A story can also pivot from a conscious object of desire to an unconscious one. In Chinatown, Jake Gittes is trying to restore his reputation after being duped, and hopes to do this by solving the mystery of Hollis Mulwray's murder. Once he learns the relationship between Evelyn Mulwray, her daughter, and Noah Cross, his unconscious desire for redemption, based on trying to do the right thing to protect someone early in his career which failed and got them hurt instead, becomes the central thing that drives act three, where he risks everything to protect Evelyn and her daughter. It's a big pivot, but the audience is fully on board, because Robert Towne wrote it so well.
I love that idea--a protagonist whose desires change through the story. You'd just have to tell the story and make it realistic.
How great tool is asking the right questions!
A story can also pivot from a conscious object of desire to an unconscious one. In Chinatown, Jake Gittes is trying to restore his reputation after being duped, and hopes to do this by solving the mystery of Hollis Mulwray's murder.
Once he learns the relationship between Evelyn Mulwray, her daughter, and Noah Cross, his unconscious desire for redemption, based on trying to do the right thing to protect someone early in his career which failed and got them hurt instead, becomes the central thing that drives act three, where he risks everything to protect Evelyn and her daughter.
It's a big pivot, but the audience is fully on board, because Robert Towne wrote it so well.
I love 'Something Wild'. Jim Carrey's character in 'Dumb & Dumber' references it.