I honestly think subplots make the story more interesting, and / or make the conflict more important. As long as you do them right, of course. Which is why they themselves are vital in specific forms of writing. Else the story would be too straight forward.
I agree. I've often heard that a subplot should inform the main plot and join it during the climactic sequence to raise the stakes. In their example of Jerry Maguire, I think both storylines reflect his emotional journey and the insights provided by the subplot make the climax/resolution of the main plot more satisfying and impactful.
I really think these interviews would be better if the interviewees were given the main questions slightly in advance. Then they wouldn’t be put on the spot as much and could give a more considered answer. Just a thought...
Good idea they are good but they all feel like pop quizzes for the guests and the audience could be missing out on crucial details all because the guest was having to wing it with their answers.
I have a tricky subplot in my thriller script because it diverts us from the nailbiting tension of the real-time survival of my protagonist, while being absolutely essential to his arc. I will only succeed if I maintain tension in the subplot or the rhythm will be destroyed. As Rocco once told Michael Corleone, "difficult, not impossible".
However, all subplots should ultimately connect with the A-story, and not just have their own goals independently. In the end, subplots serve to develop, enhance, or support the A-story....
Fortuitous watch today. I just watched a great analysis piece on Pan's Labyrinth with the story tread of the family within the world of Spanish fascism, its impact and THEN the story of Ophelia and her being the princess of the underworld with the narrative connection to the Faun. Two unique stories, intrinsically connected to each other. Both these stories are uncompromising of each other. One could say both stories are equal in the film, which is what makes the film, excluding turning the Fairy Tale structure on its head, unique and so successful.
The Santa Clause maybe has no subplot, as everything seems to be related to him being Santa. 1971 Willy Wonka and the Chocolate Factory. Mostly movies with no love interest Although with Die Hard I wouldn't personally say that the Holly story is seperate. It all seems to he one big plot. Die Hard 2 as well.
Every important character could may be have a subplot that could push or pull the protagonist towards or away from his object of desire in his inner or outer journey.
I had always thought sub-plot was just an excuse to make the main character more sympathetic to the audience's eyes (especially with romantic sub-plots). But yeah I guess it can be more complex than that.
Jerry Maguire was a great example but I think I agree with the interviewer. I think Dorothy does have her own subplot, I think every main supporting character, Bob Sugar stealing Cush away from Jerry to me is a subplot, or Rod Tidwell needing that satisfaction of acceptance by getting that big payday, and Bonnie Hunt, Dorothy's sister, I think she clearly is hoping for love to exist but she is bitter until the end when Jerry returns!
And how Crowe crafted them so naturally ... Rene following him as he quits his job. If you look at it from her POV, it's the story of a woman falling in love and what she does until she gets her man. But one might argue that these are simply branches of the main narrative, taking us on a little detour as a character other than the protagonist takes momentarily the wheel, not subplots. Maybe subplot is more of a separate story, designed to expand our understanding of the main action?
i dont really see how shes making any real distinctions between plot and subplot in any of the given examples. subplot is when another character has a change arc. I guess I have a different understanding. in die hard, the officer is a subplot, when he completes his arc, it pays off something set up in the main arc (he kills the last bad guy and ensures the day stays saved). STORY is list of events. PLOT is list of events that happen because of cause and effect and this is the part that loops back to the story engine of character growth or if flat arc means expansion of other characters and world growth. The SUBPLOT is any additional level of mechanisms to rationalize the plot.
I honestly think subplots make the story more interesting, and / or make the conflict more important. As long as you do them right, of course. Which is why they themselves are vital in specific forms of writing. Else the story would be too straight forward.
I agree. I've often heard that a subplot should inform the main plot and join it during the climactic sequence to raise the stakes. In their example of Jerry Maguire, I think both storylines reflect his emotional journey and the insights provided by the subplot make the climax/resolution of the main plot more satisfying and impactful.
I really think these interviews would be better if the interviewees were given the main questions slightly in advance. Then they wouldn’t be put on the spot as much and could give a more considered answer. Just a thought...
Good idea but you think a screenwriting consultant would have a few examples ready to demonstrate certain points, especially one as broad as subplots.
Agree. Most of this clip was trying to figure out the plot of the film.
Good idea they are good but they all feel like pop quizzes for the guests and the audience could be missing out on crucial details all because the guest was having to wing it with their answers.
I have a tricky subplot in my thriller script because it diverts us from the nailbiting tension of the real-time survival of my protagonist, while being absolutely essential to his arc. I will only succeed if I maintain tension in the subplot or the rhythm will be destroyed. As Rocco once told Michael Corleone, "difficult, not impossible".
However, all subplots should ultimately connect with the A-story, and not just have their own goals independently. In the end, subplots serve to develop, enhance, or support the A-story....
Fortuitous watch today. I just watched a great analysis piece on Pan's Labyrinth with the story tread of the family within the world of Spanish fascism, its impact and THEN the story of Ophelia and her being the princess of the underworld with the narrative connection to the Faun. Two unique stories, intrinsically connected to each other. Both these stories are uncompromising of each other. One could say both stories are equal in the film, which is what makes the film, excluding turning the Fairy Tale structure on its head, unique and so successful.
Would you ever write a movie that had zero subplots?
The Santa Clause maybe has no subplot, as everything seems to be related to him being Santa. 1971 Willy Wonka and the Chocolate Factory.
Mostly movies with no love interest
Although with Die Hard I wouldn't personally say that the Holly story is seperate. It all seems to he one big plot. Die Hard 2 as well.
I'm gonna write a movie with a thousand subplots.
About real estate sales?
@@Nic7320 should be enough characters to pull it off.
Uh oh
Every important character could may be have a subplot that could push or pull the protagonist towards or away from his object of desire in his inner or outer journey.
Hi, if the subplot takes the protagonist away from the object of desire, then doesn't it make this a conflict not a subplot?
Loved it!
VERY helpful.
I had always thought sub-plot was just an excuse to make the main character more sympathetic to the audience's eyes (especially with romantic sub-plots). But yeah I guess it can be more complex than that.
oh really...! enlighting... cheers from Rio
Jerry Maguire was a great example but I think I agree with the interviewer. I think Dorothy does have her own subplot, I think every main supporting character, Bob Sugar stealing Cush away from Jerry to me is a subplot, or Rod Tidwell needing that satisfaction of acceptance by getting that big payday, and Bonnie Hunt, Dorothy's sister, I think she clearly is hoping for love to exist but she is bitter until the end when Jerry returns!
Will definitely have to rewatch the movie. Have seen it several times but it's been a bit. Still one of the greats. Thanks for watching, Kevin.
And how Crowe crafted them so naturally ... Rene following him as he quits his job. If you look at it from her POV, it's the story of a woman falling in love and what she does until she gets her man. But one might argue that these are simply branches of the main narrative, taking us on a little detour as a character other than the protagonist takes momentarily the wheel, not subplots. Maybe subplot is more of a separate story, designed to expand our understanding of the main action?
Wizard of Oz : A story - Dorothy wants to get home B story - Dorothy goes to see the Wizard
Is that LLC bit at the end new? Or is it just me?
Nice video before bed time
Same.
@@blainemarcano same
i dont really see how shes making any real distinctions between plot and subplot in any of the given examples. subplot is when another character has a change arc. I guess I have a different understanding.
in die hard, the officer is a subplot, when he completes his arc, it pays off something set up in the main arc (he kills the last bad guy and ensures the day stays saved). STORY is list of events. PLOT is list of events that happen because of cause and effect and this is the part that loops back to the story engine of character growth or if flat arc means expansion of other characters and world growth. The SUBPLOT is any additional level of mechanisms to rationalize the plot.
Right?
is it really meaningless if a movie has zero subplots when story is strong and too much to show ? Pl suggest.