, OK, well fine, you have a God complex, well this person has a Satan complex. And the doctor chooses to treat him scientifically"
About this Quote
Hollywood loves a “God complex” because it flatters the character and the audience at once: genius with a halo, arrogance with a mission statement. Eriq La Salle’s twist is to flip that familiar narcissism into something darker and, crucially, more playable. A “Satan complex” isn’t just ego; it’s ego with a taste for transgression. It suggests someone who doesn’t merely believe they’re above morality, but actively wants to invert it - to make harm feel like proof of power. That’s a smarter engine for drama because it externalizes what God-complex stories often hide: the thrill of control.
The line “capitalize on that” is bluntly industry-savvy. La Salle isn’t pretending this comes from pure philosophy; it’s craft and audience expectation. He’s talking about using a recognizable trope, then bending it until it starts generating new questions: if someone insists they’re evil by design, are they confessing, performing, or bargaining for attention?
The most pointed subtext sits in the final clause: “the doctor chooses to treat him scientifically.” That’s the counterspell. Instead of matching myth with myth - priest versus demon, faith versus darkness - La Salle frames the real conflict as epistemology: do we interpret monstrous behavior as metaphysical evil or as a diagnosable, observable human phenomenon? The scientific stance also reads like a power play of its own, refusing the patient’s grand narrative. It’s a neat cultural mirror of our moment: we’re drawn to apocalyptic labels, but we keep circling back to systems, brains, evidence, treatment - anything that denies the seduction of the supernatural.
The line “capitalize on that” is bluntly industry-savvy. La Salle isn’t pretending this comes from pure philosophy; it’s craft and audience expectation. He’s talking about using a recognizable trope, then bending it until it starts generating new questions: if someone insists they’re evil by design, are they confessing, performing, or bargaining for attention?
The most pointed subtext sits in the final clause: “the doctor chooses to treat him scientifically.” That’s the counterspell. Instead of matching myth with myth - priest versus demon, faith versus darkness - La Salle frames the real conflict as epistemology: do we interpret monstrous behavior as metaphysical evil or as a diagnosable, observable human phenomenon? The scientific stance also reads like a power play of its own, refusing the patient’s grand narrative. It’s a neat cultural mirror of our moment: we’re drawn to apocalyptic labels, but we keep circling back to systems, brains, evidence, treatment - anything that denies the seduction of the supernatural.
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