1

Lecture 4:Lecture 4:Subplot and Secondary Subplot and Secondary

CharactersCharacters

Professor Daniel Cutrara

Tootsie (1982)Don McGuire and Larry Gelbart

(story), Murray Schisgal and Larry Gelbart (screenplay)

Previous LessonPrevious Lesson

• Genre and Structure

• Conventions as Creative Limitations

• Reinventing Genre

• Mixing Genre

This LessonThis Lesson

• Subplots

• Secondary Characters

• Assignments

4

SubplotsSubplots

Lesson 4: Part I

““A subplot receives less A subplot receives less emphasis and screen time emphasis and screen time

than a Central Plot, but than a Central Plot, but often it’s the invention of often it’s the invention of

a subplot that lifts a a subplot that lifts a troubled screenplay to a troubled screenplay to a

film worth making.”film worth making.”

-Robert -Robert McKeeMcKee

Subplot Strategies 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 - 2Subplot 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 - 3Subplot 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 - 4Subplot 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 1Subplot 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 2Subplot 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

11

Secondary CharactersSecondary Characters

Lesson 4: Part II

““In essence, the protagonist In essence, the protagonist creates the rest of the cast. All creates the rest of the cast. All other characters are in a story other characters are in a story first and foremost because of first and foremost because of the relationship they strike to the relationship they strike to the protagonist and the way the protagonist and the way each helps to delineate the each helps to delineate the

dimensions of the protagonist’s dimensions of the protagonist’s complex nature.”complex nature.”

- Robert - Robert McKeeMcKee

Supporting Roles 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 - 2Supporting 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 - 3Supporting 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 - 4Supporting 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 CharactersBit 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

17

AssignmentsAssignments

Lesson 4: Part III

Tootsie (1982)Don McGuire and Larry Gelbart (story),

Murray Schisgal and Larry Gelbart (screenplay)

18

E-Board Post #1E-Board Post #1

• Select Script for Analysis

End of Lecture 4End of Lecture 4

Next Lecture: Rhythm and Tempo

Tootsie (1982)

Don McGuire and Larry Gelbart (story), Murray Schisgal and Larry Gelbart (screenplay)