Lecture 4:
Subplot and Secondary
Characters
Tootsie (1982)
Don McGuire and Larry Gelbart
(story), Murray Schisgal and
Larry Gelbart (screenplay)
Professor Daniel Cutrara
1
Previous Lesson
•
Genre and Structure
•
Conventions as
Creative Limitations
•
Reinventing Genre
•
Mixing Genre
This Lesson
•
Subplots
•
Secondary
Characters
•
Assignments
Subplots
“A subplot receives less emphasis
and screen time than a Central
Plot, but often it’s the invention of
a subplot that lifts a troubled
screenplay to a film worth
making.”
McKee
Lesson 4: Part I
-Robert
4
Subplot Strategies
• According to McKee: A
subplot may be used to
contradict the Controlling
Idea of the Central Plot
and thus enrich the film
with irony.
– Dark Night - The love story
between Bruce Wayne and
Rachel Dawes.
5
Subplot Strategies - 2
• According to McKee:
Subplots may be used to
resonate the Controlling
Idea of the Central Plot
and enrich the film with
variations on the theme.
– A Midsummer Night’s
Dream by William
Shakespeare - The various
romantic storylines.
6
Subplot Strategies - 3
• According to McKee:
When the Central Plot’s
Inciting Incident must
be delayed, a setup
subplot may be needed
to open the storytelling.
– Casablanca – The
young couple needing
transit papers.
7
Subplot Strategies - 4
• According to McKee:
A Subplot may be
used to complicate
the Central Plot.
– The love story
typically found in
crime stories.
8
Subplot Example 1
• Pause the lecture and watch the first clip
from Tootsie.
– Michael Dorsey changes his friendship with
Sandy to cover up the central plot.
– His abusive relationship to her reflects the
abusive relationships he finds men have with
the women on the show.
9
Subplot Example 2
• Pause the lecture and watch the second
clip from Tootsie.
– The irony is set up visually. Julie’s father is
falling in love with Tootsie. Michael is falling
in love with Julie.
– The subplot with the father shows Michael’s
growth.
10
Secondary Characters
“In essence, the protagonist creates the
rest of the cast. All other characters are
in a story first and foremost because of
the relationship they strike to the
protagonist and the way each helps to
delineate the dimensions of the
protagonist’s complex nature.”
- Robert
McKee
Lesson 4: Part II
11
Supporting Roles
• According to McKee: The supporting
characters should draw out different
dimensions of the protagonist.
• Supporting characters should have some
complexity.
• Their dimensionality is brought out through
their interaction with the protagonist and
one another.
12
Supporting Roles - 2
• Drawing out the different dimensions of
the protagonist.
• For example:
– Character A provokes sadness and cynicism
– Character B brings out a witty and hopeful
side
– Character C inspires the loving and
courageous side
– Character D forces fear that ignites fury
13
Supporting Roles - 3
• Supporting characters can have
complexity.
• For example:
– Character A: appears to be an honest friend
and ally but a plot twist could reveal he is a
traitor.
– Character B: the essential composition of the
character can create complexity.
– Terminator - A machine in human form.
14
Supporting Roles - 4
• Setting and characterization can create
complexity.
• For example:
– Character C: an ordinary person in an exotic
location.
– Character D: an exotic person in an ordinary
setting.
15
Bit Parts/Functional Characters
• Functional characters like waiters, taxi
drivers, etc. should remain flat.
• However, give them something fresh to
make it a role worth acting.
• Be careful not to make the role too
interesting or else the audience will expect
the character to have greater importance.
16
Assignments
Tootsie (1982)
Don McGuire and Larry Gelbart (story),
Murray Schisgal and Larry Gelbart (screenplay)
Lesson 4: Part III
17
E-Board Post #1
• Select Script
for Analysis
18
End of Lecture 4
Tootsie (1982)
Don McGuire and Larry Gelbart (story), Murray
Schisgal and Larry Gelbart (screenplay)
Next Lecture: Rhythm and Tempo