I've always read where subplots should have a beginning, middle, and end. But the latest discussion in our little film group suggests that this isn't always so.
Using a film that many of us still think is an oldie but a goodie is Midnight Run as an example...
Two of the subplots that we came up with (feel free to suggest that these aren't really subplots or if there are better examples of subplots in this film) are DeNiro's scene with his ex-wife (with daughter) and Grodin trying to escape from DeNiro.
The wife/family theme subplot was just one scene and Grodin trying to escape was also just a few scenes. They weren't really developed to any extent.
So is the beginning-middle-end model for subplots not as set in concrete as its been stated all along?
Using a film that many of us still think is an oldie but a goodie is Midnight Run as an example...
Two of the subplots that we came up with (feel free to suggest that these aren't really subplots or if there are better examples of subplots in this film) are DeNiro's scene with his ex-wife (with daughter) and Grodin trying to escape from DeNiro.
The wife/family theme subplot was just one scene and Grodin trying to escape was also just a few scenes. They weren't really developed to any extent.
So is the beginning-middle-end model for subplots not as set in concrete as its been stated all along?
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