In fiction, a MacGuffin (sometimes McGuffin or maguffin) is a plot device in the form of some goal, desired object, or other motivator that the protagonist pursues, often with little or no narrative explanation. The specific nature of a MacGuffin is typically unimportant to the overall plot. The most common type of MacGuffin is an object, place, or person; other, more abstract types include money, victory, glory, survival, power, love, or some unexplained driving force.
The MacGuffin technique is common in films, especially thrillers. Usually the MacGuffin is the central focus of the film in the first act, and thereafter declines in importance. It may re-appear at the climax of the story, but sometimes is actually forgotten by the end of the story. Multiple MacGuffins are sometimes derisively identified as plot coupons.
History and use
Objects that serve as MacGuffins are familiar in narrative fiction: e.g., the one that provides both the title and the motive for the intrigue in Dashiell Hammett's novel The Maltese Falcon and the 1941 film of the same title based upon it, to cite but one well known example drawn from American popular culture. The name "MacGuffin" appears to originate in 20th-century filmmaking, and was popularized by Alfred Hitchcock in the 1930s, but the concept pre-dates the term. The World War I–era actress Pearl White used weenie to identify whatever object (a roll of film, a rare coin, expensive diamonds, etc.) impelled the heroes, and often the villains as well, to pursue each other through the convoluted plots of The Perils of Pauline and the other silent film serials in which she starred.
The director and producer Alfred Hitchcock popularized the term "MacGuffin" ("a plot device that motivates the characters and advances the story") and the technique, with his 1935 film The 39 Steps, an early example of the concept. Hitchcock explained the term "MacGuffin" in a 1939 lecture at Columbia University:
It might be a Scottish name, taken from a story about two men on a train. One man says, "What's that package up there in the baggage rack?" And the other answers, "Oh, that's a MacGuffin". The first one asks, "What's a MacGuffin?" "Well," the other man says, "it's an apparatus for trapping lions in the Scottish Highlands." The first man says, "But there are no lions in the Scottish Highlands," and the other one answers, "Well then, that's no MacGuffin!" So you see that a MacGuffin is actually nothing at all.
Interviewed in 1966 by François Truffaut, Hitchcock illustrated the term "MacGuffin" with the same story. He also related this anecdote in a television interview for Richard Schickel's documentary The Men Who Made the Movies, and in an interview with Dick Cavett. According to author Ken Mogg, screenwriter Angus MacPhail, a friend of Hitchcock, may have originally coined the term.
On the commentary soundtrack to the 2004 DVD release of Star Wars, writer and director George Lucas describes R2-D2 as "the main driving force of the movie … what you say in the movie business is the MacGuffin … the object of everybody's search". In TV interviews, Hitchcock defined a MacGuffin as the object around which the plot revolves, but as to what that object specifically is, he declared, "the audience don't care". Lucas, on the other hand, believes that the MacGuffin should be powerful and that "the audience should care about it almost as much as the duelling heroes and villains on-screen".
For filmmaker and drama writing theorist Yves Lavandier, in the strictly Hitchcockian sense, a MacGuffin is a secret that motivates the villains. North by Northwest 's supposed MacGuffin is nothing that motivates the protagonist; Roger Thornhill's objective is to extricate himself from the predicament that the mistaken identity has created, and what matters to Vandamm and the CIA is of little importance to Thornhill. A similar lack of motivating power applies to the alleged MacGuffins of The Lady Vanishes, The 39 Steps, and Foreign Correspondent. In a broader sense, says Lavandier, a MacGuffin denotes any justification for the external conflictual premises of a work.
Some dictionary definitions are even more vague and generalized. For example, Princeton's WordNet defines a MacGuffin as simply "a plot element that catches the viewers' attention or drives the plot of a work of fiction", which could refer to nearly anything at all in a story, given that audience-member attention is not reliably predictable.
Examples in film include: the meaning of "rosebud" in Citizen Kane (1941), the priceless statue in The Maltese Falcon (1941), the NOC list in Mission: Impossible (1996) or the Rabbit's Foot in Mission: Impossible III (2006), the briefcases in Pulp Fiction and several Coen brothers films, the rug in The Big Lebowski, the Heart of the Ocean necklace in Titanic, and the mineral unobtainium in Avatar (2009).
Examples in television include the Rambaldi device in Alias, the orb in The Adventures of Brisco County, Jr., and Krieger Waves in the Star Trek: The Next Generation episode "A Matter of Perspective". Carl Macek created protoculture as a MacGuffin to unite the storylines of the three separate anime that composed Robotech, while the Hellmouth in Buffy the Vampire Slayer has been described as a kind of topological MacGuffin - “a shortcut, in lieu of scientific explanation” as Joss Whedon put it.
In the popular online game The Kingdom of Loathing  the player's character must eventually complete a long and convoluted quest named player name and The Quest for the Holy MacGuffin. It involves going to several locations while following clues from your father's diary and collecting various items. Eventually it ends in a boss battle and the MacGuffin is returned to the council. The game never reveals what exactly it is or how it will aid in saving the kingdom.
In discussing the mixed critical reception of Indiana Jones and the Kingdom of the Crystal Skull, where the crystal skull in the film was seen as an unsatisfying MacGuffin, Steven Spielberg said, "I sympathize with people who didn't like the MacGuffin because I never liked the MacGuffin".
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Hitchcock's term the "MacGuffin" helped him to assert that his films were in fact not what they on the surface seemed to be about. As he explained to Truffaut in the previous note.
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Hitch said a MacGuffin was an object—a briefcase, a Maltese falcon—that drives the plot forward without you ever having to know what it is.
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