Lecture 4:

Subplot and Secondary

Characters

Tootsie (1982)
Don McGuire and Larry Gelbart
(story), Murray Schisgal and
Larry Gelbart (screenplay)

Professor Daniel Cutrara

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 its 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 Nights Dream
by William Shakespeare The various romantic
storylines.
6

Subplot Strategies - 3
According to McKee:
When the Central Plots
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.

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.

Subplot Example 2
Pause the lecture and watch the second
clip from Tootsie.
The irony is set up visually. Julies father is
falling in love with Tootsie. Michael is falling
in love with Julie.
The subplot with the father shows Michaels
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 protagonists
complex nature.
Robert
Lesson
4:
Part
II
McKee
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