Draft Zero: a screenwriting podcast: Recent Episodes

Chas Fisher and Stuart Willis

Two emerging screenwriters – Chas Fisher and Stuart Willis – try to work out what makes great screenplays work. Discovering what it takes by analysing what successful writers put on the page.

How can you apply horror ideas to action and comedy?

In this episode Chas, Stu and guest Kim Ho continue their exploration into the power(s) of antagonism and how focusing on them can develop story.

While Part 1 looked at the horror film SINNERS, in Part 2 we venture into genres beyond horror with the action-thriller REBEL RIDGE, and the comedy classic MEET THE PARENTS.

To both these films we apply the generative story framework TOMBS (Transgression - Omens - Manifestation - Banishment - Slumber) and are surprised at just how well it maps. TOMBS comes from the MOTHERSHIP sci-fi horror table-top role-playing game. Which we love.

We explore how TOMBS, and thinking about antagonism in general, allows writers to deepen their understanding of their characters, their relationship of the heroes with the antagonists, and generate story fuel in a way that escalates the story.

We discuss how thinking of your hero as the horror for your villains helps everything become more dynamic.

Oh, and we talk about launching an actual play podcast. Which is happening. Stay tuned!

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:12 - Escalating Antagonism Part 2
00:03:29 - Rebel Ridge
00:45:30 - Meet the Parents
01:30:29 - Key Learnings & Wrap Up
01:41:38 - Thanks to our Patreons

RELATED EPISODES

DZ-121: Escalating Antagonism
DZ-49: Antagonists! (Part 1) - vs Humans

LINKS

Kim Ho on IMBD
Mothership
The Philosophy of Final Destination by the Morbid Zoo
The Philosophy of Horror by Noel Carroll
GinnyDI: “This Game used 5 steps to scare the crap out of me” - https://youtube.com/watch?v=AUXc8hjaBQw

More Draft Zero is brought to you more often by our awesome Patreons. Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

SUBSCRIBE TO SHOT ZERO via Substack

How do the antagonistic forces in your story escalate distinctly from the protagonists’ journey?

We often struggle to develop the middle stages of a story. Could this be because we focus on our protagonists’ journeys and plot structure more than on how the antagonistic powers are awakened, wronged, discovered, gathering strength and revealing themselves?

In this episode, Chas and Stu are joined by professional screenwriter and playwright Kim Ho to explore how a generative story cycle (from tabletop role-playing game MOTHERSHIP) can be used to develop stories, not just write them better. This cycle is TOMBS: Transgression - Omens - Manifestation - Banishment - Slumber. Kim also contrasts this cycle with the Onset, Discovery, Confirmation, Confrontation cycle identified by horror philosopher Noel Carroll, as well as the philosophy of the FINAL DESTINATION franchise as analysed by The Morbid Zoo.

By applying the TOMBS cycle to Ryan Coogler’s amazing 2025 original feature SINNERS, we discover how focusing on the rising power of the various sources of antagonism can generate narrative fuel (and make your second Act sing); force your protagonists to Survive, Solve or Save (pick one); and how this escalation in antagonism can be mapped quite separately from your protagonists’ character arcs.

To prove that TOMBS does not just work for horror stories, we polled our patreons for which other genres to explore. Stay turned for our next episode where we apply the TOMBS cycle to thriller REBEL RIDGE and comedy classic MEET THE PARENTS.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:18 – What is TOMBS?
00:31:04 – SINNERS
01:17:51 – Key learnings & wrap up
01:23:51 – Patreon thanks

RELATED EPISODES

DZ-49: Antagonists! (Part 1) - vs Humans

LINKS

Kim Ho on IMBD
Mothership
The Philosophy of Final Destination by the Morbid Zoo
The Philosophy of Horror by Noel Carroll

More Draft Zero is brought to you more often by our awesome Patreons. Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

SUBSCRIBE TO SHOT ZERO via Substack

Or, how focusing on good drama will result in good subtext.

We often hear how subtext is important for good screenwriting. We’re here to tell you it isn’t. Good subtext is a result of good drama, and your focus should be on creating that good drama. But how?

In this episode, Chas Fisher and Stu Willis are joined by screenwriter+teacher, Tom Vaughn (Winchester) to delve into the world of subtext.

We kick off the discussion by talking through Tom’s article “Why Subtext is Overrated” and break down his core idea that subtext is a byproduct of character goals, tactics and fears.

We explore this further through close examination of “the other way” scene from MICHAEL CLAYTON, “the strudel” scene INGLORIOUS BASTARDS (both known for their subtext) and the “new years” sequence from THE SUBSTANCE.

Inevitably discussion also terms to the relationship of subtext to emotional truth, theme, symbolism, dramatic irony and filmmakers subtext (?!).

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:20 - Intro: What is Subtext?
00:00:21 - Cold Open
00:18:59 - Michael Clayton
00:42:59 - Inglorious Basterds
01:13:48 - The Substance
01:46:13 - Wrap up & Key Learnings

RELATED EPISODES

DZ-40: Tactics and Scenes
DZ-108: The Emotional Event with Judith Weston
DZ-119: Final character choices & great endings

LINKS

The New Literalism Plaguing Today’s Biggest Movies: https://www.newyorker.com/culture/critics-notebook/the-new-literalism-plaguing-todays-biggest-movies
Emotional Truth Over Subtext: Unlocking Compelling Scenes in Your Screenwriting: https://blog.storyandplot.com/why-subtext-is-overrated-8502a501aff8
Story and Plot - https://storyandplot.com/
Raising the Stakes - “What is subtext?”: https://www.youtube.com/watch?v=F-jILeLdfEw

More Draft Zero is brought to you more often by our awesome Patreons. Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

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How does your protagonist’s final choice resolve the plot, character arc and theme?

In this episode, Stu and Chas focus solely on the final choices made by protagonists and how that reflects their character journey and successfully, or not, dramatises the internal. We compare and contrast different uses of narrative POV in respect to these final choices, in particular whether and when the audience is made aware of the options available to the character, the act of making the choice, and the consequences of the choice. We breakdown examples from DUNGEONS & DRAGONS: HONOR AMONG THIEVES, FINDING NEMO, MICHAEL CLAYTON, PROMISING YOUNG WOMAN and TALK TO ME.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:00 - Opening
00:00:18 - Why Final Choices?
00:10:45 - DUNGEONS & DRAGONS: HONOR AMONG THIEVES
00:19:09 - FINDING NEMO
00:28:45 - MICHAEL CLAYTON
00:53:11 - PROMISING YOUNG WOMAN
01:16:38 - TALK TO ME
01:41:45 - Key Learnings
01:50:13 - Thanks awesome patreons!

RELATED EPISODES

DZ-04: Catharsis and the Poist-coital Cigarette
DZ-84: Choices & Decisions
DZ-87: Keeping Genre Fresh
DZ-33: Protagonist vs Hero
DZ-58: Game of Thrones - Character Exposition
DZ-34: Game of Choices

LINKS

MICHAEL CLAYTON by Tony Gilroy
PROMISING YOUNG WOMAN by Emerald Fennell
TALK TO ME by Danny Philippou & Bills Hinzman based on a concept by Daley Pearson
Michael Arndt: What makes an insanely good ending
Every Frame a Painting: Snowpiercer - Look Left or Right

RELATED EPISODES

DZ-04: Catharsis and the Poist-coital Cigarette
DZ-84: Choices & Decisions
DZ-87: Keeping Genre Fresh
DZ-33: Protagonist vs Hero
DZ-58: Game of Thrones - Character Exposition
DZ-34: Game of Choices

More Draft Zero is brought to you more often by our awesome Patreons. Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How do dramatic questions create tension?

In this episode, Stu and Chas delve into the cultural phenomenon of ADOLESCENCE. We try to find the craft tools that have made the show so compelling and such a catalyst for conversation.

In particular, we breakdown how the show’s emphasis on questions creates tension: not just tension through plot, but tension through character, and ultimately tension through theme.

We analsyse the show episode-by-episode, and discuss how the overall structure skilfully shifts from a plot-heavy police procedural towards a thematic-heavy melodrama and the impact that has on our experience.

We discuss how the decision to shoot the show in a series of “oners” affects the writing and what tools we can take from that to apply to our own writing (even if we’re not writing it to be a one-shot): POV characters, handovers, French scenes, emotional events, and more.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:00 - Cold Open
00:00:10 - Why Adolescence?
00:09:32 - Episode One
00:32:03 - Episode Two
00:46:59 - Episode Three
00:57:47 - Episode Four
01:19:19 - Melodrama
01:23:32 - Scene-level tools
01:52:57 - Key Learnings & Wrap Up
01:58:33 - Thanks to our Patreons

RELATED EPISODES

DZ-67: Writing “Passive” Protagonists & Melodrama
DZ-108: The Emotional Event with Judith Weston
DZ-101: Oners - Creating Immediacy & Anchoring Action on the Page
DZ-70: Joker & Melodrama

LINKS

Watch: Crafting Adolescence's Tense One-Take Episodes with Stephen Graham | BAFTA
Watch: The Making Of Adolescence - The One-Shot Explained | Netflix

More Draft Zero is brought to you more often by our awesome Patreons. Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

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How can we teach our audience new storytelling rules in the middle of our story?

Following on from our episodes on establishing tone through action lines and through character, this is what we have been building up to: how to pull off a tonal switch… that does not throw the audience out of the film. And, in particular, how to pull that off on the page when writers don’t have framing, lighting, music, editing, etc. at our disposal?

With that goal in mind, Mel and Chas dissect specific moments on the pages of SHAUN OF THE DEAD, SORRY TO BOTHER YOU and SWISS ARMY MAN. While there are definite craft tools identified - rhythm of action lines, varying use of unfilmmables and metaphors, establishing language patterns - the two big takeaways are: (1) pulling off a tonal shift takes a lot of setup; and (2) when the time comes, contrast on the page is key.

Thanks to Chris Walker for editing this episode.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:00 – Cold Open
00:00:25 - What do we mean by tonal shift?
00:08:35 - Distinguishing between genre shift and tonal shift
00:13:08 - Shaun of the Dead
00:45:41 - Sorry to Bother You
01:28:07 - Swiss Army Man
02:02:10 – Key learnings and wrap up
02:06:35 – Patreon thanks

RELATED EPISODES:

DZ-105: Establishing tone through big print
DZ-107: Establishing tone through character

LINKS:

Every frame a painting – Edgar Wright – How to do visual comedy
SHAUN OF THE DEAD - Edgar Wright & Simon Pegg
SORRY TO BOTHER YOU - Boots Riley
SWISS ARMY MAN - Daniels

More Draft Zero is brought to you more often by our awesome Patreons. Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How do you make extended technical scenes funny on the page?

Mel joins Chas to tackle physical comedy. We limited our homework selection to extended scenes (as opposed to moments and sight gags) in live action projects and - with the help of our Patreons - selected early sequences from BRINGING UP BABY, the pilot for HAPPY ENDINGS and that wonderful food poisoning scene in BRIDESMAIDS.

We discover how these incredible writers take their time (on the page) to set up geography, framing and running gags. We also get tips on judicious use ALL CAPS, ellipses and M-dashes to recreate visual gags… and when to just let a paragraph go long and draw attention to itself.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:00 – Cold Open
00:00:19 – What physical comedy scenes are we looking at?
00:10:27 - BRINGING UP BABY
00:31:44 - Thank you Arc Studio Pro!
00:34:34 - HAPPY ENDINGS pilot
00:58:15 - BRIDESMAIDS
01:27:31 - Key learnings and wrap up
01:33:56 - Patreon thanks

RELATED EPISODES:

DZ-16: Masters of Time and Whitespace
Shot Zero - Why is Ryan Gosling so funny?
Shot Zero - How is oner from GAME NIGHT so seamless?

LINKS:

Every frame a painting - Edgar Wright - How to do visual comedy
GAME NIGHT by Mark Perez
BRINGING UP BABY by Hagar Wilde and Dudley Nichols
HAPPY ENDINGS Pilot by David Caspe
BRIDESMAIDS by Annie Mumulo and Kristen Wiig

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons? Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

What magic do Christmas movies use to make them so rewatchable?

In this “backmatter” episode of Draft Zero, Stu, Chas, and Mel Killingsworth embark on a festive exploration of what makes holiday films so engaging and so re-watchable that they can become part of our rituals. To that end, we breakdown the charm of of Christmas films like KISS KISS BANG BANG, RIDERS OF JUSTICE, and IT’S A WONDERFUL LIFE.

We discuss what defines a holiday movie, the power of nostalgia, the importance of ensembles to a sense of family, and how voiceover, snappy dialogue and intricate plots can make something rewatchable. For each of us, we see these films as gateways to introspection and shared experiences during the holidays.

And we are briefly joined by filmmaker (and friend of the podcast) Damien Cassar who talks us through the meaning of nostalgia and it’s relationship with the “pain of homecoming”, and how Christmas/Holiday films provide comfort and a sense of belonging amid ever-changing societal dynamics.

Merry Christmas!

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

Thanks to Chris Walker for his excellent editing this episode.

CHAPTERS

00:00:00 – Cold Open
00:01:00 – What do we mean by Holiday Movies?
00:18:52 – Kiss Kiss Bang Bang
00:41:16 – Riders of Justice
01:03:45 – Sponsorship: Arc Studio Pro
01:06:30 – It’s A Wonderful Life
01:48:37 – Key Learnings & Wrap Up
01:51:03 – On Nostalgia
01:54:28 – Many thanks to our Patreons

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons? Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How does ending your story on the climax affect audience experience?

While Stu is on show, Mel and Chas sit down to analyse the meaning behind the ending of 2024’s CHALLENGERS, especially when - upon reading the script - the most impactful moment of the ending on screen (for Chas in particular) is not written on the page.

Following on from episodes on filmmakers talking directly to the audience as well as previous exploration into choices and decisions (and hopefully serving as a prelude to our episode on Hero’s Choice), Mel and Chas explore the choices the characters make in that final moment, what happens when filmmakers obscure character motivation, and ultimately how that final moment in CHALLENGERS impacts theme.

This conversation ends up being a deep exploration of what is the experience on the audience (and its impact on the perceived theme) when a story cuts out at the climax without further resolution.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:00 - Cold Open
00:00:24 - The ending of CHALLENGERS
00:14:51 - Can one action line change the entire meaning of a film?
00:39:41 - Arc Studio Pro
00:42:29 - The effect of giving characters decisions
00:52:10 - Meta subtext
00:53:53 - Choices, feelings and theme
01:06:03 - Ending on the climax
01:09:27 - Key Learnings
01:15:59 - Patreon thanks

RELATED EPISODES

DZ-113: Tools for filmmakers to talk to the audience
DZ-84: Choices & Decisions
DZ-111: Unreliable Narrators and Fight Club

LINKS

CHALLENGERS screenplay
How that crazy final tennis ball POV tumbling scene in CHALLENGERS was made
Challengers ending explained: Screenwriter Justin Kuritzkes on that epic final scene

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons? Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

What tools help ensure that you as the filmmaker are not misunderstood?

In our final (ha!) episode looking at Talking Directly to the Audience, we turn away from character-and-text based craft tools to look at other ways that filmmakers - whether they be directors, writers, editors, or anyone else - can make the audience feel their 'hand' more.

To that end, Mel, Stu and Chas dive into ADAPTATION, STORIES WE TELL and THE FORTY-YEAR-OLD VERSION.

We discuss structure (in particular how to structure more “meta” stories), the influence of TikTok and YouTube in portraying character authenticity, how to set up scenes where your characters can actually debate what your story is really about., and get into the gritty of how “in the story world” the communication from the filmmakers is.

Ultimately, in exploring these three power films through this lens, we discover that these tools give filmmakers more control in conveying their theme. Quelle surprise.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

Thanks to Chris Walker for his excellent editing this episode.

CHAPTERS

00:00:00 - Cold Open
00:00:28 - The Meta of Meta
00:11:01 - Adaptation
00:36:43 - Sponsor: Arc Studio Pro
00:39:40 - Adaption (Part 2)
00:42:23 - Stories We Tell
01:12:13 - The Forty Year Old Version
01:48:14 - Wrap Up & Key Learnings
02:01:24 - Many thanks to our Patreons <3

RELATED EPISODES

DZ-53: Antagonists! 5 - vs Audience
DZ-109: Talking DIRECTLY to your audience
DZ-110: Voiceover
DZ-111: Unreliable Narrators and Fight Club
DZ-112: Breaking the Fourth Wall

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons? Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

DZ-112: Breaking the 4th wall

How is the effect of breaking the 4th wall different to VoiceOver?

As part of our series on how filmmakers can directly communicate to the audience, we finally examine the most blatant tool of them all: when character look directly down the barrel of the camera… and thus look directly at us, the viewer. Chas, Stu and Mel take the craft tools/levers they identified in previous episodes and use them to examine HIGH FIDELITY, ABBOTT ELEMENTARY and - of course - FLEABAG.

By examining how “in-world” the camera is, who is talking, and whom the character is talking to (i.e. who we are in the relationship), we end up discovering how breaking the 4th wall can involve the audience in the emotional present of the character and also grants the character a degree of narrative control (a craft lever that can be dialled in and out).

Separately, in a Backmatter to this episode to be found on our Patreon page, Mel and Chas answer a listener question and take a deep dive into how breaking the 4th wall changes the RELATIONSHIP between you - the viewer - and character.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

Thanks to Chris Walker for his excellent editing this episode.

CHAPTERS

00:00:00 - Cold Open 00:00:17 - What is “barrelling”? 00:13:45 - HIGH FIDELITY 00:39:46 - ABBOTT ELEMENTARY 01:04:09 - FLEABAG 01:40:54 - Key Learnings 01:50:48 - Patreon thanks

RELATED EPISODES

Backmatter on Breaking the 4th Wall
DZ-109: Talking DIRECTLY to your audience
DZ-110: Voiceover
DZ-111: Unreliable Narrators and Fight Club

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How does the unreliability of a narrator impact the way a story is told?

In this episode, Stu and Mel (sans Chas!) take a deep dive into FIGHT CLUB and its use of the unreliable narrator. This is a bridging episode between our previous episode on VOICEOVER and our forthcoming episode on TALKING TO CAMERA as Fight Club does both.

We dissect the film’s disconnected sequence-driven structure and how the voiceover ’stitches’ the film together. And then we look at what makes ‘Jack’ an unreliable narrator and how his control over the storytelling impacts us.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

Thanks to Chris Walker for his excellent editing this episode.

CHAPTERS:

00:00:01 – Cold Open
00:00:20 – Fight Club
00:24:57 – Unreliable Narrators
00:49:09 – Key Learnings & Wrap Up
00:54:07 – Many thanks to our Patrons!

RELATED EPISODES:

DZ-110: Voiceover
DZ-109: Talking DIRECTLY to your audience
DZ-53: Antagonists! 5 – vs Audience

How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Paulo, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How can you use Voiceover without it feeling like a cheat?

In this episode, we finally delve into the world of VOICEOVERS (as part of our larger series exploring craft tools that allow characters & storytellers to talk directly to the audience). Chas, Stu and Mel deep dive into the VERONICA MARS pilot, Disney’s THE EMPEROR’S NEW GROOVE, and the Michael Bay epic PAIN & GAIN.

In exploring what makes these particular examples of Voiceover great (and not feel like a cheat or a well-worn trope), we apply the four levers identified in our Part 1 (in particular ‘when in time is the Voiceover coming from’). In this episode we discover how Voiceover can set tone, reveal character motivations, enhance viewer empathy, or even create tension.

Don’t forget to check out the Backmatter (https://www.patreon.com/posts/backmatter-for-105083575) to this episode answering Patreon Abigail’s question.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

Thanks to Chris Walker for his excellent editing this episode.

CHAPTERS:

00:00:00 - Cold open
00:00:23 - Voiceover craft levers to pull
00:03:48 - Veronica Mars (pilot)
00:32:43 - The Emperor’s New Groove
00:54:11 - Pain & Gain
01:31:30 - Key Learnings & Wrap Up
01:39:34 - Thanks Patreons!

RELATED EPISODES:

DZ-109: Talking DIRECTLY to your audience
DZ-18: Michael Bay – Fing the Frame and Ping the Page

How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

What are the different ways a filmmaker can ask something of the audience?

Chas and Stu are joined by recurring guest Mel in this prelude episode to upcoming episodes on Voice Over and Breaking the Fourth Wall. In this episode, we attempt to taxonomise the different ways filmmakers can ask something directly of their audience. To this end, we identify 4 levers that can be pulled:

Diagetic to non-diagetic (in story world to outside story world)
Who is talking? From story-teller to a character
Whom are they talking to? Themselves or directly to the audience?
From when in time is the communication coming?

They then take these levers and ask a series of questions, including:

What does the communication want from the audience?
Does the audience know who’s talking?
How reliable is the information?
How aware is who is communicating of the audience?

They then apply these questions and levers to… deep breath… STAR WARS, ROBOCOP, STARSHIP TROOPERS, KILLERS OF THE FLOWER MOON, MINORITY REPORT, CHILDREN OF MEN, NEVER HAVE I EVER, ARRESTED DEVELOPMENT, STRANGER THAN FICTION, DUNE, OPPENHEIMER, YELLOWJACKETS, HUSTLERS, THE OFFICE, MASTERCHEF, ZOMBIELAND, FLEABAG, PRETTY LITTLE LIARS, THE BIG LEBOWSKI, SPONTANEOUS, BLACKKKLANSMAN, AMERICAN FICTION, AMERICAN SPLENDOR, THE KILLER, VERONICA MARS, FIGHT CLUB, SHUTTER ISLAND, SIXTH SENSE, HAUNTING OF BLY MANOR. FALL OF THE HOUSE OF USHER, GOODFELLAS, EMPERORS NEW GROOVE, THE TRUMAN SHOW, HOW I MET YOUR MOTHER, DIE HARD, THE BIG SHORT, THE USUAL SUSPECTS, DERRY GIRLS, THE LAST JEDI, THE LAST DUEL, RASHOMON, BONES AND ALL, ARCHIVE 81, SANS SOLEIL, F IS FOR FAKE, THE PRINCESS BRIDE, THE BALLAD OF BUSTER SCRUGGS, JULIUS CAESAR, GUARDIANS OF THE GALAXY Vol. 1

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

Thanks to Chris Walker for his excellent editing this episode.

CHAPTERS:

00:00:00 - Cold Open
00:00:49 - Distinguishing communicating directly to the audience
00:04:32 - Different levers in how to communicate to the audience
00:09:20 - Who is communicating?
00:26:13 - Does the audience know who’s talking?
00:40:00 - From what time is the communication coming from?
00:40:50 - How reliable is the communication?
00:46:08 - How aware are the characters of the communication?
00:58:35 - Analysing edge cases
01:07:37 - What effects do all these have on the audience?
01:16:00 - Key Learnings and Wrap Up
01:19:00 - Patreon thanks

RELATED EPISODES:

DZ-108: The Emotional Event with Judith Weston
DZ-15: World-building Rules
DZ-54: Thematic Sequences

How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How and why should every scene have an emotional event?

For the first episode of our tenth anniversary year, we are joined by Judith Weston to talk about Emotional Events.

What is an emotional event? Well, it’s a way of thinking about scenes through relationships rather than plot. Instead of asking how a scene moves the plot forward, ask how the scene alters the relationship between characters. While emotional events are ostensibly a tool for directors to interpret scenes, we believe that the emotional event starts with the writer(s).

But it is an idea better illustrated through examples and discussion rather than sound bites. To that end, we breakdown scene from OPPENHEIMER, CASINO ROYALE (the Daniel Craig one), and PAST LIVES and explore how the emotional event is written (and not written) on the page.

Through a close reading of each scene, we talk about subtext, power dynamics, status transactions, tactics, beats and much much more. Because Chas, Stu and Judith are also reading the scripts there lot of discussion about table reads and how to get the most out of them.

For those unfamiliar with Judith, she is a famed teacher of writers, directors and actors with a focus on the directing or actors. Her books Directing Actors and The Film Director’s Intuition are basically industry standards.

You can find Judith Weston (and her books!) at her website: https://judithweston.com/web/

As always: SPOILERS ABOUND.

Thanks to Chris Walker for his excellent editing this episode.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS:

00:00:00 – Cold Open
00:00:30 – What is an emotional event?
00:13:48 – Oppenheimer
00:46:16 – Casino Royale
00:59:35 – Past Lives
01:30:20 – Key Learnings & Wrap Up
01:36:05 – Thanks to our Patreons

RELATED EPISODES:

DZ-08: Status Transactions – https://draft-zero.com/2014/dz-08/
DZ-40: Tactics and Scenes – https://draft-zero.com/2017/dz-40/

How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

SUBSCRIBE TO SHOT ZERO via Substack

How can we use dramatisation to create tone?

In this episode, Chas and Stu continue their deep dive into how to write tone by examining films with “light” (we use the phrase loosely) tones: LADY BIRD, EMILY THE CRIMINAL, THE BALLAD OF BUSTER SCRUGGS, and SPONTANEOUS. We also talk a surprising amount about DUNE and CRAZY STUPID LOVE.

We focus on the relationship between character & tone and how the writers of these films use dramatisation to create their unique tones. We talk minimalism vs maximalism, dialogue, character actions & reactions, emotional dynamic range, and rules of the world vs given circumstances.

Stu proposes a new triangle to help us understand the dials we as writers have to affect tone: the given circumstances of the story, how that effects character actions & reactions, and how the audience are told about those elements.

Thanks to Chris Walker for his excellent editing this episode.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS:

00:00:00 - Cold Open
00:00:23 - Tone & Character
00:15:26 - Ladybird
00:33:20 - Emily The Criminal
00:57:43 - The Ballad of Buster Scruggs
01:17:28 - Spontaneous
01:39:38 - Key Learnings & Wrap Up
01:51:58 - Many thanks to our Patreons

RELATED EPISODES:

DZ-105: Establishing Tone - Dark
DZ-82: Dramatising Given Circumstances in Watchmen

How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

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How do you know if you have enough narrative fuel to write a script?

In this episode, Chas, Stu and Mel attempt to answer a listener question:

“In your own pre-writing process, how do you know you have enough for a feature? And do you have a specific pre-writing method you're going to?”

Thus we launch into a discussion on our writing processes and the varying usefulness of tools such as log lines, turning points, beat sheets, synopsis, treatments, and scene breakdowns. We also tackle the challenges encountered while developing an idea to first draft, such as balancing the pace of the story, developing distinct character voices, character choices, plot changes, pacing, and thematic clarity.

Is this backmatter? Or is it development tools? You decide! Hahaha.

Thanks so much to Chris Walker for his excellent editing on this episode!

CHAPTERS:

00:00:00 - Cold Open
00:00:30 - Introduction: Falling Short
00:02:38 - Our Development Processes
00:33:06 - Developing from concept
00:45:26 - Sponsor: Arc Studio Pro
00:48:12 - Expanding your Idea
01:15:29 - Long Short Documents
01:27:22 - Consistent problems with first drafts
01:34:28 - Many thanks to our Patreons!

This episode brought to you by (drum roll):

ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can also find @draft_zero and @_shotzero on Instagram and Twitter.

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SUBSCRIBE TO SHOT ZERO via Substack

How can we teach the reader to find the humour in our darkness?

Chas and Stu finally start their long-mooted exploration of tone with a series that examines films and shows with unusual tones and dives into how the writers establish those tones in the first 5 pages.

How does your script want your reader to experience violence in your story? Humour? Sex? Prejudice?

To answer these questions, this episode look at how films with “darker” or “sadder” tones teach the reader what they can laugh at, namely: THE NICE GUYS, THE BANSHEES OF INISHIRIN and the pilot for YELLOWJACKETS.

Together they learn how to better talk about tone, how to frame tone for a scene or sequence, and what levers writers can use on the page to compensate for cinematic tools like music, performance, composition, lighting, design, editing, etc etc etc.

Future episodes plan to explore establishing lighter or quirkier tones, as well as tools in shifting or changing tone on the page.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS:

00:00:00 - Cold Open
00:00:32 - What is tone?
00:25:00 - The Nice Guys
00:55:07 - Sponsor: Arc Studio Pro
00:57:23 - The Banshees of Inisherin
01:25:06 - Yellowjackets
01:53:30 - Key Learnings & Wrap Up
02:04:40 - Many thanks to our Patreons!

RELATED EPISODES

DZ-60: Unfilmables and Unscriptables (Part 1) - Engaging imagination
DZ-61: Unfilmables 2 – Moments of Awe

This episode brought to you by (drum roll):

ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

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SUBSCRIBE TO SHOT ZERO via Substack

How can scenes where characters are alone increase our connection with them?

In this episode, we explore the audience's connection with characters through the lens of characters being alone.

Chas and Stu breakdown scenes (and their scripts) from AFTERSUN, SENSE AND SENSIBILITY and THE EQUALIZER to discuss the significance of solitude in giving the audience insight into a character’s interiority. We talk how big print can reflect character; how finding moments for vulnerability allows characters to drop their masks; and how staging can help these moments occur organically.

Thanks to Chris Walker for editing this episode.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:02 - Cold Open
00:00:24 - Intro: Character's Alone
00:13:04 - Aftersun
00:31:55 - Sponsor: Arc Studio Pro
00:34:16 - Sense and Sensibility
00:59:59 - The Equalizer
01:25:02 - Wrap Up & Key Learnings
01:28:34 - Many thanks to our Patreons!

RELATED EPISODES

DZ-99: Scene Questions
DZ-93: Talismans (Part 1)
DZ-94 Talismans (Part 2)
DZ-60: Unfilmables and Unscriptables (Part 1) - Engaging imagination

RELATED LINKS

Shot Zero: www.shot-zero.com
Restoration: www.restorationseries.com

This episode brought to you by (drum roll):

ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

SUBSCRIBE TO SHOT ZERO via Substack

How can games elevate dramatic scenes?

In part two of this two parter, Stu and Chas go further into the game (of the scene) and look at how games force characters other than the protagonist to interact. We deep dive into the wonderful social satires of TRIANGLE OF SADNESS and THE FAVOURITE.

We discuss how games reveal character through competency and decisions, how resources and skills impact the tactics that characters employ, and the difference between referees, rule lawyers, rule makers and rule breakers.

Thanks to Chris Walker for editing this episode.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:00 - Cold Open
00:00:19 - Sponsor: ScriptUp
00:01:45 - Intro: Follow up
00:10:50 - Triangle of Sadness (Parts 1 and 2)
00:35:37 - Sponsor: Arc Studio Pro
00:38:25 - Triangle of Sadness (Part 3)
00:52:51 - The Favourite
01:30:34 - Wrap Up & Key Learnings
01:40:30 - Thanks to our Patreons!

RELATED EPISODES

DZ-102: Game of the Scene 1 - Bluey, John Wick 4
DZ-99: Scene Questions
DZ-40: Tactics and Scenes

RELATED LINKS

IMDB: Molli and Max in the Future
Letterboxd: Molli and Max in the Future

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off
ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

SUBSCRIBE TO SHOT ZERO via our many social medias!

How can ‘games’ help us write better scenes?

Stu and Chas turn their attention to a topic that has long eluded them: the game of the scene. We look at how considering the game that characters are playing — its rules, arenas, players, referees, and win conditions — can help you write more dynamic scenes.

This will be a two-parter, and for this half, we talk BLUEY, “The Quiet Game” (from Season 2) and “Phones” (from Season 3), and JOHN WICK 4. We also touch on GAME NIGHT and LIFE OF BRIAN.

Thanks to Chris Walker for editing this episode.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:00 - Cold Open
00:00:18 - Sponsor: ScriptUp
00:01:52 - Intro: What do we mean by Game of the Scene?
00:15:06 - The Life of Brian: "What have the Romans ever done for us?"
00:20:03 - Bluey
00:35:08 - Sponsor: Arc Studio Pro
00:37:56 - John Wick 4
01:14:34 - Wrap Up & Key Learnings
01:22:17 - Many thanks to our Patreons

RELATED EPISODES

DZ-100: Scenes through Swords
DZ-99: Science Questions
DZ-40: Tactics and Scenes

RELATED LINKS

Shot Zero on Game Night's Hot Potato Sequence

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off
ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

SUBSCRIBE TO SHOT ZERO via Substack

What can we learn by analysing how ‘oners’ are written on the page?

Chas, Stu and Mel reunite to talk about writing the feel of camerawork in screenplays. We use “oners” — a long-playing continuous take — as a lens to talk about how some writers have “directed” from the page. We talk immediacy, camera positions, handovers, and anchoring action and more.

We breakdown the famous Copacabana shot from GOODFELLAS, the awe-inspiring chase sequence from THE ADVENTURES OF TINTIN, and the heart pounding ‘Zed attack’ from CHILDREN OF MEN. We also briefly discuss THE BOURNE IDENTITY, HEREDITARY, THE BEAR, ALL THE PRESIDENTS MEN and TOUCH OF EVIL.

And we do this breakdown by closely reading the actual words on the page. So thanks to Meegan May (of Starship Q Star) for performing the big print / action lines. Script Pages available on our Patreon.

Thanks to Chris Walker for editing this episode.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS

00:00:13 - Cold Open
00:00:23 - ScriptUp Sponsorship
00:00:33 - New Chapter
00:01:58 - Intro: Camerwork on the page
00:09:50 - Contrary Examples: The Bourne Identity and Hereditary
00:13:15 - Narrative Purpose and Oners
00:16:30 - Goodfellas (intro)
00:16:57 - Goodfellas (excerpt)
00:18:22 - Goodfellas (discussion)
00:32:48 - The Adventures of Tintin (intro)
00:34:14 - The Adventures of Tintin (excerpt)
00:37:23 - The Adventures of Tintin (discussion)
00:49:34 - Children of Men (intro)
00:53:38 - Children of Men (excerpt)
01:00:32 - Children of Men (discussion)
01:12:24 - Key Learnings and Wrap Up

SCENE EXCERPTS via

Patreon: https://www.patreon.com/posts/dz-101-script-85503252
DZ Instagram: https://www.instagram.com/draft_zero/
SZ Instagram: https://www.instagram.com/_shotzero/
DZ Twitter: https://twitter.com/draft_zero
SZ Twitter: https://twitter.com/_shotzero

LINKS

WATCH: Goodfellas, The “Copacabana” shot - https://youtube.com/watch?v=OJEEVtqXdK8
WATCH: The Adventures of TinTin, “Get that bird!” - https://youtube.com/watch?v=ryB-3BRdd64
WATCH: Children of Men, “Zed’s attack” - https://youtube.com/watch?v=YMM8XrZe1R8
WATCH: The Bourne Identity, “Escaping The American Embassy” - https://youtube.com/watch?v=tqsUt9n13Gg
WATCH: All The President’s Men, “The Dahlberg Scene” - https://www.youtube.com/watch?v=Qeemjaosp-E
WATCH: Every Frame A Painting - The Spielberg Oner: https://www.youtube.com/watch?v=8q4X2vDRfR
LISTEN: Starship Q Star: https://starshipqstar.com

LINKS

WATCH: Goodfellas, The“Copacabana” shot - https://youtube.com/watch?v=OJEEVtqXdK8
WATCH: The Adventures of TinTin, “Get that bird!” - https://youtube.com/watch?v=ryB-3BRdd64
WATCH: Children of Men, “Zed’s attack” - https://youtube.com/watch?v=YMM8XrZe1R8
WATCH: The Bourne Identity, “Escaping The American Embassy” - https://youtube.com/watch?v=tqsUt9n13Gg
WATCH: All The President’s Men, “The Dahlberg Scene” - https://www.youtube.com/watch?v=Qeemjaosp-E
WATCH: Every Frame A Painting - The Spielberg Oner: https://www.youtube.com/watch?v=8q4X2vDRfR
LISTEN: Starship Q Star: https://starshipqstar.com

RELATED EPISODES

DZ-60: Unfilmables and Unscriptables (Part 1) - Engaging imagination
DZ-61: Unfilmables and Unscriptables (Part 2) - Moments of Awe
DZ-62: Unfilmables 3 – As Ifs & Emotional context
DZ-16: Masters of Time and Whitespace

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off

And how can we forget our awesome Patreons, especially Lily, Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

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What scene work tools can be learned from martial arts?

In this slightly unusual episode of Draft Zero (but also incredibly on brand), Stu and philosopher swordsperson Damon Young discuss how the lessons they have learned from martial arts can be applied to scenes. In particular, they discuss how approaching an opponent in a sword fight can be analogous to how characters approach conflict, such as: the distance between the characters, who chooses to engage first, how to feint, how to lure an attack by leaving yourself vulnerable, etc.

They reference classic conflicts such as Clarice interviewing Dr. Lecter in SILENCE OF THE LAMBS, when Miranda puts down Andrea in THE DEVIL WEARS PRADA, and the final showdown between Obi-Wan and Darth Maul in the animated series THE CLONE WARS.

You can find Damon Young here:

Website: https://www.damonyoung.com.au/
Instagram: https://www.instagram.com/damonayoung/
Mastodon: https://mas.to/@damonyoung

As always: SPOILERS ABOUND.

RELATED EPISODES

DZ-29: Showdowns & Scene Structure: draft-zero.com/2016/dz-29/
DZ-84: Choices & Decisions 1: http://draft-zero.com/2021/dz-84/
DZ-84: Choices & Decisions 2: http://draft-zero.com/2021/dz-85/

This episode is brought to you by our awesome Patreons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

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How do audience questions shape scenes?

nspired by our earlier episodes on sequences, Chas and Stu narrow their focus to look at the atomic unit of screen storytelling: the scene. In particular, we breakdown how question and answers prompted in the audience structure individual scenes.

We talk plot, character, and theme questions (and their hybrids) by analysing scenes from LOKI, THE LAST CRUSADE, THE BOURNE SUPREMACY, QUEEN AND SLIM, and DO THE RIGHT THING. We also briefly discuss SUCCESSION, DUNGEONS & DRAGONS: HONOUR AMONG THIEVES, and ANDOR.

As always: SPOILERS ABOUND

CHAPTERS

00:00:00 - Cold Open
00:01:56 - Intro: Scene Questions
00:16:30 - Loki
00:23:24 - The Last Crusade
00:33:03 - The Bourne Supremacy
00:45:50 - Queen and Slim
01:03:03 - Do The Right Thing
01:15:03 - Key Learnings & Wrap Up
01:33:02 - Many thanks to our Patreons

SCENE EXCERPTS via:

Patreon: https://www.patreon.com/posts/dz-99-scene-82312058
Instagram: https://www.instagram.com/draft_zero/
Twitter: https://twitter.com/draft_zero

RELATED EPISODES

DZ-54: Thematic Sequences: https://draft-zero.com/2018/dz-54/
DZ-43: Driving Sequences – Character and Plot Intensity: https://draft-zero.com/2017/dz-43/
DZ-45: Arguments of the Scene: https://draft-zero.com/2017/dz-45/

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off

And how can we forget our awesome Patreons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

What effect does adding a ton of characters have on your story?

In Part 3 (the final part? Ha!) of our exploration into ensemble stories, Stu, Chas & Mel examine films whose genres do not conventionally require a ton of character or that use those ensembles in unconventional ways - in particular, adding whole storylines that are separate from the main character’s story. To that end, we dive into three films that were horrifically snubbed by the Oscars: THE WOMAN KING, RIDERS OF JUSTICE and NOPE.

We breakdown the effects of choosing to use an ensemble on the narrative function of characters, their skills, the webs they exist within, and, ultimately, the story’s theme. Plus we re-apply and re-contextualise the tools uncovered in previous episodes in how to service all these characters.

As always: SPOILERS ABOUND

Thanks to Chris Walker for editing this episode.

CHAPTERS

00:00:00 - Cold Open
00:01:35 - Intro: Character Function
00:08:43 - The Woman King
00:50:00 - Riders of Justice
01:20:36 - Nope
01:47:00 - Key Learnings & Wrap Up
01:59:06 - Many thanks to our Patreons

RELATED EPISODES

DZ-96: Ensembles 1 – What do we mean by an ensemble?
DZ-97: Ensembles 2 – Servicing Characters

EPISODE LINKS

Mel Killingsworth on The Möbius Strip Storytelling of NOPE
Mel Killingsworth on Riders of Justice: Tidings of Trauma and Joy

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and
ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons, especially Alexandre, Casimir, Eduardo, Thomas, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

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How do you give your audience access to a lot of characters?

In Part 2 of our exploration into ensemble stories, Stu, Chas and Mel examine films whose plot and genre require a lot of characters. Thus we tackle a team sports film (PITCH PERFECT), a murder mystery (GLASS ONION), a slasher (SCREAM 2022) and a family holiday flick (THE FAMILY STONE).

By looking at these films, we discover tools for writers to service characters and give them more dimension. These tools include: shifting group dynamics; the spectrum of private to public behaviour; breaking POV, and quintessential group introductions.

As always: SPOILERS ABOUND

Thanks to Chris Walker for editing this episode.

CHAPTERS

00:00:00 - Cold Open
00:01:46 - Intro: Servicing Characters
00:14:40 - Pitch Perfect
00:37:54 - Glass Onion
01:09:20 - Scream 5
01:32:17 - The Family Stone
02:13:22 - Key Learnings & Wrap Up

RELATED EPISODES

DZ-96: Ensembles 1 - What do we mean by an ensemble?
DZ-43: Driving Sequences – Character and Plot Intensity
DZ-09: Characterising Introductions

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and

ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

And how can we forget our awesome Patreons? Especially Casimir, Eduardo, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

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DZ-96: Ensembles 1 - What do we mean by an ensemble?

How can the same story feel different when you have more characters?

In the first part of our series on ensembles, Chas, Stu and Mel start by laying the groundwork for our future episodes. And we begin by asking the seemingly innocuous question:

‘what do we mean by calling a story an ensemble?’

As we unpack our own assumptions, biases and thoughts, we ask (and attempt to answer) more questions: How does an ensemble differ from a single protagonist or two hander? Why does this distinction even matter? What challenges What genres inherently are ensembles? And what do we hope to learn from the series?

We ice-skate over myriad films including JURASSIC PARK, ALIEN, TOP GUN vs TOP GUN: MAVERICK, DEATH AT A FUNERAL, WAR OF THE WORLDS vs INDEPENDENCE DAY, LORD OF THE RINGS vs WILLOW, OCEAN’S 11 vs OUT OF SIGHT, THIEF vs HEAT, AWAY FROM HER, DIRTY DOZEN, SAVING PRIVATE RYAN, SE7EN, READY OR NOT. Look, there’s heaps. We talk a lot of movies.

We also talk through our lens for breaking down group dynamics: collaborative vs competitive vs combative.

As always: SPOILERS ABOUND

Thanks to Chris Walker for editing this episode. <3 Chris!

CHAPTERS

00:00:00 - Intro
00:04:17 - What is an ensemble?
00:26:51 - Taxonomy of Ensembles
00:47:25 - ArcStudio Sponsorship
00:48:32 - Group Dynamics
01:08:39 - Wrap Up & Hopeful Learnings
01:15:15 - Patreon Thanks

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and

ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a subscription!

And how can we forget our awesome Patreons?, Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

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How do you maintain hope in the face of, er, screenwriting?

Time for our annual backmatter episode, where we drop any ruse of any objectivity, and fully embrace our subjective opinions!

In this episode we discuss: potential topics for 2023; the ostensible shortening of first acts; balancing new projects vs current projects; how to maintain hope in the face of an industry as fickle as ours; and end with a discussion of Andor vs Obi-Wan. Yup, Star Wars is the new Die Hard. Get over it.

SPOILERS ABOUND for Andor and Obi-Wan.

FYI we recorded this episode with both of us in the same room (for a more casual atmosphere )but that means there’s more technical gremlins like crosstalk. Our apologies in advance!

Thanks to Chris Walker for editing this episode. <3 Chris!

CHAPTERS

00:00:00 - Intro: Backmatter
00:02:44 - Housekeeping
00:05:49 - Future Episode Ideas
00:25:52 - Are first acts getting shorter?
00:40:16 - New projects vs current projects
00:48:59 - Maintaining Hope or Avoiding Despair
00:54:21 - The Big Lessons of 2022
00:55:19 - Andor vs Keobi
01:14:37 - Key Lessons & Wrap Up
01:16:06 - Many thanks

LINKS

LISTEN: Starship Q Star - https://starshipqstar.com/links

And how can we forget our awesome Patreons? Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

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How can you use physical objects to track character change… wordlessly?

In part two of our two-part series on TALISMANS, we break down the beats used to turn objects (in a broad sense) into talismans; how talismans can track character journeys and transitions; and how they can be used to create powerful moments without words.

While Part 1 looked a range of talismans in a bunch of different movies, in this episode we deep dive into just three examples. We look at how Thor’s crisis of masculinity is articulated through his relationship with Mjolnir and Stormbreaker in THOR: LOVE AND THUNDER; how the yearning love in PORTRAIT OF A LADY ON FIRE is communicated through paintings and music; and how the impact of an emotional affair is charted through key locations in INTHE THE MOOD FOR LOVE.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris Walker for editing this episode.

CHAPTERS

00:00:00 - Intro
00:01:15 - Talismans (Part 1) Followup
00:08:37 - Forging a Talisman (The Beats)
00:23:22 - Thor: Love and Thunder
00:59:52 - Portrait of a Lady on Fire
01:32:39 - In the Mood for Love
01:59:39 - Key Learnings & Wrap Up
02:06:10 - Thanks to our Patreons

LINKS

Scott Myers / Go Into The Story: Talismans - https://medium.com/go-into-the-story/talismans-bcbf0a04d45d
Scott Myers / Go Into The Story: Story Talismans - https://gointothestory.blcklst.com/story-talismans-89b91523e71d

RELATED EPISODES

DZ-93: Talismans (Part 1) - http://draft-zero.com/2022/dz-93/
DZ-92: Insightful recognition in powerful endings - http://draft-zero.com/2022/dz-92/

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off

And how can we forget our awesome Patreons? Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

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How can you use physical objects to reveal inner character?

In this series, Chas and Stu discuss TALISMANS. Physical objects that are imbued with meaning by a character or characters. They’re a powerful tool to access inner character.

In this first part, we lay the groundwork to discuss talismans and present something of a taxonomy. What makes talismans powerful? What makes them different from MacGuffins or characters? What types of Talismans are there? In the second part, we will breakdown THOR: LOVE AND THUNDER, IN THE MOOD FOR LOVE, and another film.

Examples we cover here include: TOP GUN, SEARCHING FOR BOBBY FISCHER, BETTER CALL SAUL, LORD OF THE RINGS, CASTAWAY, NO COUNTRY FOR OLD MEN, THE DARK KNIGHT, THOR: LOVE AND THUNDER, RONIN, PULP FICTION, RAIDERS OF THE LOST ARK, BREAKING BAD, BACK TO THE FUTURE, THE TERMINATOR, TITANIC, INCEPTION, STAR WARS (of course), THE MATRIX, ANDOR (spoilers!), LITTLE MISS SUNSHINE, MAD MAX: FURY ROAD, and PULP FICTION.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chas Fisher & Chris Walker for editing this episode.

CHAPTERS

00:00:00 - Intro
00:03:15 - Talismans in our own lives
00:08:41 - Scott Myer's definition of Talismans
00:18:58 - What are not Talismans?
00:21:48 - Wardrobe
00:28:26 - Talismans vs Characters
00:43:18 - Talismans vs MacGuffins
00:49:33 - Photos
00:53:53 - Jewellery
01:02:22 - Weapons & Tools
01:10:02 - Vehicles
01:12:03 - Letters & Journals
01:14:19 - Andor (Spoilers)
01:16:20 - Talismans and Rituals
01:24:14 - Wrap Up & Key Learnings

LINKS

Scott Myers / Go Into The Story: Talismans - https://medium.com/go-into-the-story/talismans-bcbf0a04d45d
Scott Myers / Go Into The Story: Story Talismans - https://gointothestory.blcklst.com/story-talismans-89b91523e71d

RELATED EPISODES

DZ-11: Adventure for the MacGuffin! - http://draft-zero.com/2014/dz-11/
DZ-87: Keeping Genre fresh - http://draft-zero.com/2022/dz-87/

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and

ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a subscription!

And how can we forget our awesome Patreons?, Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

How can you use physical objects to reveal inner character?

In this series, Chas and Stu discuss TALISMANS. Physical objects that are imbued with meaning by a character or characters. They’re a powerful tool to access inner character.

In this first part, we lay the groundwork to discuss talismans and present something of a taxonomy. What makes talismans powerful? What makes them different from MacGuffins or characters? What types of Talismans are there? In the second part, we will breakdown THOR: LOVE AND THUNDER, IN THE MOOD FOR LOVE, and another film.

Examples we cover here include: TOP GUN, SEARCHING FOR BOBBY FISCHER, BETTER CALL SAUL, LORD OF THE RINGS, CASTAWAY, NO COUNTRY FOR OLD MEN, THE DARK KNIGHT, THOR: LOVE AND THUNDER, RONIN, PULP FICTION, RAIDERS OF THE LOST ARK, BREAKING BAD, BACK TO THE FUTURE, THE TERMINATOR, TITANIC, INCEPTION, STAR WARS (of course), THE MATRIX, ANDOR (spoilers!), LITTLE MISS SUNSHINE, MAD MAX: FURY ROAD, and PULP FICTION.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chas Fisher & Chris Walker for editing this episode.

CHAPTERS

00:00:00 - Intro
00:03:15 - Talismans in our own lives
00:08:41 - Scott Myer's definition of Talismans
00:18:58 - What are not Talismans?
00:21:48 - Wardrobe
00:28:26 - Talismans vs Characters
00:43:18 - Talismans vs MacGuffins
00:49:33 - Photos
00:53:53 - Jewellery
01:02:22 - Weapons & Tools
01:10:02 - Vehicles
01:12:03 - Letters & Journals
01:14:19 - Andor (Spoilers)
01:16:20 - Talismans and Rituals
01:24:14 - Wrap Up & Key Learnings

LINKS

Scott Myers / Go Into The Story: Talismans - https://medium.com/go-into-the-story/talismans-bcbf0a04d45d
Scott Myers / Go Into The Story: Story Talismans - https://gointothestory.blcklst.com/story-talismans-89b91523e71d

RELATED EPISODES

DZ-11: Adventure for the MacGuffin! - http://draft-zero.com/2014/dz-11/
DZ-87: Keeping Genre fresh - http://draft-zero.com/2022/dz-87/

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and

ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a subscription!

And how can we forget our awesome Patreons?, Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

How can endings prompt an audience to reflect on your story?

Stu & Chas set out to explore what makes certain endings powerful, in particular those of LA LA LAND, INCEPTION, NO COUNTRY FOR OLD MEN and TURNING RED. The lens they bring to those endings is Aristotle’s moment of “anagnorisis” (don’t worry - we can’t pronounce it either), traditionally when a character moves from ignorance to knowledge (particularly of self).

But in analysing these films, Chas and Stu discover that endings can be particularly powerful when the characters experience insightful recognition in others, or in the world, or - perhaps most powerfully - when the anagnorisis is aimed at the audience. In other words, are there craft tools for your ending to prompt an audience to ask itself the question “What was that all about?”? Turns out, we think there are.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris Walker for editing this episode.

CHAPTERS

00:00:00 - Intro
00:00:48 - Insightful recognition in endings
00:03:39 - What the hell is “anagnorisis”?
00:12:04 - LA LA LAND
00:30:45 - INCEPTION
00:35:14 - NO COUNTRY FOR OLD MEN
01:00:04 - TURNING RED
01:18:18 - Wrap up & Key Learnings
01:24:26 - Thanks patreons!

LINKS

HULK PRESENTS THE MYTH OF THE THREE ACT STRUCTURE
Lindsay Doran on the psychology of story-telling

RELATED EPISODES

DZ-04: Catharsis and the Post-Coital Cigarette

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and

ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a subscription!

And how can we forget our awesome Patreons?, Especially Malay, Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

How can endings prompt an audience to reflect on your story?

Stu & Chas set out to explore what makes certain endings powerful, in particular those of LA LA LAND, INCEPTION, NO COUNTRY FOR OLD MEN and TURNING RED. The lens they bring to those endings is Aristotle’s moment of “anagnorisis” (don’t worry - we can’t pronounce it either), traditionally when a character moves from ignorance to knowledge (particularly of self).

But in analysing these films, Chas and Stu discover that endings can be particularly powerful when the characters experience insightful recognition in others, or in the world, or - perhaps most powerfully - when the anagnorisis is aimed at the audience. In other words, are there craft tools for your ending to prompt an audience to ask itself the question “What was that all about?”? Turns out, we think there are.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris Walker for editing this episode.

CHAPTERS

00:00:00 - Intro
00:00:48 - Insightful recognition in endings
00:03:39 - What the hell is “anagnorisis”?
00:12:04 - LA LA LAND
00:30:45 - INCEPTION
00:35:14 - NO COUNTRY FOR OLD MEN
01:00:04 - TURNING RED
01:18:18 - Wrap up & Key Learnings
01:24:26 - Thanks patreons!

LINKS

HULK PRESENTS THE MYTH OF THE THREE ACT STRUCTURE
Lindsay Doran on the psychology of story-telling

RELATED EPISODES

DZ-04: Catharsis and the Post-Coital Cigarette

This episode brought to you by (drum roll):

ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and

ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a subscription!

And how can we forget our awesome Patreons?, Especially Malay, Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

How can you keep your audience hooked when they know the end of the story?

Chas, Stu and Mel take a deep dive into stakes, using then lens of biopics to help us think about them. If an audience already knows the “plot” outcome of a story, then how do you create stakes to make a story tense for the audience?

To explore this, we deep dive into HIDDEN FIGURES (about the NASA Friendship 7 mission), DOWNFALL (the final days of Berlin in WW2), and BRIGHT STAR (the life and death of romantic poet John Keats). We unpack the ideas around internal, external and philosophical /moral stakes and propose some new terminology that may help us write stakes more effectively.

As always: SPOILERS ABOUND.

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris Walker for editing this episode.

This episode brought to you by ScriptUp (https://www.scriptupstudio.com – use promo code DZ10 to get 10% off) and ArcStudio (https://www.arcstudiopro.com/ - go to www.draft-zero.com/arcstudio).

Thanks to all our patrons, especially Malay, Casimir, Eduardo, Jennifer, Leigh, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

BUY DRAFT ZERO MERCH via TeePublic

CHAPTERS
- 00:00:00 - Intro
- 00:04:41 - What even are stakes?
- 00:24:26 - Hidden Figures
- 01:00:46 - Downfall
- 01:33:38 - Bright Star
- 02:10:33 - Key Learnings
- 02:18:57 - Thanks Patreons!

How can you use setups and payoffs to stitch your film together?

In this one-shot, Chas and Stu dive into the awesomeness of EVERYTHING EVERYWHERE ALL AT ONCE. In particular, we focus on its use of setups, payoffs and reversals; breakdown the difference between Pointers and Plants and Stitches; deep dive into its Michael Arndt inspired ending. And, of course, we talk hotdog fingers and butt-plugs.

As always: SPOILERS ABOUND.

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris Walker for editing this episode.

CHAPTERS

00:00:00 - Intro
00:00:43 - Anywhere Anything At The Same time
00:10:48 - Summary
00:29:51 - Pointers and Planters
00:56:17 - The Ending
01:17:59 - Wrap Up and Key Learnings
01:30:06 - Thanks to our Patreons

LINKS

Michael Arndt - Endings: The Good, the Bad, and the Insanely Great -- https://vimeo.com/238637906
Will Dunne - The Dramatic Writer's Companion - https://willdunnedramaticwriting.com/the-dramatic-writers-companion/

RELATED EPISODES

DZ-06: Key Scenes and Unlocking the Story
DZ-04: Catharsis and the Post-Coital Cigarette
DZ-10: Midpoint Reversals and The Ride

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Thanks to all our patrons, especially Malay, Casimir, Eduardo, Jennifer, Leigh, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!

BUY DRAFT ZERO MERCH via TeePublic

How does your opening sequence set up your audience? Inspired by her tweet on how subversive an opening OCEAN’S ELEVEN has, Chas and Stu invited amazing writer/director Jessica Ellis onto the show to deep dive into opening sequences. How does a good opening setup character, genre, and theme?

In exploring how best to open your story - instead of looking at the almost mandatory studio note of “dropping you in the action” - Stu, Chas and Jess look at the inventive openings of OCEAN’S ELEVEN, LONG SHOT, ARRIVAL and A SERIOUS MAN. Each of these films opens in a way that seems to defy its genre conventions and yet still provide all the set-up it needs to perfectly tell its story.

As always: SPOILERS ABOUND.

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris Walker for editing this episode.

CHAPTERS

00:00:56 - Intro
00:12:04 - Ocean’s Eleven
00:30:26 - Long Shot
01:01:32 - Arrival
01:22:22 - A Serious Man
01:41:17 - Wrap Up
01:46:47 - Patreon thanks

LINKS

Jessica Ellis: https://twitter.com/baddestmamajama
What Lies West: https://linktr.ee/whatlieswest

RELATED EPISODES

DZ-15: World Building Rules, Okay?
DZ-43: Driving Sequences – Character and Plot Intensity
DZ-44: Marvel, First Acts and Establishing Characters

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Thanks to all our patrons, especially Casimir, Lloyd, Eduardo, Jennifer, Leigh, Thomas, Garrett, Bjorn, Randy, Jesse, Sandra, Alex and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

How can dramas use genre elements to hook their audiences?

Stu and Chas reunite with TV writer & director Kodie Bedford to look at how some films start out as genre but gradually become character dramas. Or, as Stu never said on the episode "Genre in the streets, Drama in the sheets".

Together, they break down HUSTLERS, PIG and POWER OF THE DOG, to see how these films use their genre trappings to hook their audience while ultimately delivering something else entirely. We discuss chapter breaks, inciting incidents, character questions, theme and MORE.

As always: SPOILERS ABOUND.

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris Walker for editing this episode.

CHAPTERS * 00:00:01 - Intro * 00:00:56 - Drama in Genre Clothing * 00:02:21 - Sam Elliot on Power of the Dog * 00:03:19 - Lessons from Keeping Genre Fresh * 00:08:14 - Hustlers * 00:43:58 - Pig * 01:16:24 - The Power of the Dog * 01:55:02 - Key Learnings and Wrap Up

LINKS

Kodie Bedford: https://twitter.com/ms_kodie
Authentic Storytelling – Kodie Bedford: Breaking Down Characters And Worlds

RELATED EPISODES

DZ-87: Keeping genre fresh – Get Out, Promising Young Woman, and The Invisible Man

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Thanks to all our patrons, especially Lloyd, Eduardo, Jennifer, Leigh, Thomas, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

How do you deliver on the emotional contract of a genre while surprising the audience?

In tackling this enormous topic, Stu and Chads enlist professional TV writer and director for Kodie Bedford, someone who has somehow managed to defy genre pigeon-holing by writing mystery, comedy and vampire shows.

The three of them look at GET OUT, PROMISING YOUNG WOMAN and THE INVISIBLE MAN (with reference to PARASITE, JOHN WICK, TAKEN, KNIVES OUT and more) to see what tools the writers have used to deliver on the expectations of a genre while moving that genre on, without writing something stale.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris for editing this episode.

CHAPTERS

00:00:57 - Intro: Keeping Genre Fresh
00:03:10 - What is Genre?
00:16:30 - Get Out
00:45:10 - Promising Young Woman
01:25:08 - The Invisible Man
01:59:18 - Wrap Up
02:11:44 - Thanks to our Patreons!

LINKS

Freshening Up Genre - Stu's Notes: https://www.patreon.com/posts/64358617
Kodie Bedford: https://twitter.com/ms_kodie
Authentic Storytelling – Kodie Bedford: Breaking Down Characters And Worlds

RELATED EPISODES

DZ-68: Using POV to structure KNIVES OUT: http://draft-zero.com/2020/dz-68/
DZ-69: PARASITE & Audience Questions: http://draft-zero.com/2020/dz-69/
DZ-54: Thematic Sequences: http://draft-zero.com/2018/dz-54/

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Thanks to all our patrons, especially Jennifer, Leigh, Thomas, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

How do you determine what is your MVP?

In their annual full backwater episode, Stu and Chas let out their pandemic hair, drop the ruse of objectivity, and allow themselves to have even more options about writing and the business of writing.

In this Backmatter entry, they go deep on: future episode topics; their screenwriting lessons from 2021 (especially on control); pitching projects; the minimum viable product & minimum loveable thing; and share their exper iences with running a writers workshop/group.

There are no Star Wars references in this episode, but there are plenty of Die Hard ones. Die Hard is the new Star Wars. Get over it.

Thanks to Chris Walker for editing this episode.

RUNNING ORDER * 00:00:00 - Intro: Backmatter * 00:03:02 - Looking Forward - Episode Ideas * 00:19:40 - Looking Back - Screenwriting Lessons * 00:49:46 - Looking Now - Processes * 01:28:26 - Outro

EPISODE LINKS

READ: Writer’s Workshop Documents by Chas & Stu
READ: Laziness Does Not Exist by Dr Devon Price
READ: Story Talismans by Scott Myers

Many thanks to all our patrons, but especially Jennifer, Leigh, Thomas, Garrett, Bjorn, Randy, Jesse, Sandra, Theis and Khrob. They’re good humans who allow us to bring you more draft zero, more often.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

What is difference between choice and decision when it comes to audience experience?

In our second part of our “series” on Choices and Decisions, we take a deep dive into THE FAREWELL and WRATH OF MAN, with a sidebar on NOMADLAND.

In THE FAREWELL, we consider how the choice/decision to lie underpins every sene of the film (to great effect).

In NOMADLAND, we consider how using choice and decision is a great way to show how a character doesn’t change.

And in WRATH OF MAN, we look at how non-linear narrative - and its decoupling of choice, decisions and consequence (wouldn’t that be a detripling???) impacts the audience experience, especially how we feel about characters.

The terminology we settled on in Part 1 was:

CHOICE: Are the options presented to the character.
DECISION: Is the knowing consideration of the choice and resulting action.
CONSEQUENCE: is the resulting outcome from the choice.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris for editing this episode.

CHAPTERS

00:00:00 - Intro
00:01:38 - Decisions & Choices Recap
00:03:41 - The Farewell
00:28:58 - Nomadland
00:37:39 - Wrath of Man
01:36:54 - Wrap Up & Key Learnings
01:45:06 - Backmatter

LINKS

Damon Young: https://www.damonyoung.com.au/
Stephen Cleary: https://www.stephencleary.org/

RELATED EPISODES

DZ-34: Game of Choices - Decision Making and Character Implications
DZ-48: One-Shot – Blade Runner 2049 – Agency vs Choice
DZ-84: Choices & Decision 1 - Booksmart

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Thanks to all our patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

What is the difference between choice and decision when it comes to characters?

In order to better understand dramatising of character, Chas and Stu take a very draft zero look at very specific tool: choices and decisions. We analyse three films through the decisions made by their characters. In particular, how the audience understanding of: the choice available, the considered decision itself, and the consequence changes how we feel about these characters. And how separating those three things can create different emotional effects on your audience.

We debate this in the episode, but this is the terminology we settle on:

CHOICE: Are the options presented to the character.
DECISION: Is the knowing consideration of the choice and resulting action.
CONSEQUENCE: is the resulting outcome from the choice.

Part 1 (this part) establishes what we mean by choice and decision, and then takes a deep dive into BOOKSMART, directed by Olivia Wilde, and written by Emily Halpern, Sarah Haskins and Susanna Fogel. We all discuss FLEABAG, SEVEN, and old favourite, Star Wars.

Part 2 will turn our analytical eye on THE FAREWELL and WRATH OF MAN.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris for editing this episodes.

CHAPTERS

00:00:00 - Introduction
00:01:36 - Choices vs Decisions
00:19:51 - Booksmart
01:01:41 - Decisions & Structure
01:05:50 - Mills' decision in Se7en
01:07:50 - Key Learnings and Wrap Up

LINKS

Damon Young: https://www.damonyoung.com.au/
Stephen Cleary: https://www.stephencleary.org/

RELATED EPISODES

DZ-34: Game of Choices - Decision Making and Character Implications
DZ-48: One-Shot – Blade Runner 2049 – Agency vs Choice

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Thanks to all our patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

What can screenwriters learn from the storytelling techniques used by stand-up comedians?

Standup comedians can keep audiences gripped to their every word for over an hour, and often bring them to emotional climaxes by the end. So how do they do it and what tools can apply to scripted narratives?

For this deep dive into standup, Stu and Chas are joined by the super-talented comic and podcaster Alice Fraser. Which is rather fortuitous. Because not only are we schooled on comedy techniques, but because Alice also has a Masters in Narrative Rhetoric.

So as we dive in to NANETTE by Hannah Gadsby, BABY COBRA by Ali Wong and IT’S THE FIREWORKS TALKING by Daniel Kitson (with more than a passing reference to Alice’s own show SAVAGE and INSIDE by Bo Burnham), we analyse narrative structure, transitions, set-ups and pay-offs used by stand-ups…

But we end up focusing on exploring thematic tools - particularly the Aristotelean concepts of the rhetorical triangle: logos (how the story is told), ethos (who the storyteller is), and pathos (how the audience emotionally engages). With these powers combined, storytellers of all kinds can produce work of thematic power and resonance. Or just funny.

And in backmatter, we discuss adapting Savage for the recorded stage with Alice!

Enjoy!

Spoilers abound. Audio excerpts used for educational purposes.

CHAPTERS

00:00:00 - Introduction
00:03:25 - Alice Fraser on comedy
00:22:33 - Comedy tools to be explored
00:26:21 - Nanette by Hannah Gadsby
00:48:47 - Transitions in and out of theme
01:08:32 - Baby Cobra by Ali Wong
01:37:57 - It’s the Fireworks Talking by Daniel Kitson
02:04:45 - Key Learnings
02:14:39 - Backmatter - Adapting SAVAGE from stage to screen and screen again

LINKS

Alice Fraser - http://www.alicecomedyfraser.com

Listen: Savage Part 1 https://www.abc.net.au/radio/programs/alice-fraser-trilogy/alice-fraser-trilogy-savage-part-one/10070682
Listen: Savage Part 2 https://www.abc.net.au/radio/programs/alice-fraser-trilogy/alice-fraser-trilogy-savage-part-two/10082916
Watch: Savage: https://www.amazon.com/Alice-Fraser-Savage-Season-1/dp/B08BYZD952

Hannah Gadsby - Nanette:

Watch: https://www.netflix.com/title/80233611
Hannah on Working it Out podcast with Mike Birbiglia: http://workingitout.libsyn.com/5-hannah-gadsby

Alice Wong - Baby Cobra:

Watch: https://www.netflix.com/title/80233611

Daniel Kitson - It’s The Fireworks Talking:

Listen: https://danielkitson.bandcamp.com/album/its-the-fireworks-talking-2007

Bo Burnham - Inside:

Watch: https://www.netflix.com/title/81289483

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Thanks to all our patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

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How can writers dramatise Given Circumstances?

In this final podcast release of last year’s run of LiveSoLation episodes, Chas and Stu are joined by Uber-geek Mel Killingsworth (who else?) in an epic exploration of how Dave Gibbons’ and Alan Moore’s seminal graphic novel WATCHMEN is adapted differently in Zack Snyder’s 2009 film and Damon Lindelof’s 2019 HBO television show.

For this podcast release, we focus on a single craft tool: GIVEN CIRCUMSTANCES. Traditionally an acting tool, we look at how it is also a useful writing tool: how is your story world different to your audience’s lived world and how best to communicate that?

In terms of WATCHMEN (as you will hear), there is so much given circumstances to convey — in terms of alternate history, superhero rules, political rules, character backstory, character worldview — that is done excellently in both the movie and the TV show that this becomes a masterclass in exposition.

We also touch on narrative structure and tone: how presenting the exact same information in a different order or through a different tonal lens can change how it lands for an audience. ie this diagram --

But this is explored much more fully in the very-visual companion YouTube videos:

Adapting the Watchmen - Comic to Movie, or: how changing the tone changes the theme: https://www.youtube.com/watch?v=_KKLhpDj10Q
Narrative Structure and Given Circumstances in Watchmen: https://www.youtube.com/watch?v=-ByPIqI2WzY&t

While this episode may not be for the feint of heart, we feel it is one of our best. Hope you do too. Quantity has a quality of its very own.

Spoilers abound. Audio excerpts used for educational purposes. Thanks to Chris for wrangling this into shape!

CHAPTERS

00:00:00 - Introduction
00:01:02 - Watching the Watchmen
00:06:13 - Summaries
00:17:07 - Given Circumstances
00:38:39 - The Characters
00:51:07 - Theme & Characters
01:02:13 - Narrative Structure & Theme
01:27:07 - Worldview
01:33:47 - Dr Manhattan
01:51:50 - Wrap Up

LINKS

Watch: Watchmen (2009) screenplay by David Hayter & Alex Tse
Watch: Watchmen (2019) created by Damon Lindelof
Read: Watchmen illustrated by Dave Gibbson and written by Alan Moore

RELATED EPISODES

DZ-37: Excelling at Exposition (Part 1)
DZ-38: Excelling at Exposition (Part 2)

Thanks to all our patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

How do you make effective pitch decks and look books for your projects?

Chas and Stu are joined by writer/director/producer/multi-hyphenate Marc Furmie of Rezistor Studios to talk all things pitch decks and look books. Coming from an advertising and music video background, Marc shares his experience in putting together visual materials to pitch a project. We discuss the difference between pitch decks and lookbooks, how they help you sell your projects, what buyers are looking for, television vs features, and how do we make yours better?

This is a podcast cutdown of the live stream that was done with Marc. So if you'd like to see what we are discussing, including a critique of a listener's pitch deck, then check out our YouTube recording.

Thanks to Chris Walker for editing this episode.

LINKS:

Full Video: https://youtu.be/T5u1uzKNVQs
Rezistor Studios: https://www.rezistorstudios.com
Shot Deck: https://shotdeck.com
Eagle Image Library: https://en.eagle.cool
Adobe Fonts: https://fonts.adobe.com
Da Font: http://dafont.com

RELATED EPISODES:

Listen: DZ-71: Treatments & Loglines - Development Tools
Listen: DZ-72: Theme & the Story Synopsis - Development Tools 2
Listen: DZ-73: Selling documents – Development Tools 3

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

How can interweaving timelines elevate the emotional experience for the audience?

In our final part, part 3, of our Interweaving Timelines series, we — Chas, Stu & Mel — take a deep dive into Greta Gerwig's 2019 adaptation of Little Women. In her adaptation of Louisa May Alcott's iconic novels, Greta chose to interweave the seperate timelines of Little Women and it's sequel, Good Wives, to create a thematically and emotionally potent work. This differs from all the other adaptations, which have chosen to keep the chronological storytelling of the source material.

We compare Gerwig's choices and their resulting effects with Gilliam Armstrong & Robin Swicord's more faithful (and chronological) 1994 version. It's almost like a scientific experiment!

Stay tuned! SPOILERS ABOUND!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris Walker for editing this episode.

RUNNING ORDER

00:00:00 - Introduction
00:00:37 - ScriptUp Sponsorship
00:02:00 - Little Women - 2019 vs 1994
00:06:35 - 2019's Interweaving Timelines
00:15:29 - Summarising the plot points
00:31:39 - Initial contrasts with chronological telling
00:35:32 - Laurie's Proposal
00:54:10 - Amy and Laurie's courtship
01:03:34 - Beth's Death
01:26:44 - Book burning and ice skating
01:36:51 - How the structure expresses theme
01:44:06 - Key Learnings and Wrap Up
01:59:02 - Backmatter

LINKS

Watch: Little Women (2019) screenplay by and directed by Greta Gerwig
Watch: Little Women (1994) screenplay by Robin Swicord and directed by Gilliam Armstrong
Read/Listen: Scriptnotes, Ep 433: The One with Greta Gerwig

RELATED EPISODES

DZ-78: Interweaving Timelines 1 - Destroyer
DZ-79: Interweaving Timelines 2 – The Social Network

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Many thanks to all our patrons but particularly to Randy, Garrett, Bjorn, Jessie, Khrob, and Sandra. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

How can interweaving two timelines change how we feel about a character?

In this Part 2 of Interweaving Timelines (aka The Stu Monologue Episode), Mel, Chas and Stu tackle Sorkin/Fincher's The Social Network. As you’ll hear, it is clearly Stu’s favourite of the examples we cover and, ah, not Mel’s favourite. While all three bring their own biases and opinions on the reality of Facebook as it has become, we do manage to put the destruction of democracy to one side to actually analyse the meticulous craft that this film displays.

We analyse Sorkin’s on-the-page skill with time jumps, managing intercutting and introducing characters - as well as explore how the flash-forward technique manages the absence of stakes (i.e. we know Facebook exists) and creates a different emotional experience to the flashbacks of Destroyer. Finally, and most importantly, we look at how the interweaving timelines change how the audience feel about Mark Zuckerberg (as portrayed in this film).

Stay tuned! SPOILERS ABOUND!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris Walker for editing this episode.

RUNNING ORDER

00:00:00 - Introduction
00:01:48 - The Social Network
00:07:36 - The flash forward structure
00:18:46 - Why did we pick this film?
00:29:41 - What are the stakes?
00:42:45 - Time jumps & transitions
00:52:59 - Audience's perception of Mark
01:00:45 - Storyteller cuts
01:09:20 - Sorkin vs Fincher
01:16:07 - Wrap up & key learnings
01:23:15 - Backmatter

LINKS

Watch: The Social Network written by Aaron Sorkin and directed by David Fincher
Read: Wordplayer - The Storyteller Cut

RELATED EPISODES

DZ-78: Interweaving Timelines 1 - Destroyer
DZ-43: Driving Sequences – Character and Plot Intensity

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Many thanks to all our patrons but particularly to Randy, Garrett, Bjorn, Joakim, Khrob, and Sandra. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

How does interweaving two timelines change how the audience feel?

Stu and Chas are joined by Mel Killingsworth to dissect interweaving timelines. Not anthology films. Not Cloud Atlas. But films where two plot lines featuring the same characters, but from different timelines, are woven together.

How do you manage stakes when you know a character’s future? What questions does this prompt in the viewer? And how the hell do you orient the reader?

To answer these questions, it will take three episodes. In this Part 1, our intrepid team (and Mel’s 42 pages of homework) tackle the 2018 film DESTROYER directed by Karen Kusama, written by Hay & Manfredi and starring Nicole Kidman.

Meanwhile, Part 2 will cover THE SOCIAL NETWORK and Part 3 will compare the 1994 Gillian Armstrong version with 2019 Greta Gerwig version of LITTLE WOMEN. Whew.

Stay tuned! SPOILERS ABOUND!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris Walker for editing this episode.

RUNNING ORDER

00:00:10 Intro
00:01:46 Interweaving Timelines?
00:14:54 Destroyer & Timelines
00:35:28 Indicating Timelines
00:39:21 Ordering the Key Events
00:51:50 Theme & Timelines
01:06:44 Questions prompted by the ending
01:20:58 Key Learnings & Wrap Up
01:37:37 Backmatter

EPISODE LINKS

WATCH: Destroyer (2018)
FOLLOW: Melanie Killingsworth – @mehlsbells on twitter
READ: "A Game Designer’s Analysis Of QAnon"

RELATED EPISODES

DZ-05: Shifting audience point of view and heightened emotions
DZ-46: Structure & Point of View

This episode brought to you by ScriptUp - https://www.scriptupstudio.com - use promo code DZ10 to get 10% off.

Many thanks to all our patrons but particularly to Randy, Garrett, Bjorn, Jack, Khrob, and Sandra. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

How do you choose which project to start next?

In their now-annual full backmatter episode, Stu and Chas let their hair down, drop the guise of objectivity, and allow themselves to have an even more subjective opinion about writing and the business of writing.

In this particular Backmatter entry, they wax lyrical on [deep breath]: character journeys, hyperlink cinema, keeping genre fresh, beginning a new co-writing relationship, managing multiple projects, choosing your next project, and - naturally - Star Wars.

SPOILERS ABOUND, particularly for The Mandalorian Season 2 and Ready or Not.

Thanks to Chris Walker for editing this episode.

RUNNING ORDER

00:00:00 - Intro
00:02:55 - DZ update
00:11:18 - Mooting future topics
00:39:51 - Questions to ask of a new co-writing relationship
00:49:56 - Why is pressure different to stakes and obstacles?
00:55:22 - How to manage multiple projects?
01:07:08 - How to pick your next project?
01:19:54 - The Mandalorian Season 2

EPISODE LINKS

READ: Brandon Sanderson "My Work Life Balance As A Writer"

But the system using folders is actually from Anthony Johnston

READ: Anthony Johnston - "The Organized Writer"

Many thanks to all our patrons but particularly to Randy, Bjorn, Garrett, Joakim, Khrob, and Sandra. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

What can we learn from Sofia Coppola’s on-the-page skills over her career?

Following the success of the Tips from Tarantino episode, we have again decided to look at three different scripts from over the course of a long screenwriting career from a single writer to see what we can learn. Our beloved patreons not only selected Sofia Coppola as said writer, but also selected the scripts to analyse: LOST IN TRANSLATION, THE BLING RING and THE BEGUILED.

Stu and Chas are joined by repeat Draft Zero offender Melanie Killingsworth and are surprised to find that Coppola does not often write the tone or experience of her films into her scripts (given how specific her tone is and how unique the experiences of her films are). Instead, we are treated to a masterclass in writing character performance on the page - actor catnip, if you will - as well as Coppola’s insightful use of white space.

You can also watch the complete live stream on YouTube.

As always: SPOILERS ABOUND.

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Chris Walker for editing this episode, and to Carissa Lee for reading the script excerpts.

RUNNING ORDER

00:00:00 - Intro
00:02:12 - Sofia Coppola & Writing to Direct
00:13:49 - Lost in Translation
00:54:07 - The Bling Ring
01:18:24 - The Beguiled
01:34:53 - Wrap Up & Key Learnings
01:45:28 - Backmatter: Cultural Portray in Lost in Translation

EPISODE LINKS

FOLLOW: Melanie Killingsworth – @mehlsbells on twitter
WATCH: Lost In Translation
READ: http://dailyscript.com/scripts/lost_in_translation.pdf
WATCH: The Bling Ring
READ: https://raindance.org/scripts/The%20Bling%20Ring.pdf
WATCH: The Beguiled
READ: https://www.scriptslug.com/assets/uploads/scripts/the-beguiled-2017.pdf
READ: DZ-76 Sofia Coppola Collated Scripts
READ: Hit film gets lost in racism row
READ: Latent racism 'Lost in Translation'

RELATED EPISODES

DZ-13: True that - Tips from Tarantino
DZ-60: Unfilmables 1 - Engaging imagination
DZ-16: Masters of Whitespace

This episode brought to you by ScriptUp - https://www.scriptupstudio.com - use promo code DZ10 to get 10% off.

Many thanks to all our patrons but particularly to Randy, Bjorn, Jack, Khrob, and Sandra. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

How can you do powerful storytelling... without dialogue?

Stu and Chas are joined by filmmaker, podcaster and writer Matthew Brown to deep dive into FURY ROAD and its astounding visual storytelling, both on the page and on screen. We talk about setups and payoffs, given circumstances, image systems, environmental storytelling, and how the relationship between Furiosa and Max is built over the course of the story with very little dialogue (besides Tom Hardy’s grunts and the odd bellow of “MEDIOCRE!”).

You can also watch the complete live stream on YouTube or just the breakdown of the Furiosa/Max fight (which isn’t in the podcast) here.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

RUNNING ORDER

00:00:00 Intro: Fury Road & Visual Storytelling
00:01:07 Why Fury Road?
00:06:17 World Building & Given Circumstances
00:23:19 World Building & Plot Points
00:30:50 Setups & Payoffs
00:35:03 Who is the Protagonist?
00:35:08 Max & Furiosa's Arc
01:00:44 Stray Observations
01:05:28 Wrap Up

EPISODE LINKS

FOLLOW: Matt Brown - @tederick on twitter, or buy his book at tederick.com/furyroad
READ: Cinephillia and Beyond - In Search of Our Better Selves: The Rebirth, Redemption and Road Warriors of George Miller’s ‘Mad Max: Fury Road’
WATCH: Mad Max: Fury Road
READ: The Art of Mad Max Max Fury Road

RELATED EPISODES

DZ-33: Protagonist vs Hero – Dawn of Character Function
DZ LiVE Ep3 - Watchmen - The Comic, The Movie & The Show

Many thanks to all our patrons but particularly to Stuart, Jack, Chris, Khrob, and Sandra. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

LINKS @ http://linktr.ee/draftzero

BUY DRAFT ZERO MERCH via TeePublic

What can we learn from folk horror?

Draft Zero return with their next YouTube livestream! Stu and Chas are joined by previous guest (and successful screenwriter) C.S. McMullen for a deep dive into MIDSOMMAR! We analyse the film through the lens of Folk Horror, but tackle broader topics such as horror vs dread, rising tension, transgressions, unfilmables, and portraying toxic relationships.

You can also watch the recorded live stream on YouTube.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

RUNNING ORDER

00:00:00 Intro: Misommar & Folk Horror
00:00:15 Why Midsommar?
00:03:54 What makes horror "folk"?
00:18:20 The First Ritual
00:32:17 Transgressions
01:07:32 Grief & The Ending
01:23:18 The May Queen
01:40:04 Wrap Up & An Exercise

EPISODE LINKS

Watch: Midsommar
Watch: The Wicker Man

RELATED EPISODES

Listen: DZ-60: Unfilmables 1 - Engaging imagination
Listen: DZ-61: Unfilmables 2 – Moments of Awe
Listen: DZ-62: Unfilmables 3 - As Ifs & Emotional context

Many thanks to all our patrons but particularly to Stuart, Jack, Chris, Khrob, and Sandra. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

LINKS @ http://linktr.ee/draftzero

BUY DRAFT ZERO MERCH via TeePublic

How do I write selling documents differently to development documents?

In developing our stories and scripts, we have probably written some combination of treatments and loglines and outlines. Some of us have probably even sent these development materials out to producers or agencies when “selling” a project — as a step towards getting someone to read or gulp produce your material. If so… have you written them differently? Should you have? You probably should have...

In this final part from the epic recording on short documents, Stephen explores how we should craft the words on the page and structure these documents differently when they are to sell the project as opposed to develop the project. Something that Chas and Stu badly need to hear, learn and apply right now.

RELATED EPISODES

Listen: DZ-71: Treatments & Loglines - Development Tools
Listen: DZ-72: Theme & the Story Synopsis - Development Tools 2

Many thanks to all our patrons but particularly to Theis, Jack, Chris, Khrob, Sandra, and Matteo. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

LINKS @ http://linktr.ee/draftzero

How can I develop my theme without writing script pages?

Continuing our look at tools used in development, Chas & Stu are joined by Stephen Cleary to talk about Theme, The Thematic Logline and what Stephen calls The Story Synopsis. All are tools to help writers better understand their theme and how it is dramatised. We use the classic film WITNESS as an example, so spoilers abound.

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Thanks to Meegan May for reading the examples. Meegan May is an emerging queer screenwriter and former military intelligence analyst with plenty of award winning scripts and extensive experience in development. Look her up!

RUNNING ORDER

00:00:00 - Intro: Theme in Development
00:01:54 - The Story Synopsis
00:04:19 - Plot & Theme / Praxis & Mythos
00:11:12 - Back to the Story Synopsis
00:13:45 - Witness
00:16:09 - Thematic Logline
00:17:00 - Using the Thematic Logline in development ()
00:22:26 - Witness - 1st Act in Story Synopsis
00:25:46 - Witness - 2nd Act in Story Synopsis
00:28:55 - Characters, Plot & Theme
00:30:27 - Witness - Book drops his facadé ()
00:33:25 - Witness - 3rd Act in Story Synopsis ()
00:40:49 - Witness - Complete Story Synopsis
00:41:51 - Using the Story Synopsis in development
00:48:04 - Rewriting using the Story Synopsis
00:54:53 - Wrap Up

EPISODE LINKS

Watch: Witness
Watch: Lawrence of Arabia
Watch: MacBeth

RELATED EPISODES

Listen: DZ-71: Treatments & Loglines – Development Tools
Listen: DZ-54: Thematic Sequences
Listen: DZ-41: Theme and Worldview

Many thanks to all our patrons but particularly to Theis, Jack, Chris, Khrob, Sandra, and Matteo. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

LINKS @ http://linktr.ee/draftzero

How can I develop my plot before writing the screenplay?

Stu and Chas are joined by fan-favourite, Stephen Cleary, to NOT look at what makes great screenplays work -- but what makes great "short documents" work. We draw on Stephen Cleary's wealth of experience in developing work with writers, as a producer, as a script editor and as a former head of development.

This recording turned especially epic and so we have divided it into three parts that can be listened to in any order.

Part I explores the short documents and tools you can use to develop your story’s PLOT before going to script, including the Premise, the Logline, various synopses, character documents, and - of course - the dreaded Treatment… But also looks at development tools that aren’t written like: script reads, mini-shoots and animatics.

Stay tuned for Part II which delves into documents that develop your story’s theme and then Part III where we look at how to write short documents differently when your objective isn’t story development but rather selling your idea/project.

RUNNING ORDER

00:00:00 - Intro
00:13:32 - The writing gym
00:19:32 - Animatics & Script Readings
00:28:08 - Telling your story out loud
00:31:07 - Why Treatments suck
00:36:49 - The Premise
00:44:43 - Exploring WRITTEN short docs
01:04:29 - What about non-hero's journey?
01:14:36 - Using short docs to keep going
01:21:04 - Back to the Premise
01:24:37 - Moving from Premise to Logline
01:25:33 - Stay tuned for Part 2!

Many thanks to all our patrons but particularly to Theis, Jack, Chris, Khrob, Sandra, and Matteo. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

LINKS @ http://linktr.ee/draftzero

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How does Joker use melodramatic techniques to elevate its storytelling?

Draft Zero return with their next YouTube livestream! Stu and Chas take a deep dive into JOKER and analyse the film through the story paradigm of melodrama. Is it a melodrama? Why or why not does that matter? And does that influence how it has been written on the page?

They then answer listeners questions on JOKER and more.

If you want to listen in on the next live recording, find details here: https://www.patreon.com/posts/dz-livesolation-35770237 and/or subscribe to us on YouTube via http://www.draft-zero.com/YouTube

If you want to watch along instead of listen, you can watch on YouTube: https://youtu.be/pcMKhzJ1LkM

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

RUNNING ORDER

00:00:00 - Intro: Joker & Melodrama
00:01:42 - What is Melodrama?
00:16:47 - Why Joker?
00:23:25 - Is Joker a Melodrama?
00:24:40 - Father & Son
00:28:00 - Penny Fleck's confession
00:41:30 - What is it like to be powerless?
00:54:35 - Bathroom Dancing
01:01:12 - The Joker Born
01:15:04 - Arthur Stands Up
01:28:42 - Listener Questions

EPISODE LINKS

Read: Slap Happy Larry - Tips for Writing Melodrama
Read: Joker by Todd Phillips & Scott Silver
Watch: Joker (2019)

DZ RELATED EPISODES

Listen: DZ-67: Writing “Passive” Protagonists & Melodrama

Many thanks to all our patrons but particularly to Theis, Jack, Chris, Khrob, Sandra, and Matteo. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

LINKS @ http://linktr.ee/draftzero

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How can you use audience questions to heighten emotional investment?

Draft Zero return with their next YouTube livestream! Stu and Chas take a deep dive into PARASITE and how its mastery of audience questions elevates the film. They then answer listeners questions on PARASITE and much more.

If you want to listen in on the next live recording, find details here: https://www.patreon.com/posts/dz-livesolation-35770237 and/or subscribe to us on YouTube via http://www.draft-zero.com/YouTube

If you want to watch along instead of listen, you can watch on YouTube: https://youtu.be/RWlYaityMfs

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

RUNNING ORDER:

00:00:00 - Frontmatter
00:01:22 - Intro: Parasite
00:10:43 - Cast of Characters
00:12:43 - The Establishing Sequence
00:23:23 - The Kim's Infiltrate
00:42:50 - The Kim's Stay at the Park House
00:47:02 - The Midpoint
00:53:19 - The Flood
00:56:20 - The Party
01:05:29 - What is the Parasite?
01:10:30 - Backmatter & Listener Questioners

EPISODE LINKS:

Read: Parasite by Joon-ho Bong & Jin Won Han
Watch: Parasite (2019)

DZ RELATED EPISODES:

Listen: DZ-46: Structure & Point of View
Listen: DZ-54: Thematic Sequences

Many thanks to all our patrons but particularly to Theis, Jesse, Jack, Chris, Khrob, Sandra, Nick, and Matteo. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

LINKS @ http://linktr.ee/draftzero

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How can shifting narrative point of view drive your sequences?

Born out of isolation madness, this episode is an edited version of Draft Zero’s first YouTube livestream. Stu and Chas both watched KNIVES OUT and - together with our listeners - broke down each sequence and turning point by reference to what the audience knows in relation to the characters (aka narrative point of view). hey then answer listener questions on KNIVES OUT and much else besides live on air.

If you want to listen in on the next live recording, find details here: https://www.patreon.com/posts/dz-livesolation-35770237 and/or subscribe to us on YouTube via http://www.draft-zero.com/YouTube

If you want to watch along instead of listen, the video of the episode can be found here: https://youtu.be/EsqoCVu-oX8?t=188

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

RUNNING ORDER:

00:05:19:23 - Summary of narrative point of view and audience expectations
00:10:12:23 - Exploring some of Rian Johnson’s word craft
00:14:15:11 - Micro POV shifts in the interview montage
00:21:16:22 - How POV shifts turn the film
00:47:22:02 - When to let your foot off the plot gas
00:59:46:20 - Backmatter / Listener Questions

EPISODE LINKS

Read: Knives Out - A Murder Mystery by Rian Johnson
Watch: Knives Out

DZ RELATED EPISODES:

Listen: DZ-46: Structure & Point of View
Listen: DZ-05: Shifting audience point of view and heightened emotions

Many thanks to all our patrons but particularly to Theis, Jesse, Jack, Chris, Khrob, Sandra, Nick, and Matteo. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

LINKS @ http://linktr.ee/draftzero

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How do I tell a powerful story where the protagonist cannot drive the plot?

Stu and Chas are joined by Stephen Cleary following his exploration into Melodrama, and together they try to reclaim the word from its pejorative meaning.

By examining powerful Melodramas - like THE HANDMAID’S TALE, LADIES IN BLACK and STRANGER THINGS… with many a tangent on MARRIAGE STORY, PETE’S DRAGON, MILDRED PIERCE, GAME OF THRONES, LOST, THE JOKER, THE KILLING, THE WITCHER, war movies and survival films - the three hosts try to unpick what makes Melodrama an alternate story paradigm to the Hero’s Journey.

They delve into how Melodramas centre on characters that don’t have agency; where the plot happens to characters (as opposed to being driven by them); how Melodramas don’t end so much as close; and how all of the above delves into character questions more deeply than the Hero’s Journey. And to wrap it all up, the kind of techniques you use on the page to write effective melodramas.

CW: There is a lot of discussion in this episode about melodrama being associated with “women’s stories” vs the “hero’s journey” - which is biased towards a ‘masculine’ mode of storytelling - and we fully acknowledge in the show and here that we are three cismen talking about these things.

This episode was edited by Christopher Walker. Audio excerpts used for educational purposes only.

RUNNING ORDER:

00:01:14 - Intro: Melodrama & Passive Protagonists

00:01:31 - What is Melodrama?

00:37:46 - The Handmaid's Tale

Watch: https://www.themoviedb.org/tv/69478-the-handmaid-s-tale

00:56:08 - Horror and Melodrama

01:00:23 - Marriage Story

Watch: https://www.themoviedb.org/movie/492188-marriage-story

01:14:58 - The Handmaid's Tale & Narrative Techniques

01:30:06 - Game of Thrones and Endings

Watch: https://www.themoviedb.org/tv/1399-game-of-thrones

01:33:07 - Melodrama & Endings

01:38:37 - Ladies in Black

Watch: https://www.themoviedb.org/movie/483411-ladies-in-black

02:13:12 - Stranger Things

Watch: https://www.themoviedb.org/movie/182026-stranger-things

02:31:34 - The Killing

Watch: https://www.themoviedb.org/tv/32368-forbrydelsen

02:38:07 - The Witcher

Watch: https://www.themoviedb.org/tv/71912-the-witcher

2:43:53 - Wrap Up: Passive & Still Characters

Read: The Handmaid’s Tale - 101 Offred

DZ RELATED EPISODES

DZ-52: Antagonists! (Part 4) – vs Systems - http://draft-zero.com/2018/dz-52/
DZ-63: Tools for Better Dialogue (Part 2) – Hook and Eye - http://draft-zero.com/2019/dz-63/
DZ-60: Unfilmables and Unscriptables (Part 1) – Engaging imagination: http://draft-zero.com/2019/dz-60/
DZ-61: Unfilmables and Unscriptables (Part 2) – Moments of Awe: http://draft-zero.com/2019/dz-61/

Many thanks to all our patrons but particularly to Theis, Jesse, Jack, Chris, Khrob, Sandra, Nick, and Matteo. They’re good humans.

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

LINKS @ http://linktr.ee/draftzero

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How does Draft Zero cope with lockdown?

LINKS

Facebook: http://facebook.com/draftzeropodcast/
Patreon: http://patreon.com/draftzero/
YouTube: https://www.youtube.com/channel/UCIEz5b9FMNa7Tj8DkcJQWRA

Dear DZ Listeners,

We hope you are all staying healthy and safe. Due this difficult time of lockdown, Chas and Stu have decided to “regularly” do special live-streamed episodes (via YouTube Live) of Draft Zero that we are calling LiVEsolation.

They different from (and in addition to) Draft Zero Classic™ as you’ll be able to interact with us as we record: asking questions, prompting for clarification, and making observations that come part of the discussion. You’ll also be able to see video of our us (👎) while also seeing video of the scripts and scenes we are discussing (👍). After they’re streamed, recordings of the livestreams (including the chat!) will be on our YouTube channel for later viewing.

LiVEsolation episodes that we particularly like will also be cleaned up and put out through the traditional podcast feed… but not always. Because our priority is doing these regularly, they'll be looser - like a great live gig. We are aiming for once-a-week and at the same time… but that won’t always be possible due to… well…life. We are also having special guests and will need to work around their schedules and timezones.

So how do you keep up wth our shifting schedule?

We recommend you like our page on Facebook. Our livestreams will be created as events so you know what streams we will be doing and when… in your timezone!

We are also making PUBLIC posts on our Patreon page (i.e. ones you don’t have to pay for if you don’t have the coin during these trying times), so if you follow us there you’ll get something like an email newsletter with announcements about what’s forthcoming. Oh, and if you are a Patreon you’ll get priority access to the online chat (when appropriate) and also get to vote on forthcoming topics.

Meanwhile, Draft Zero Classic™ episodes will continue as scheduled. All of the above is in addition to what we already had planned, driven entirely by isolation and a need for community right now.

We hope to see you on the livestream soon!

— Stu and Chas.

How does audience knowledge affect your character’s motivations?

Chas and Stu are joined by special guest - filmmaker Mel Killingsworth - to talk all things Star Wars. Well. Focusing on The Mandalorian and The Rise of Skywalker and wherever else our tangents take us.

Our primary lens is look at how both shows handle “fan service” — but really its about how you handle character motivations when your audience has more knowledge than your characters, especially knowledge from outside the show itself. To that end, we discuss the characters of Poe, Rey, Kylo, and Palpatine in depth. We also discuss the Watchmen TV Show, Mind-hunter, Jojo Rabbit, Snowtown and Zodiac.

SPOILERS ABOUND. Excerpts used for educational purposes. Thanks to Chris Walker for editing this episode.

RUNNING ORDER

Introduction: Fanservice
Poe's Backstory (@ 4:03)
The Mandalorian (@ 11:40)
The Rise of Skywalker (@ 23:01)
Rey Palpatine (@ 24:24)
Palpatine's Plan (@ 38:27)
Rey Skywalker (@ 46:05)
Ben Solo - Depressive Demon Nightmare Boy (@ 52:12)
Palpatine's Return & Watchmen (@ 01:07:27)
Rose Tico (@ 01:15:54)
Fake-Outs (@ 01:19:15)
The Mandalorian (Revisited) (@ 1:26:08)
Wrap Up & Key Learnings (@ 1:30:38)

EPISODE LINKS:

READ: Wikipedia - Fan Service
READ: “The Rise of Skywalker: Memorabilia without Memory, a Misunderstanding of Hope” by Jeanette Ng
READ: “The Force Belongs To Us: THE LAST JEDI’s Beautiful Refocusing of Star Wars” by Film Crit Hulk
LISTEN: Fatman Beyond http://feedproxy.google.com/~r/FatManOnBatman/~3/grl4sApz4cE/271-the-rise-of-skywalker-spoiler-show
FOLLOW: Mel Killingsworth https://twitter.com/mehlsbells?s=20
WATCH: https://www.b-windmedia.com/

DZ RELATED EPISODES:

DZ-29: Showdowns & Scene Structure
DZ-47: Backmatter – A Lost Jedi
DZ-55: Character Motivations (Part 1)
DZ-56: Character Motivations (Part 2)

lease considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

Many thanks to all our patrons but particularly to Theis, Jesse, Jack, Chris, Khrob, Sandra, Nick, and Matteo. They’re good humans.

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What changes in your writing and development when collaborating with a director?

This episode, Chas steps down as co-host (kinda) and is interviewed by Stu as a guest, alongside director Ben Mizzi, about the short rom-com that Chas wrote and Ben directed & produced. The episode covers taking an idea from pitch to screen, working with a director, directing performance on the page, and marketing and distribution strategies for short films.

If you are thinking of producing your own content, well worth a listen!

And if you want to watch The Snip - a 16 min rom com about a guy who gets a vasectomy without telling his wife - here it is: https://youtu.be/_iBdDFKqqbs

Thanks to Chris Walker for editing this episode.

RUNNING ORDER

Introduction: The Snip
Working With a Director (@ 3:44)
How did you go from pitch to script? (@ 13:16)
Short films and audience expectations (@ 22:19)
What expectations can you have of the end product? (@ 26:41)
How do you "direct" performance on the page? (@ 39:05)
How do you direct performance from a writer? (@ 46:03)
What are some marketing strategies for short films? ( @ 52:28)
What is your online release strategy? (@ 58:22)

EPISODE LINKS

WATCH: The Snip - https://youtu.be/_iBdDFKqqbs
LISTEN: Screen Director with Jeremy Saunders on Key Art - http://www.screendirector.org/post/2015/8/14/jeremy-saunders-key-art

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

Many thanks to Chris, Sandra, Jack, Jessie, Nick, Khrob and Theis for being top-level patrons. They’re good humans. Consider joining their ranks and supporting us on Patreon!

In our annual Backmatter-only episode, Stu and Chas indulge themselves by offering personal opinions on the life and work of emerging screenwriters based on their own personal experience.

To that end, they discuss: what is and is not in your control in relation to an emerging writing career; choosing what project to develop next; using the Black List site to gain traction; the difference between treatments for pitching as opposed to for development; and the difference in writing style when writing on spec as against work for hire.

We also unexpectedly have a guest: David Wappel kindly joins us to share his thoughts on anchoring nouns.

RUNNING ORDER

Intro
What is in your control? (@ 05:27)
Choosing what to develop (@ 28:58)
Using the Black List site (@ 33:24)
Treatments for development vs for pitching (@ 59:47)
Writing on spec vs work for hire (@ 01:23:23)
Backmatter on backmatter (@ 01:37:37)

EPISODE LINKS

Wordplayer.com: WORDPLAY/Columns/55. "Time Risk" by Terry Rossio
M. Night Shyamalan on His Failures, His Successes, and Glass
The Black List site: www.blcklst.com
Julio Olivera’s script reading services: www.wearethecontrarians.com/Julio-reads-your-script
Stranger Things pitch bible: http://www.zen134237.zen.co.uk/Stranger_Things/Stranger_Things_-_Bible.pdf
Can’t watch a rough cut lady song: https://youtu.be/4MNg3sSZ9F8
Write Along Podcast on Planners and Pantsers - www.writealongpodcast.com/2018/11/09/ep-2-planners-and-pantsers/
David Wappel is @davidwappel on Twitter and his website is www.davidwappel.com

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners.

Many thanks to Daniel, Chris, Sandra, Jack, Jessie, Nick, Khrob and Theis for being top-level patrons. They’re good humans.

How can you create flow and contrast in your dialogue?

A full three years after the first instalment (and one of our most popular), Stu and Chas have kidnapped Stephen Cleary to once again develop some craft tools around dialogue. It would be fair to say that - in that time - all three have learnt a lot more about dialogue than they knew in 2016. It would be also fair to say that Stephen perhaps learnt a little more through his research into “genderlect”.

In Part II, we analyse key scenes from films and TV shows famous for their dialogue, namely FLEABAG (Season 2, Episode 5), JUNO and DEADWOOD (The Pilot). The biggest tools we explore are: the hook and eye; how dialogue can reveal status and empathy; rhythm; contrast and affinity; and pacing.

And just to help us all out, Stephen rounds out the episode with some quick fire examples - FIVE EASY PIECES, JERRY MAGUIRE, GROSSE POINTE BLANK, and NOTTING HILL (again) - and further dialogue tips.

Thanks to Chris Walker for editing this episode during the holiday season.

RUNNING ORDER

Intro/Groundwork
Status and Gender (@ 05:52)
FLEABAG (Season 2, Episode 5) by Phoebe Waller-Bridge (@ 15:26)
- WATCH: Hair Is Everything — https://www.youtube.com/watch?v=q97iIDx-b7U
- JustWatch: https://www.justwatch.com/us/tv-show/fleabag
JUNO by Diablo Cody (@ 47:41)
- WATCH: Juno Tells Her Parents: — https://www.youtube.com/watch?v=tWC-R-q85JU
- JustWatch: https://www.justwatch.com/us/movie/juno
DEADWOOD (Pilot) (@ 01:20:20)
- WATCH: Seth Bullock Hangs a Man in Montana https://www.youtube.com/watch?v=TtgjwmYgTOg
- JustWatch: https://www.justwatch.com/us/tv-show/deadwood
More Dialogue Tips and Techniques (@ 01:40:55)
- WATCH: Jerry Maguire “Show me the money” - https://www.youtube.com/watch?v=ZTFJocQBLyE
- WATCH: Grosse Pointe Blanke “You can never go home again” - https://www.youtube.com/watch?v=WgLr6qlpec4
- WATCH: Notting Hill “Kitchen Scene” - https://www.youtube.com/watch?v=xtQShHQuPwI&t=93s

EPISODE LINKS * LISTEN: DZ-31: Tools for Better Dialogue (Part 1) * WATCH: Five Easy Pieces “Side Order of Toast” - https://www.youtube.com/watch?v=38maVb_30ng * FOLLOW: Stephen Cleary * JOIN: Stephen Cleary Workshops * READ: Genderlect / Language and Gender * READ: The Truth About How Much Women Talk — and Whether Men Listen

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

Many thanks to all our patrons but particularly to Theis, Jesse, Daniel, Jack, Chris, Khrob, Sandra, Nick, Matteo, and Carrie. They’re good humans.

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How do you know if your unfilmable is good... or if you’re just being a wanker?

In this third and final part of our series on unfilmables, Chas and Stu turn their critical eye to... each other’s work! They take their key learnings from the previous episodes and apply them to rewriting scenes from their own projects. They discuss metaphors, emotional context, and how you can write tone on the page withoutresorting to unfilmables.

They are also joined by Carissa Lee (who has been reading the excerpts) to discuss her perspective as an actor on the scripts we’ve been reading; and they answer listener questions about unfilmables.

And, lastly, in backmatter Carissa reads the entire script to Stu’s award-nominated script, DUST BUNNY.

Thanks to Chris Walker for editing this episode, and Carissa Lee for performing the big print.

RUNNING ORDER * Introduction / Discussion * UNCONDITIONAL (Pilot) by Chas Fisher (@ 09:10) * PAYLOAD by Matthew Clayfield & Stuart Willis (@ 38:48) * DUST BUNNY by Stuart Willis (@ 59:50) * THE ACTOR’S PERSPECTIVE with Carissa Lee (@ 01:15:59) * LISTENER QUESTIONS & KEY LEARNINGS (@ 01:41:56) * Backmatter: DUST BUNNY - full script read by Carissa Lee (@ 01:59:13)

EPISODE LINKS * LISTEN: DZ-60: Unfilmables and Unscriptables (Part 1) – Engaging imagination * LISTEN:DZ-61: Unfilmables and Unscriptables (Part 2) - Moments of Awe * READ: DZ-62 Unfilmables (Part 3) - Collated Scripts * WATCH: PAYLOADwritten & directed by Stuart Willis * WATCH: RESTORATIONwritten by Matthew Clayfield & Stuart Willis * LISTEN: PAYLOAD Original Soundtrackcomposed by David Barber * LISTEN: RESTORATION Original Soundtrackcomposed by David Barber

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

Many thanks to all our patrons but particularly to Theis, Jesse, Daniel, Jack, Chris, Khrob, Sandra, Nick, Matteo, and Carrie. They’re good humans.

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How can unfilmables help you create those cinematic moments of awe?

In this second part of our series on unfilmables, Chas and Stu continue their deep dive into how writing the “unfilmable” can enhance your script. Rather than looking at micro moments, they turn their gaze to "moments of awe" — those often breathtaking cinematic moments that feel beyond writing. But are those scenes actually unscriptable?

In this episode we look at sequences from YOU WERE NEVER REALLY HERE, SEARCHING FOR BOBBY FISCHER, THE INVITATION, and MOONLIGHT. We talk writing cinematically, performance beats, breaking (and maintaining) “the spell”, limited palettes of language, self-contextualising writing, and "instructables".

Thanks to Chris Walker for editing this episode, and Carissa Lee for performing the big print.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

RUNNING ORDER * WHEN UNFILMABLES DON’T WORK(@ 12:01) * YOU WERE NEVER REALLY HERE(@ 26:08) screenplay by Lynne Ramsay, based on the novella by Jonathan Ames + READ: https://www.scriptslug.com/script/you-were-never-really-here-2017 + JustWatch:https://www.justwatch.com/au/movie/you-were-never-really-here * SEARCHING FOR BOBBY FISCHER(@ 38:29) screenplay by Steven Zallian, based on the book by Fred Waitzkin + WATCH (YouTube): Searching For Bobby Fischer - final game + JustWatch: https://www.justwatch.cohttps://www.justwatch.com/au/movie/searching-for-bobby-fischerm/au/movie/searching-for-bobby-fischer * THE INVITATION(@ 01:04:14) by Phil Hay & Matt Manfredi + READ: https://www.reddit.com/r/Screenwriting/comments/4rbc3v/request_the_invitation_pdf/ + JustWatch: https://www.justwatch.com/au/movie/the-invitation * MOONLIGHT(@ 01:29:29) Written by Barry Jenkins, Based on “In the Moonlight Black Boys Look Blue” by Tarell Alvin McCraney + WATCH: Moonlight 2016 Ending + READ: https://www.dailyscript.com/scripts/MOONLIGHT.pdf + JustWatch: https://www.justwatch.com/au/movie/moonlight * WRAP UP AND KEY LEARNINGS(@ 01:49:43)

EPISODE LINKS

LISTEN: DZ-16: Masters of Time and Whitespace
LISTEN: DZ-60: Unfilmables and Unscriptables (Part 1) – Engaging imagination
READ: DZ-61 Unfilmables Part 2 - Collated Scripts

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter.

Many thanks to all our patrons but particularly to Jesse, Daniel, Devin, Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie. They’re good humans.

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How can unfilmables enhance the experience of your script?

AKA Why your screenwriting guru is wrong

In this episode, Chas and Stu deep dive into the controversial area of “unfilmables” — those alleged screenwriting sins, where a writer writes a line that (apparently) cannot be seen or heard. But many produced spec scripts use unfilmables to great effect. So how and why do they “get away with it”?

In this first part, they look at unfilmables in micro moments: to describe locations, set (or change) the mood/tone, bring performances to life, and communicate certain types of humour. To that end, they breakdown into examples from LETHAL WEAPON, MY BRIDESMAID IS A BITCH, HEREDITARY, FLEABAG, KILLING EVE, A QUIET PLACE, KILLING THEM SOFTLY, SHARP OBJECTS, SPARTAN, THE NICE GUYS, DRIVE, THREE BILLBOARDS OUTSIDE EBBING MISSOURI, TREE OF LIFE, and MICHAEL CLAYTON.

Thanks to Chris Walker for editing this episode, and Carissa Lee for performing the big print.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

RUNNING ORDER

ASIDES (@ 23:08)

LETHAL WEAPON by Shane Black
YOUR BRIDESMAID IS A BITCH by Brian Duffield
HEREDITARY by Ari Aster

FRAMING THE SCENE (@ 52:58)

READ: Jane Espenson - The Grim Brothers
KILLING EVE, EPISODE1 by Phoebe Waller-Bridge

OPENINGS (@ 59:27)

KILLING THEM SOFTLY screenplay by Andrew Dominik, based on the novel “Cogan’s Trade" by George V. Higgins
SHARP OBJECTS. EPISODE 1, VANISH Written by Marti Noxon, Based on the novel by Gillian Flynn
HEREDITARY by Ari Aster
SPARTAN a screenplay by David Mamet

PERFORMANCE (@ 1:36:07)

FLEABAG PILOT written by Phoebe Waller Bridge
THE GIRL ON THE TRAIN by Erin Cressida Wilson, Adapted from the novel by Paula Hawkins
THE NICE GUYS by Anthony Bagarozzi & Shane Black
DRIVE written by Hossein Amini, Based on the novel by James Sallis

TONE/THEME (@ 01:54:49)

MICHAEL CLAYTON by Tony Gilroy
THE TREE OF LIFE by Terrence Mallick
THREE BILLBOARDS OUTSIDE EBBING MISSOURI by Martin McDonagh
WRAP UP / KEY LEARNINGS (@ 02:11:52)

EPISODE LINKS

READ: DZ-60 - Unfilmables Collated Examples
READ: Cinephilia & Beyond -In Search of Our Better Selves: The Rebirth, Redemption and Road Warriors of George Miller’s ‘Mad Max: Fury Road’
LISTEN: DZ-16: Masters of Time and Whitespace

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter.

Many thanks to all our patrons but particularly to Devin, Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie. They’re good humans.

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One day, Chas saw Avengers: Endgame for the second time and wrote a review on Letterboxd. In particular, he had issues with how little he perceived the characters of Cap and Tony changed within the film, their big finale (spoiler). Then friend and patron of the podcast Julio vehemently disagreed in the comments. He was egged on by Stu. And there in the comments began a debate that looked a lot like an episode of Draft Zero. So we decided to make it one.

And what began as an exploration of how to dramatise character change swiftly became an exploration of how to position audience in relation to your characters. Do you want the audience empathising with the characters? Feeling what they are feeling in the moment? Or do you want your audience sympathising with your characters? Being rocked by surprise after the fact? Reminding your audience of their own personal relationship with the characters.

As always, spoiler-tastic.

RUNNING ORDER

CHAS’ LETTERBOXD REVIEW [@ 00:00:00]
HOW DOES THE SNAP AFFECT CAP & TONY? [@ 00:04:27]
HOW IS TONY’S JOURNEY DRAMATISED? [@ 00:08:31]
WORKSHOPPING A MOMENT WHEN TONY RISKS IT ALL [@ 00:26:56]
PROVING TONY HAS CHANGED SINCE IRON MAN [@ 00:35:13]
HOW IS STEVE’S JOURNEY DRAMATISED? [@ 00:48:03]
WHAT IF CAP CHOSE TO STAY IN THE PAST? [@ 00:54:49]
KEY LEARNINGS [@ 01:02:43]

EPISODE LINKS

Chas’ full review on Letterboxd: https://boxd.it/HqvKD
Screenrant: Russos Claim Cap Could Lift Mjolnir in Avengers 2 But Didn’t Want to Upset Thor - https://screenrant.com/captain-america-mjolnir-worthy-explained-russos/

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @chasffisher, and @Ovnio on twitter.

Many thanks to all our patrons but particularly to Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie. They’re good humans.

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How can you let your characters tell us how they feel?

In watching Season 7 (and the first three episodes of Season 8) of Game of Thrones, Stu noticed that there were lots of scenes where characters either met for the first time or were reunited after a long time apart. In these scenes, the audience knows (or thinks they know) more than either character. And so the fascination, power and subversion comes from what the characters choose to reveal... or not.

And yet... while we thought this episode would be an extension of our previous musings on exposition, in nearly every great scene we assessed, the characters basically said “screw talking about plot or backstory” and instead exposited about their character. How it feels to be them. How they have, or have not, changed.

And so this episode unexpectedly but rewardingly pivoted to learnings on how to set up and sell character exposition.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

RUNNING ORDER

GAME OF THRONES & EXPOSITION [@ 00:01:10]
SCENES CONVEYING PRE-EXISTING FACTS
- JAIME VS CERSEI IN THE MAP ROOM [@ 00:12:54]
- YouTube: https://youtu.be/Y6x0KKghBGs
- ARYA & HOT PIE AT THE CROSSROADS [@ 00:28:23]
- YouTube: https://youtu.be/F8sJSjMNDSE
- JON VS THE BROTHERHOOD AT EASTWATCH [@ 00:39:10]
- YouTube: https://youtu.be/pGmQdbgwUWU
CONTRASTING SCENES WITH AND WITHOUT CHARACTER ACTION
- JON VS TYRION AT DRAGONSTONE [@ 00:47:54]
- YouTube: https://youtu.be/-vmNy9q9ebQ
- JON & DAVOS VS MISSANDEI AT DRAGONSTONE [@ 01:01:06]
- YouTube: https://youtu.be/1hRo54XNvek
STARK SIBLING REUNION SCENES
- ARYA VS SANSA IN THE CRYPT [@ 01:07:05]
- BRAN, ARYA & SANSA IN THE WEIRWOOD [@ 01:18:46]
- YouTube: https://youtu.be/xvEr2L3UbjQ
- ARYA VS JON IN THE WEIRWOOD [@ 01:27:14]
- YouTube: https://youtu.be/ShNNEn30Yi8
CHARACTER MONOLOGUING
- BRAN VS MEERA AT WINTERFELL [@ 01:33:06]
- YouTube: https://youtu.be/i-SiYKyFm2I
LEARNINGS [@ 01:37:14]
EDUCATION & THWARTING [@ 01:40:13]

EPISODE LINKS

Previous DZ episodes
- Excelling at Exposition (Part 1) - https://draft-zero.com/2016/dz-37/
- Excelling at Exposition (Part 2) - https://draft-zero.com/2016/dz-38/
- Game of Thrones - Decision Making & Character Implications - https://draft-zero.com/2016/dz-34/
Read: AV Club: As new spreads, Westeros reckons with the cumulative absurdity of Game of Thrones - https://tv.avclub.com/as-news-spreads-westeros-reckons-with-the-cumulative-a-1798194760
Listen: Terry Rossio on the On the Page Podcast: https://podtail.com/en/podcast/on-the-page-screenwriting/457-terry-wrossio/
Watch: Find Game of Thrones on JustWatch: https://www.justwatch.com/au/tv-show/game-of-thrones

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners.

Many thanks to all our patrons but particularly to Chris, Khrob, Sandra, Nick, Rob and new supporters Matteo, Daniel and Carrie. They’re good humans.

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How can you best articulate your ideas?

It is time (in fact, well past time) for our semi-annual #Backmatter episode. For the uninitiated, this is an episode where Stu and Chas discuss career and craft-related topics beyond what makes great screenplays work. To that end, Stu and Chas dive into: a five year review of Draft Zero and how it has changed their writing craft and process; a discussion on the aesthetics of writing; learnings for emerging writers in having their work produced; and finally forgiving yourself for not writing.

As always: an amazing thank you to out Patreons for supporting more Draft Zero more often, and in particular Patreon Chris Walker who edited this episode for us.

EPISODE LINKS

Beginner’s Guide to Draft Zero — http://draft-zero.com/beginners-guide/
Watch: Ira Glass on The Gap - https://m.youtube.com/watch?v=PbC4gqZGPSY
Listen: Lingua Ignota - For I Am The Light (And Mine Is The Only Way)https://linguaignota.bandcamp.com/album/all-bitches-die-2
Read: Michael Hauge — STORY STRUCTURE: The 5 Key Turning Points of All Successful Screenplays
Read: SIX-STAGE PLOT STRUCTURE CHART
Listen: David Foster Wallace - This is Water - https://m.youtube.com/watch?v=8CrOL-ydFMI
Read: How Millennials Became The Burnout Generation- https://www.buzzfeednews.com/article/annehelenpetersen/millennials-burnout-generation-debt-work

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners.

Many thanks to Carrie, Daniel, Chris, Sandra, Paul, Rob, and Khrob for being top-level patrons. They’re good humans.

Workshopping ways to fix character motivations.

In this second part of their exploration of character motivations, Chas and Stu dive into what makes “BAD” screenplays NOT work. They examine at moments where they (and maybe you, dear listeners) did not believe a key decision being made by a character and so were taken out of the movie. In a departure from the Draft Zero format, they apply the tools they developed in Part 1 to workshop potential fixes to these beats.

Character decisions that come under the microscope are AVENGERS: INFINITY WAR (again), SOLO: A STAR WARS STORY, DIE HARD (which is a good example for contrast, not a bad one!), PREDATOR 2, SICARIO 2: DÍA DEL SOLDADO and PROMETHEUS (with an honourable mention to A PRINCESS BRIDE).

Let us know if you like the variation on our format or not!

As always: SPOILERS ABOUND!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube.

Read the transcript on GitHub or in HTML.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

LINKS

DRAFT ZERO RELATED EPISODES
- DZ-55: Character Motivations (Part I) http://draft-zero.com/2019/dz-55/
- DZ-33: Protagonist vs Main Character http://draft-zero.com/2016/dz-33/
AVENGERS: INFINITY WAR screenplay by Markus & McFeely [@ 10m 41s]
- JustWatch: https://www.justwatch.com/au/movie/avengers-infinity-war
SOLO: A STAR WARS STORY screenplay by Jonathan & Lawrence Kasdan [@ 16m 58s]
- JustWatch: https://www.justwatch.com/au/movie/solo-a-star-wars-story
DIE HARD screenplay by Jeb Stuart and Steven E. de Souza [@ 34m 04s]
- JustWatch: https://www.justwatch.com/au/movie/die-hard-1
PREDATOR 2 written by Jim Thomas & John Thomas [@ 38m 04s]
- Youtube: Child vs Predator https://www.youtube.com/watch?v=lsDci3A76N0
- JustWatch: https://www.justwatch.com/au/movie/le-predateur-2
SICARIO 2: DÍA DEL SOLDADO written by Taylor Sheridan [@ 53m 30s]
- JustWatch: https://www.justwatch.com/au/movie/sicario-day-of-the-soldado
PROMETHEUS written by Jon Spaihts and Damon Lindelof [@ 1h 35m 15s]
- TV Tropes: Idiot Ball https://tvtropes.org/pmwiki/pmwiki.php/Main/IdiotBall
- Engineering Prometheus – From Jon Spaihts to Damon Lindelof:https://www.avpgalaxy.net/alien-movies/prometheus/engineering-prometheus/
- JustWatch: https://www.justwatch.com/au/movie/prometheus
WRAP UP & KEY LEARNINGS [@ 2h 04m 06s]
- Scriptnotes - Plot Holes: https://johnaugust.com/2019/plot-holes
- Scriptnotes - A Princess Bride: https://johnaugust.com/2019/the-princess-bride

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners.

Many thanks to Chris, Murirb, Sandra, Paul, Rob, and Khrob for being top-level patrons. They’re good humans.

BUY DRAFT ZERO MERCH via TeePublic

In part 1 of this 2-part episode, Chas & Stu look at examples of good character motivation. We’ve all watched movies where we don’t believe the motivation of a character or characters. We may have even written scripts where readers don’t buy the character’s choices. And that’s often a real problem because most of these choices coincide with key structural moments — e.g. the moments where the characters decide to do something “out of character” in order to progress to the next part of the story. To help us solve the problem of how to improve our character motivations, in this episode we explore great examples of character motivation and how they have helped the audience believe a character’s decision.

And so Chas and Stu dive into NOTTING HILL, TO ALL THE BOYS I’VE LOVED BEFORE, GAME NIGHT, ARRIVAL, IN THE BEDROOM, BEIRUT, BREAKING BAD, THE MATRIX, BLOCKERS, A NEW HOPE (of course) and AVENGERS: INFINITY WAR. Passing/honourable mention also to MANCHESTER BY THE SEA, THE COMMUTER, THE LOBSTER, GAME OF THRONES, IRON MAN, GUARDIANS OF THE GALAXY and DOCTOR STRANGE (as we re-visit and re-contextualise stuff we’ve analysed previously).

The potential craft tools they uncover are character patterning, structural timing of the decision, debating the decision (both internally and externally), withholding the decision from the audience, and using external plot elements to either remove obstacles or push the character into making a decision that is... well... out of character. But believably so.

Stay tuned for Part II where we - for once - actually do explore ome bad examples of character motivation.

As always: SPOILERS ABOUND!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube.

Read the transcript on GitHub or in HTML.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

LINKS

CRAFT TOOLS AND THE ISSUE OF SUBJECTIVITY
- MANCHESTER BY THE SEA written by Ken Lonergan [@ 5m 03s]
- Reddit Thread: https://www.reddit.com/r/Screenwriting/comments/8oew26/character_motivation_examples_of_motivations_that/
- JustWatch: https://www.justwatch.com/au/movie/manchester-by-the-sea
DECISION vs MOTIVATION [@ 9m 48s]
CHARACTER PATTERNING
- THE COMMUTER screenplay by Byron Willinger, Philip de Blasi and Ryan Engle [@ 11 m 3s]
- JustWatch: https://www.justwatch.com/au/movie/the-commuter/movie-tickets
- GAME OF THRONES [@ 13m 8s] https://www.justwatch.com/au/tv-show/game-of-thrones
EARLY CHARACTER DECISIONS
- NOTTING HILL written by Richard Curtis [@ 18m 54s]
- JustWatch: https://www.justwatch.com/au/movie/notting-hill
- TO ALL THE BOYS I’VE LOVED BEFORE written by Sofia Alvarez [23m 28s]
- JustWatch: https://www.justwatch.com/au/movie/to-all-the-boys-ive-loved-before
LATE CHARACTER DECISIONS
- AVENGERS INFINITY WAR written by C Markus & S McFeely [@ 37m 24s]
- JustWatch: https://www.justwatch.com/au/movie/avengers-infinity-war
DEBATING THE CHARACTER DECISION
- GAME NIGHT written by Mark Perez [@ 37m 24s]
- JustWatch: https://www.justwatch.com/au/movie/game-night
INTERNALLY DEBATE THE CHARACTER DECISION
- THE LOBSTER written by Yorgos Lanthimos and Efthymis Filippou [@ 52m 44s]
- JustWatch: https://www.justwatch.com/au/movie/the-lobster
- ARRIVAL written by Eric Heisserer [@ 54m 53s]
- JustWatch: https://www.justwatch.com/au/movie/arrival-2016
WITHHOLDING THE DECISION FROM THE AUDIENCE
- IN THE BEDROOM written by Robert Festinger and Todd Field [@ 1h]
- JustWatch: https://www.justwatch.com/au/movie/in-the-bedroom
- BEIRUT written by Tony Gilroy [@ 1 h 10m 45s]
- JustWatch: https://www.justwatch.com/au/movie/beirut/movie-tickets
PROVIDING MOTIVATION THROUGH BACKSTORY
- BREAKING BAD - “GRAY MATTER” written by Patty Lin and Vince Gilligan [@ 1h 10m 45s]
- JustWatch: https://www.justwatch.com/au/movie/beirut/movie-tickets
- NOTTING HILL written by Richard Curtis [@ 1h 19m 47s]
- JustWatch: https://www.justwatch.com/au/movie/notting-hill
- GAME OF THRONES - “AND NOW HIS WATCH IS ENDED” written by D Benioff & D B Weiss [1h 22m 15s]
- JustWatch: https://www.justwatch.com/au/tv-show/game-of-thrones
WORLD BUILDING AFFECTING DECISION MAKING
- THE MATRIX written by Lana & Lily Wachowski [@ 1h 25m 3s]
- JustWatch: https://www.justwatch.com/au/movie/the-matrix
REMOVING OBSTACLES/ANCHORS
- STAR WARS: EPISODE IV - A NEW HOPE written by George Lucas [@ 1h 29m 23s]
- JustWatch: https://www.justwatch.com/au/movie/star-wars-episode-iv-a-new-hope
OVERCOMING CHARACTER WOUNDS IN MARVEL FIRST ACTS [@ 1h 38m 8s]
GOALS, STAKES & URGENCY
- ScriptShadow: GSU!!!
- BLOCKERS written by Brian & Jim Kehoe [@ 1h 41m 43s]
- JustWatch: https://www.justwatch.com/au/movie/blockers
WRAP UP [@ 2h 9m 14s]
BACKMATTER [@ 2h 15m 20s]

How does removing character and plot questions force your audience to engage with theme?

Chas and Stu are joined, once again, by the inestimable Stephen Cleary. This episode is a spiritual sequel to our last episode with Stephen on sequence structure. That episode explored how sequences could be broken into plot, character, and plot/character sequences.

Well, Stephen’s back to talk about a different type of sequence: the thematic sequence. By limiting (or removing all together) questions related to character or plot, filmmakers can force their audience to engage with the deeper, underlying meaning of the story.

Our deep dive onto this topic focuses on LOVE ACTUALLY, THE EXTERMINATING ANGEL, APOCALYPSE NOW, and IN THE BEDROOM. But it wouldn’t be a Draft Zero without numerous digressions including into HUNGER, GET OUT, INFINITY WAR, and THE THIN RED LINE.

As always: SPOILERS ABOUND!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube.

Read the transcript on GitHub or in HTML.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

EPISODE LINKS

DRAFT ZERO RELATED EPISODES
- DZ-43: Driving Sequences – Character and Plot Intensity
- DZ-41: Theme and Worldview
- DZ-45: Arguments of the Scene
INTRODUCTION: Thematic Sequences
- Sequence Structure Refreshed [@ 1m 51s]
- What is a Thematic Sequence? [@ 10m 21s]
LOVE ACTUALLY written by: Richard Curtis [@ 13m 33s]
- JustWatch: https://www.justwatch.com/us/movie/love-actually
THE EXTERMINATING ANGEL story by: Luis Alcoriza & Luis Buñuel, screenplay: Luis Buñuel [@ 42m 29s]
- JustWatch: https://www.justwatch.com/us/movie/the-exterminating-angel
GET OUT(briefly) written by: Jordan Peele [@ 1 h 13s 28s]
- Watch: Get Out - Dinner Party Scene
- JustWatch: https://www.justwatch.com/us/movie/get-out
APOCALYPSE NOW written by: John Milius and Francis Ford Coppola, narration by: Michael Herr [@ 1h 17s 10s]
- Watch: “Because it’s judgement that defeats us”
- JustWatch: https://www.justwatch.com/us/movie/apocalypse-now-redux
IN THE BEDROOM screenplay: Robert Festinger and Todd Field [@ 1h 57s 04s]
WRAP UP AND KEY LEARNINGS [@ 2 h 42m 41s]
- Watch: The Thin Red Line - Opening Scene

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners.

Many thanks to Murirb, Sandra, Paul, Rob, Christopher, Joakim and Khrob for being top-level patrons. They’re good humans.

What if there is no antagonist?

It’s time. The Epic Deep Dive(TM) into Antagonists has reached its shuddering conclusion. And for this Part V - by choosing films that have no obvious singular antagonist (and in some cases no obvious narrative either) - Stu and Chas realised there was indeed a final category of antagonists: the films themselves. Where the film (and the filmmaker) are engaging directly with the audience. Where the films are... VERSUS AUDIENCE.

The films that led to this “insight” often lie to the audience; talk directly to the audience; misdirect the audience; take the audience on meandering narrative strolls; or make the central character the antagonist to all other characters. Sometimes these techniques power a single scene. Sometimes they take up the whole film. All this to keep the audience compelled in the absence of singular antagonists. And these films are - drum roll, please - OCEAN’S 8, THE SECOND, F FOR FAKE, SANS SOLEIL and FORREST GUMP.

As always: SPOILERS ABOUND!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube. Read the transcript on GitHubor in HTML.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

EPISODE LINKS

DRAFT ZERO RELATED EPISODES
- DZ-52: Antagonists! (Part 4) – vs Systems
- DZ-51: Antagonists! (Part 3) – vs Nature
- DZ-50: Antagonists! (Part 2) – vs Self
- DZ-49: Antagonists! (Part 1) – vs Humans
INTRODUCTION: vs Audience [@ 3m 22s]
- UnListenable: Black Boned Angel - The End
- UnListenable: Gnaw Their Tongues - L'arrivée de la terne mort triomphante
- Watch: Stan Brakhage - The Wonder Ring
- Watch: Stan Brakhage - Mothlight
- Watch: Manifesto - Trailer
OCEAN’S EIGHT screenplay: Gary Ross & Olivia Milch, story: Gar Ross [@ 20m 31s]
- JustWatch: https://www.justwatch.com/us/movie/oceans-8
THE SECOND written by: Stephen Lance [@ 46m 53s]
- Stan (Aus): https://play.stan.com.au/programs/1660028
- IMDB: https://www.imdb.com/title/tt5636922/
F FOR FAKE written by: Orson Welles [@ 1hr 14m 06s]
- JustWatch: https://www.justwatch.com/us/movie/f-for-fake
SANS SOLEIL written by: Chris Marker [@ 1hr 31m 46s]
- JustWatch: https://www.justwatch.com/us/movie/sans-soleil
FORREST GUMP screenplay: Eric Roth [@ 1hr 48m 55s]
- JustWatch: https://www.justwatch.com/us/movie/forest-gump
WRAP UP AND KEY LEARNINGS [@ 2hr 15m 12s]
- Watch: Lost Highway - Mystery Man

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners.

Many thanks to Murirb, Sandra, Paul, Rob, Christopher, Joakim and Khrob for being top-level patrons. They’re good humans.

How do systems pressure your characters to change?

This is Part Four (!!) of our Five Part Epic Exploration into antagonists forces and sources of conflict. In this episode we explore "system/world/society" antagonists. While stereotypically associated with science-fiction, these sources of conflict are found across genres.

To that end, we talk MINORITY REPORT, DAWN OF THE PLANET OF THE APES, MUDBOUND, and THE LOBSTER - with a special mention of high school movies.

We continue refining our tools surrounding antagonists/sources of conflict: obstacles, pressure, enablers, pushers, pullers, education and thwarting. We especially focus on how the pressures of the system/world/society force characters to either submit to the system, overthrow it or escape it; and how framing all of your characters’ journeys in relation to the rules of the world they inhabit can lead to a thematically strong story.

As always: SPOILERS ABOUND!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube. Read the transcript on GitHubor in HTML.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

EPISODE LINKS

DRAFT ZERO RELATED EPISODES
- DZ-49: Antagonists! (Part 1) – vs Humans
- DZ-50: Antagonists! (Part 2) – vs Self
- DZ-51: Antagonists! (Part 3) - vs Nature
INTRODUCTION: vs Society
MINORITY REPORT scplay by Scott Frank and Jon Cohen [@ 6m 50s]
- Script: "MINORITY REPORT" -- May 16, 2001 revised draft
- JustWatch: https://www.justwatch.com/us/movie/minority-report
- Watch: Anderton Sees Himself Kill
DAWN OF THE PLANET OF THE APES w: Mark Bomback and Rick Jaffa & Amanda Silver [@ 36m 49s]
- JustWatch: https://www.justwatch.com/us/movie/dawn-of-the-planet-of-the-apes
- Watch: Apes do not want war
MUDBOUND scplay: Virgil Williams and Dee Rees [@ 53m 31s]
- Script: Mudbound - FYC Draft
- Read: The First White President
- Watch: Mudbound - An Inside Look
- JustWatch: https://www.justwatch.com/us/movie/mudbound
THE LOBSTER w: Yorgos Lanthimos & Efthymis Filippou [@ 1h 30m 43s]
- Script: The Lobster - 30 April 2013 Draft
- Watch: The Dance
- JustWatch: https://www.justwatch.com/us/movie/the-lobster
SYSTEMS AND GENRES [@ 2h 01m 02s]
- JustWatch: Not Another Teen Movie
- JustWatch: Brick
- JustWatch: Mean Girls
- JustWatch: The Road
WRAP UP & KEY LEARNINGS[@ 2hr 05m 30s]

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners.

Many thanks to Murirb, Sandra, Paul, Rob, Christopher, Joakim and Khrob for being top-level patrons. They’re good humans.

What changes in your story if your antagonistic forces can’t be bargained with?

In this Part Three of our Five Part Epic Exploration™ into antagonistic forces (and sources of conflict), Chas & Stu explore “nature” antagonists, including some supernatural ones. What became clear in doing the homework (and recording this episode twice) was that the antagonistic forces - whether natural or supernatural - presented different narrative challenges to the protagonists if (a) they did not seem to make choices and (b) could not be bargained with or defeated.

And so we embarked upon ALL IS LOST, THE GREY and CONTAGION — with special mentions of THE VVITCH, WORLD WAR Z, ZOMBIELAND, ANNIHILATION, ALIEN, ALIENS and probably some others we’ve forgotten.

Stu elaborates on his distinction between obstacles and pressure; Chas riffs on how nature antagonists can mirror the protagonist and reinforce theme; and they both explore the effect on protagonists who are pushed to their limits by antagonists that cannot be reasoned with.

As always: SPOILERS ABOUND!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube. Transcripts on GitHub and Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

EPISODES LINKS

DRAFT ZERO RELATED EPISODES
- DZ-49: Antagonists! (Part 1) – vs Humans
- DZ-50: Antagonists! (Part 2) – vs Self
INTRODUCTION: vs Nature
- Watch: The Terminator Will Not Stop
- Read (on Education and Thwarting): A Letter from David Mamet to the Writers of The Unit
ALL IS LOST w & d: J C CHANDOUR [@ 13m 54s]
- Watch: Our Man Thrown Overboard
- JustWatch: https://www.justwatch.com/us/movie/all-is-lost
THE GREY w: Joe Carnahan and Ian Mackenzie Jeffers [@ 34m 13s]
- Watch: Wolf Stand Off
- Watch: Ottway vs Diaz
- JustWatch: https://www.justwatch.com/us/movie/the-grey
CONTAGION w: Scott Z Burns [@ 1 hr 1m 05s]
- Watch: Mitch & Joy at the Supermarket
- JustWatch: https://www.justwatch.com/us/movie/contagion
VS SUPERNATURAL [@ 1 hr 37m 14s]
THE VVITCH w&d: Robert Eggers [@1 hr 40m 28s]
- Watch: The Witch Ending
- JustWatch: https://www.justwatch.com/us/movie/the-witch-2016
WRAP UP AND LEARNINGS [@ 1 hr 46 m 36s]
- Watch: Terminator - Interrogation Scene

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero!

We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners.

Many thanks to Sandra, Paul, Rob, Christopher, Joakim and Khrob for being top-level patrons. They’re good humans.

How can characters be their own antagonist?

In Part Two of our Five Part Epic Exploration™ into antagonists, Chas & Stu take a look at "vs self" stories. Stories where the protagonist (or main character) serves as their own antagonist as well as the antagonist for those around them.

It took us a long time to settle on our homework, but we ended up exploring LITTLE MISS SUNSHINE, SHAME, and MONSTER. Our discussion continues in backmatter with MINDHUNTER and STEVE JOBS.

As a result of our exploration, we manage to get a better understanding of our 'thesu' on: internal vs external change; obstacles and pressure; stories without singular antagonists; and how it really is the antagonistic forces that carve out the protagonist’s journey.

As always: SPOILERS ABOUND!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

EPISODES LINKS

DRAFT ZERO RELATED EPISODES
- DZ-49: Antagonists! (Part 1) – vs Humans
- DZ-44: Marvel, First Acts and Establishing Characters
- DZ-43: Driving Sequences – Character and Plot Intensity
LITTLE MISS SUNSHINE w: Michael Arndt [@ 5m 15s]
- JustWatch: https://www.justwatch.com/us/movie/miss-sunshine
SHAME w: Steve McQueen and Abi Morgan [@ 25m 10s]
- JustWatch: https://www.justwatch.com/us/movie/shame
MONSTER w&d: Patty Jenkins [@ 53m 53s]
- JustWatch: https://www.justwatch.com/us/movie/monster
WRAP UP [@ 1 hr 20m 10s]
MINDHUNTER created by Joe Penhall [@ 1hr 33m 40s]
- JustWatch: https://www.justwatch.com/us/tv-show/mindhunter
STEVE JOBS screenplay: Aaron Sorkin [@ 1hr 42 min 20s]
- JustWatch: https://www.justwatch.com/us/movie/steve-jobs

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners.

Many thanks to Sandra, Paul, Rob, Christopher, Joakim and Khrob for being top-level patrons. They're good humans.

Read the (hilarious) computer transcript here: http://draft-zero.com/transcripts/dz-50/ — or edit on GitHub: https://github.com/Draft-Zero-Podcast/dz-transcripts/blob/master/DZ-50.vtt

What makes a strong human antagonist?

Prompted by a listener (and patron of the podcast) question, Stu and Chas dive into antagonistic forces. And because Draft Zero does not do anything by halves, this is Part One of a Five Part Epic Exploration™ into antagonists; namely: vs humans, vs self, vs nature/supernatural, vs systems and “other”. aka the classic narrative conflicts.

For this “vs humans” part, we chose to look at DIE HARD, MISERY and THREE BILLBOARDS OUTSIDE OF EBBING, MISSOURI (with special mentions to THE DARK KNIGHT, LA LA LAND and - of course - STAR WARS). In particular, we look at some classical villains, internal vs external antagonists, and how antagonists and protagonists can swap roles over a scene or a sequence.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

EPISODES LINKS

DRAFT ZERO RELATED EPISODES
- DZ-43: Driving Sequences – Character and Plot Intensity
- DZ-35: Driving Characters or Character Driven?
ANTAGONISTS OVERVIEW
- READ: https://en.wikipedia.org/wiki/Boss_(video_gaming)
- READ: Different kinds of antagonistic forces? (for draft zero episode)
- READ: How can I create meaningful conflict for my characters without a physical antagonist?
- READ: There was a post the other day about making villains 'deep', I got distracted/carried away with my comment but thought it might be fun to still discuss it.
- WATCH: Movie Villains Done Right
DIE HARD screenplay: Jeb Stuart and Steven E. de Souza [@ 12m 27s]
- JustWatch: https://www.justwatch.com/us/movie/die-hard-1
MISERY screenplay: William Goldman [@ 24m 25s]
- JustWatch: https://www.justwatch.com/us/movie/misery-stephen-king
THE DARK KNIGHT story: Christopher Nolan & David S. Goyer screenplay: Jonathan Nolan & Christopher Nolan [@ 40m 12s]
- WATCH: The Dark Knight — Creating the Ultimate Antagonist
- JustWatch: https://www.justwatch.com/us/movie/batman-the-dark-knight
THREE BILLBOARDS OUTSIDE OF EBBING, MISSOURI w&d: Martin McDonagh [@ 45m 32s]
- JustWatch: https://www.justwatch.com/us/movie/three-billboards-outside-ebbing-missouri
LA LA LAND w&d: Damien Chazelle [@ 1hr 11m 30s]
- JustWatch: https://www.justwatch.com/us/movie/la-la-land
WRAP UP [@ 1hr 14m 33s]

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher @stuwillis and @csmcmullen on twitter.

Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners.

Many thanks to Sandra, Paul, Rob, Christopher, Joakim and Khrob for being top-level patrons. They're good human antagonists.

Can your characters be given choices and yet still be deprived of agency?

To kick off 2018, Chas and Stu take a deep dive into one of their favourite movies of 2017: Blade Runner 2049. However, they abstained from “Fox News-ing this shit” by being joined by the most accomplished screenwriter they know, C.S. McMullen (Blood List 2017, Black List 2017, also a lover of Blade Runner 2049).

For a film that is thematically about choice, Stu and Chas thought this would be an excellent opportunity to explore how characters can be dramatised through binary choices. And yet, CS opened their eyes to the idea that characters can still be given choices without having agency. Without having choice in their choices. Not having choices that lead to different outcomes.

It is perhaps the lack of agency (rather than the lack of choice) that lead to some of the troubling depiction of women and minorities in Blade Runner 2049, which our intrepid hosts explore in detail.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

EPISODES LINKS

DRAFT ZERO RELATED EPISODES
- DZ-20: Writing Strong Secondary Characters – Trinity, Bechdel and a Bamboo Killer
- DZ-41: Theme and Worldview
- DZ-42: One-Shot - Split, Character Worldview & Macro POV
BLADE RUNNER 2049 s: Hampton Fancher w: Hampton Fancher and Michael Green [@ 2m 29s]
- Find: C.S. McMullen
- JustWatch: Blade Runner 2049
- Watch: Blade Runner 2049 - Alternate Trailer Blu-Ray (Fan-made)
- Read: Blade Runner 2049 Script
- Watch: Black Out 2022
- Watch: 2048 - Nowhere to Run
- Watch: 2036: Nexus Dawn Short
WALLACE AND LUV [@ 10m 33s]
- Watch: Replicant "Birth" Full Scene
- Watch: K. fights Sapper Morton - "You've never seen a miracle"
- Watch: Officer K meets Luv
K AND HIS MISSION [@ 26m 18s]
- Watch: "The world is built on a wall"
- Watch: Baseline Tests
K AND JOI [@ 30m 19s]
- Watch: Joi Virtual Girlfriend Scene
- Watch: Joi Rain Scene
- Watch: Joi "You Look Lonely"
K'S CHOICES AND HIS ARC [@ 36m 00s]
- Watch: DNA Searching Scene
- Watch: Officer K shares his memory with Joshi
- Watch: Officer K and Joi and Marietta
DECKARD AND THE LAS VEGAS SEQUENCE [@ 47m 34s]
- Watch: Ruins of Las Vegas
- Watch: Deckard & K share a drink
LUV AND JOSHI [ @ 58m 26s]
- Watch: "WHERE IS HE" Scene (Luv confronts Joshi)
K'S HERO CHOICE [@ 1h 01m 52s]
K AND LUV [@ 1h 04m 45s]
- Watch: K vs Luv Scene
TEARS IN THE SNOW [@ 1h 10m 57s]
- Watch: Ending Scene
DEPICTION OF WOMEN AND MINORITIES [@ 1h 19m 24s]
- Read: The Conversation - Blade Runner’s problem with women remains unsolved in its sequel
- Read: The Guardian - Is Blade Runner 2049 sexist – or a fair depiction of a dystopian future?
- Read: Digital Spy - Can we talk about Blade Runner 2049's problem with women?
- Read: NY Post - You’ll love the new ‘Blade Runner’ — unless you’re a woman
- Read: Mashable - The hidden feminist message buried inside 'Blade Runner 2049'
- Read: New Statesman - Blade Runner 2049 is an uneasy feminist parable about controlling the means of reproduction
- Read: Mary Sue - Director Denis Villeneuve Tries to Defend His Portrayal of Women in Blade Runner 2049
- Read: The Mary Sue - Blade Runner 2049: Bad Representation Is Not Representation
WRAP UP AND KEY LEARNINGS [@ 1h 35m 36s]
- Read: EXTREMES OF LIGHT AND TEMPERATURE: NOTES FROM THE SET OF 'BLADE RUNNER 2049'
BACKMATTER: Blade Runner 2019
- Watch: Blade Runner (Complete Deleted Scenes/Lost Footage)
- Watch: Which "Blade Runner" Cut Should I Watch? A Visual Explainer.
- Watch: I want more life
- Watch: Blade Runner 2049 - Rachael Scene

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher @stuwillis and @csmcmullen on twitter.

Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners.

Many thanks to Sandra, Paul, Rob, Christopher, Joakim and Khrob for being top-level patrons. They're good replicants.

Will Director Stu allow Writer Chas on his set?

Following our annual wrap up in 2017, we’ve decided to once again explore what craft issues/lessons we can garner from the latest Stars, namely Episode VIII: The Last Jedi, focusing on how consequences of character actions can do a lot of heavy lifting as to how the audience perceives that character (as well as looking at worldview and overall story structure).

We also discuss how the sexual assault allegations in our industry can impact on what work we choose to analyse as well as dive into a bunch of listener questions.

We end on whether - if our space pirates project gets off the ground - Chas should come on set, whether Stu will have him and whether it would do anyone any good.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

BACKMATTER LINKS

THE LAST JEDI w & d Rian Johnson [@ 1m 28s]
- The Verge: The Last Jedi: our spoiler-free review
- IndieWire: Rian Johnson Explains Why Shattering Fan Theories About Rey’s Parents Was Essential
- Variety: Four Reasons Why Last Jedi Isn’t One For The Ages
- GamesRadar: George Lucas nearly wrote a perfect prequel trilogy. He just didn't notice
SEXUAL ASSAULT ALLEGATIONS & DRAFT ZERO HOMEWORK POLICIES [@ 29m 07s]
- YouTube: Rose McGowan speaks publicly in Detroit, first time since Weinstein allegations
- The New Yorker coverage of the Weinstein allegations:
  - Ronan Farrow: From Aggressive Overtures to Sexual Assault: Harvey Weinstein’s Accusers Tell Their Stories
  - Ronan Farrow: Harvey Weinstein’s Army of Spies
- Commentary from collaborators with Harvey Weinstein
  - Rolling Stone/Joyce Che: Kevin Smith is Donating his Residuals to Women in Film
  - The Guardian: Tarantino on Weinstein
  - Our Lady J: ‘Transparent’ Writer Says Jeffrey Tambor Accusers Told “Their Truth” & Series Should Not “Be Taken Down” By Actor
LISTENER QUESTIONS [@ 52m 28s]
- Fiona: When do you reveal a secret in a story?
- Khrob: Can Blockbusters escape the ROTJ 3rd Act "problem"?
- Khrob: Best Writing Moment of 2017?
- Dexter: Would you be open to a draft zero commentary with a movie?
- Thomas: Could you please do an episode on Linklater?
- Susie: How do I move from the 2nd into the 3rd Act without it being so sudden?
- César: What are the best scripts you've ever read?
- César: Do you write scenes in the order they're in the script?
- César: What are the biggest differences in writing movies & tv shows?
- Mendoza: Let me tell you why you're wrong about SPLIT. In four parts.
- Sunday: What's the best piece of advice you've ever been given about writing?
- Sunday: How did you transition from short form to long form writing?
- Sunday: How do you, as a Director, work with a writing partner?
- Evrim: Do you find short online form (web series) restrictive or liberating?
WRAP UP [@ 1hr 48m 21s]
- What have Stu & Chas Been Working On?
- Should Chas Come To Set?
- (Post Credits) Thomas schools us on our pronunciation.

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners.

Thanks to Khrob, Joakim and Christopher for being patrons. They're good people. Sorry Christopher that you didn't get a shout-out in the episode but hopefully this note immortalised in the very bottom of the show notes demonstrates how much we appreciate ja!

What questions do you want your audience asking at any given time?

Waaaaaaaaaay back in DZ-05, Stu and Chas examined how shifting narrative point of view (i.e. what the audience knows in relation to the characters on screen) heightens emotions in any given scene. We've now taken that micro idea and applied it to the macro: how can deciding what the audience knows and when in relation to the characters organise your story? Are whole sequences or even acts driven by the audience following a character, feeling concerned about a character, empathising with a character or being absorbed in the irony of knowing more than all the characters interacting on screen.

To tackle this topic, Stu and Chas dive in to films that make very conscious structural choices in relation to narrative POV, namely: GET OUT, DUNKIRK and the underrated German film THE LIVES OF OTHERS (with honourable mentions to LA CONFIDENTIAL and MANCHESTER BY THE SEA).

Wait till the end to hear poor Stu's mind absolutely blown in relation to the Kuleshov effect.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

EPISODE LINKS

DRAFT ZERO Related Episodes
- DZ-05: Shifting audience point of view and heightened emotions
- DZ-10: Midpoint Reversals and The Ride
- DZ-21: Scene Transitions and the Hook
INTRODUCTION
- LA Confidential [@ 6m 21s]
- Manchester by the Sea [@ 10m 57s]
GET OUT written & directed by Jordan Peele [@ 19m 57s]
- Vimeo: Get Out - Alternate Ending
- Jordan Peele on the Nerdist Podcast and on The Movie Crypt podcast
- Jason Blum on the Nerdist Podcast
- Find it on Just Watch
DUNKIRK written & directed by by Christopher Nolan [@ 50m 15s]
- Vox: The sound illusion that makes Dunkirk so intense
- Find it on Just Watch
THE LIVES OF OTHERS written & directed by Florian Henckel von Donnersmark [@ 1hr 31m 00s]
- Find it on Just Watch
WRAP UP [@ 2hr 11m 32s]
- The Kuleshov effect

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners.

Thanks to Khrob and Joakim for being patrons. They're good people.

What questions do you want your audience asking at any given time?

Waaaaaaaaaay back in DZ-5, Stu and Chas examined how shifting narrative point of view (i.e. what the audience knows in relation to the characters on screen) heightens emotions in any given scene. We've now taken that micro idea and applied it to the macro: how can deciding what the audience knows and when in relation to the characters organise your story? Are whole sequences or even acts driven by the audience following a character, feeling concerned about a character, empathising with a character or being absorbed in the irony of knowing more than all the characters interacting on screen.

To tackle this topic, Stu and Chas dive in to films that make very conscious structural choices in relation to narrative POV, namely: GET OUT, DUNKIRK and the underrated German film THE LIVES OF OTHERS (with honourable mentions to LA CONFIDENTIAL and MANCHESTER BY THE SEA).

Wait till the end to hear poor Stu's mind absolutely blown in relation to the Kuleshov effect.

As always: SPOILERS ABOUND

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

EPISODE LINKS

DRAFT ZERO Related Episodes
- DZ-05: Shifting audience point of view and heightened emotions
- DZ-10: Midpoint Reversals and The Ride
- DZ-21: Scene Transitions and the Hook
INTRODUCTION
- LA Confidential [@ 6m 21s]
- Manchester by the Sea [@ 10m 57s]
GET OUT written & directed by Jordan Peele [@ 19m 57s]
- Vimeo: Get Out - Alternate Ending
- Jordan Peele on the Nerdist Podcast and on The Movie Crypt podcast
- Jason Blum on the Nerdist Podcast
- Find it on Just Watch
DUNKIRK written & directed by by Christopher Nolan [@ 50m 15s]
- Vox: The sound illusion that makes Dunkirk so intense
- Find it on Just Watch
THE LIVES OF OTHERS written & directed by Florian Henckel von Donnersmark [@ 1hr 31m 00s]
- Find it on Just Watch
WRAP UP [@ 2hr 11m 32s]
- The Kuleshov effect

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners.

Thanks to Khrob and Joakim for being patrons. They're good people.

How can you dramatise your theme on a scene level?

As part of their ongoing exploration of scene-work, Stu and Chas apply their earlier thinking on theme and character worldview to individual scenes. Can examining a scene from a thematic perspective impact the drama, conflict or stakes of the scene? How does your character’s conscious and subconscious world views dramatise the overall theme of the work? How can an individual scene reflect the larger themes of the overall story? Do any of these questions or approaches lead to writing better scenes?

To this end, Stu and Chas examine particular scenes from works that have particularly apparent, strong and consistent themes; namely: FINDING NEMO, EX MACHINA, MANCHESTER BY THE SEA and the Netflix TV series GLOW.

... SPOILERS ABOUND!!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

EPISODE LINKS

DRAFT ZERO Related Episodes
- DZ-41: Theme and Worldview
- DZ-31: Tools for Better Dialogue
- DZ-29: Showdowns & Scene Structure
- DZ-06: Key Scenes and Unlocking the Story
INTRODUCTION
- Nerdwriter: The Epidemic of Passable Movies
- Every Frame a Painting: Snowpiercer - Left or Right
- Film Crit Hulk: Ex Machina and the Art of Character Identification
- Neuromancer: Dixie Flatline
FINDING NEMO s: Andrew Stanton, Bob Peterson, David Reynolds [@ 10m 36s]
- YouTube: Finding Nemo Full Whale Scene
- Find it on Just Watch
EX MACHINA [@ 17m 28s ]
- Script: Ex Machina by Alex Garland
- YouTube: Ex Machina - Ave Session 5 Avas Test
- Letterboxd: Stu's Review
- Find it on Just Watch
MANCHESTER BY THE SEA [@ 59m 55s ]
- Script: Manchester by the Sea by Kenneth Lonergan
- YouTube: "Can we ever have lunch"? scene
- Find it on Just Watch
GLOW Episode 1 [@ 1h 28m 26s ]
- Script: GLOW by Liv Flahive and Carly Mensch
- Podcast: The Contrarians — Bonus! Netflix's Glow
- Watch it on Netflix
WRAP UP [@ 2h 04m 13s ]
- Stan Bush - Dare (from Transformers the Movie)
- "Dare" (Live) - The Cybertronic Spree

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners.

Thanks to Khrob and Nick for being patrons. They're good people.

How can your first act effectively establish your character journey?

First Acts are hard. They have to set so much in motion, especially setting up characters. To help them understand how to write effective first acts better, Stu and Chas turn their analytical gaze to a franchise that has been refining and reiterating its first act "schema" for over a decade... THE MARVEL CINEMATIC UNIVERSE.

The MCU has made (to date) six separate origin films, each tasked with establishing their titular characters. So you'd think they'd have found some patterns that works for them. In this episode, we take a look at three of these: IRON MAN, GUARDIANS OF THE GALAXY, and DOCTOR STRANGE. Stu also makes numerous comparisons to THOR, and we enthuse about GUARDIANS OF THE GALAXY Vol 2.

As we breakdown where these first acts succeed (and, er, not-succeed), our discussion moves through sequence structure, macguffins, supporting characters, exposition... and -- most importantly -- Character Wounds and Character Flaws.

Even if you don't care for MCU films, there is plenty to learn from how they approach their first acts.

SPOILERS ABOUND!!

... and stick around after the end credits, for an important announcement re: our launching of a Patreon.

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

EPISODE LINKS

DRAFT ZERO - Related Episodes
- DZ-09: Characterising Introductions
- DZ-11: Clash of the MacGuffins!
- DZ-15: World Building Rules, Okay?
IRON MAN w: Mark Fergus & Hawk Ostby and Art Marcum & Matt Holloway [@ 7m 42s]
- YouTube: Full Intro Scene - AC/DC
- YouTube: Tony wins an award
- Find it on JustWatch
GUARDIANS OF THE GALAXY w: James Gunn and Nicole Perlman [@ 39m 08s]
- YouTube: A Bunch of "A" Holes
- YouTube: Bunch of Jackass's Standing In a Circle
- Find it on JustWatch
DOCTOR STRANGE w: Jon Spaihts and Scott Derrickson & C. Robert Cargill [@ 1hr 18m 13s]
- YouTube: Ultimate Operation Scene
- YouTube: Heal the Body
- Find it on JustWatch
WRAP UP [@ 1hr 47m 28s]
- DZ-43: Driving Sequences – Character and Plot Intensity
WHAA? PATREON? [@1hr 57m 08s]
- /r/screenwriting
- Support us on Patreon

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners.

Thanks to Khrob and Nick for being patrons. They're good people.

What gives your sequences their intensity?

Chas and Stu are joined for the fourth time by the inestimable Stephen Cleary - this time to take a deep dive into sequences. A real deep dive. A 3+ hour deep dive.

Stephen postulates that sequences can compel the audience in different ways via the type of dramatic questions being posed. Are they plot questions ("Will she defuse the bomb?") or character questions ("Will she understand what compels her to defuse bombs?") or a combination of both? What is the impact on the pacing, structure of your story or audience experience of your characters by changing the type of question being asked? What happens to your story when your protagonist decides to literally abandon the plot?

Our deep dive roams through THE BOURNE IDENTITY, NAKED, THE DIVING BELL & THE BUTTERFLY, THERE WILL BE BLOOD, FARGO (the movie) and CHILDREN OF MEN... with many-a-tangent referencing HEAT, FRENZY, SAVING PRIVATE RYAN, AMOUR, CHEF, HAPPY-GO-LUCKY, THE KINGSMAN, FURY ROAD, THE COLOUR OF POMEGRANATES, LIVING IS EASY WITH YOUR EYES CLOSED, MOONLIGHT, and probably some more that we've forgotten.

SPOILERS ABOUND!!

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

PS: Thanks to all our listeners who provided feedback on a draft edit of this episode.

EPISODE LINKS

HISTORY & THEORY OF SEQUENCES [@ 1m 38s]
PLOT-LITE REVISITED - AMOUR, CHEF and HAPPY-GO-LUCKY [@ 13m 24s]
- DZ-35: Character driven or driving characters?
- DZ-29: Showdowns & Scene Structure
HIGH INTENSITY PLOT SEQUENCES [@ 24m 01s]
- Youtube: Heat - Bank Robbery
- JustWatch: Heat
- Youtube: Frenzy - Potato Truck Scene
- JustWatch: Frenzy
- Youtube: Saving Private Ryan - Omaha Beach Landing
- JustWatch: Saving Private Ryan
PLOT/CHARACTER SEQUENCES
THE BOURNE IDENTITY w Tony Gilroy [@ 36m 07s]
- Youtube: Bourne vs The Professor
- Find it on JustWatch
PLOT SEQUENCES MOVING INTO PURE CHARACTER SEQUENCES
NAKED w & d Mike Leigh - Maggie Sequence [@ 54m 43s]
- Youtube: Naked - "Maggie!" scene
- IMDB: http://www.imdb.com/title/tt0107653/
ROAD MOVIES [@ 1hr 06m 35s ]
- IMDB: Living Is Easy with Your Eyes Closed
- JustWatch: The Motorcycle Diaries
NAKED w & d Mike Leigh - Security Guard Sequence [@ 1hr 13m 00s]
- Youtube: Naked - Jonny and the Security Guard
- IMDB: http://www.imdb.com/title/tt0107653/
PLOT AS THE HOOK [ @1h 21m 31s]
THE KINGSMAN w Jane Goldman & Matthew Vaughn [@ 1h 26m 44s]
- Find it on JustWatch
CHARACTER SEQUENCES & AUDIENCE INTROSPECTION [@ 1h 34m 52s]
THE DIVING BELL AND THE BUTTERFLY w Ronald Harwood [@ 1h 34m 52s]
- Script: http://www.dailyscript.com/scripts/The_Diving_Bell_and_the_Butterfly.pdf
- Find it on JustWatch
THERE WILL BE BLOOD w Paul Thomas Anderson [@ 1h 55m 41s]
- Vimeo: There Will Be Blood Opening Scene
- Find it on JustWatch
FARGO (1996) w Joel & Ethan Coen [@ 2h 05m 28s]
- Youtube: Mike Yanagita
- Find it on JustWatch
CHILDREN OF MEN w A Cuaron, T Sexton, D Arata, M Fergus, H Ostby [@ 2h 20m 12s]
- Youtube: Faith vs Chance
- Youtube: Baby Ceasefire
- Find it on JustWatch
SUMMARY & FINAL WORDS [@ 3hr 03m 44s]

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

What screenwriting lessons can be we learn from SPLIT?

In our first (and perhaps last) one-shot, we take a close look at the M. Night Shyamalan's SPLIT. Rather than having one topic with many examples, we use the one example to look at many topics. Well, okay, a few topics.

Firstly, we take the opportunity to revisit theme. SPLIT offers a very clear example of the worldview of the characters and the rules of the world working together to create a coherent theme.

Then we look at the SPLIT's use of macro point of view. Given the film's contained nature, it makes some interesting choices in the story structure in order to control what the audience knows vis-a-vis the characters. This assists in generating tension (in both conventional and unconventional ways) while also creating a dramatic journey for the protagonist and reinforcing the theme.

We also cover (in lesser detail) flashbacks, tactics, contained spaces, character individuation, and... being a M. Night Shamalyan film... TWISTS.

And if its not obvious... this episode is FULL OF SPOILERS.

Love it, hate it or indiffererent, please let us know what you think of this new format. We're not going to do it every episode, but it gives us the opportunity to look at some great films in more detail.

EPISODE LINKS

SPLIT by M. Night
- IMDB: http://www.imdb.com/title/tt4972582/
- Find it on JustWatch
- The Guardian: From Split to Psycho: why cinema fails dissociative identity disorder
WORLDVIEW [ @ 6m 36s]
- DZ-41: Theme and Worldview
MACRO POV AND NARRATIVE [ @ 35m 35s ]
- DZ-05: Shifting audience point of view and heightened emotions
FLASHBACKS [ @ 1hr 03m 26s ]
- DZ-21: Scene Transitions and the Hook
TACTICS [ @ 1hr 12m 34s]
- DZ-40: Tactics and Scenes
CONTAINED SPACES [ @ 1hr 15m 35s ]
- DZ-28: Containing Your Script
CHARACTER INDIVIDUATION [ @ 1hr 19m 32s ]
- DZ-31: Tools for Better Dialogue
- DZ-14: Writing For Actors & Old Underwear
- The Fashionpedia: https://fashionary.org/products/fashionpedia
TWIST ENDINGS [ @ 1hr 33m 00s]
- DZ-25: Coincidences, Contrivances & Giant Eagles
EPISODE WRAP [ @ 1hr 50m 41s ]
- DZ-38: Excelling at Exposition (Part 2)

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like finding new listeners.

How can your characters' worldview dramatise your theme?

In this episode, Stu and Chas tackle one of the more esoteric topics in screenwriting (and writing in general): theme! To help us tackle this topic, we decided to look at television pilots, because we felt that television requires the theme to be more explicit. Our zig-zagging (and long) discussion covers thematic engines, music themes, thematic loglines, punishment vs reward, and - perhaps most of all - the worldview of characters.

So we take a look at the opening and closing scenes (and middle scenes, too) of some of our favourite shows: HOUSE OF CARDS, CRAZY EX-GIRLFRIEND, TRUE DETECTIVE, FARGO and TRANSPARENT. We also make passing reference to SPEC OPS: THE LINE, GAME OF THRONES (its Stu's new Star Wars), and BOJACK HORSEMAN.

In backmatter, we talk about the difference between the written scripts of these pilots and their released versions.

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

It should go without saying but - SPOILERS AHEAD.

DRAFT ZERO - Related Episodes
- DZ-24: Forging story rules in TV pilots
- DZ-15: World Building Rules, Okay?
- DZ-34: Game of Choices – Decision Making and Character Implications
BACKGROUND MATERIAL
- /r/screenwriting: [QUESTION] How do I find my theme/moral/the point I want to make with my story?
- Game Maker's Toolkit: Morality in the Mechanics
- Game Maker's Toolkit: Telling Stories with Systems
- YouTube: SpecOps the Line - White Phosphorus Scenes
- PopMatters: Morality and Karma Systems
HOUSE OF CARDS [@ 24m 33s]
- Script: HOUSE OF CARDS by Beau Williamson
- YouTube: Francis Underwood's first monologue
- YouTube: Tyrion and Varys Discuss Power
- Find it on JustWatch
CRAZY EX GIRLFRIEND [@ 42m 23s]
- Script: CRAZY EX GIRLFRIEND "West Covina" Written by Rachel Bloom and Aline Brosh McKenna
- YouTube: "West Covina"
- YouTube: Bojack Horseman
- Find it on JustWatch
TRUE DETECTIVE [@ 01hr 07m 27s]
- Script: TRUE DETECTIVE "The Long Bright Dark" by Nic Pizzolatto
- YouTube: Rust & Martin Car Conversation
- YouTube: Six Feet Under - Elephant Art vs Termite Art
- Find it on JustWatch
FARGO [@ 1h1 35m 40s]
- Script: FARGO script by Noah Hawley
- YouTube: Lester Nygaard talks to Lorne Malvo about Sam Hess
- Find it on JustWatch
TRANSPARENT [@ 1hr 52m 46s]
- Script: TRANSPARENT by Jill Soloway
- YouTube: A Big Change
- Find it on JustWatch
WRAP UP MATERIAL [@ 2hr 01m 05s]
- Slate.com: Against Subtlety: The Case for Heavy-Handedness in Art.
BACKMATTER [@ 2hr 21m 29s]

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

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How do tactics make your characters and scenes more dynamic?

In this episode, Stu and Chas turn their gaze to the "tactics" that characters use in scenes to get what they want. Tactics are how the characters try to achieve their goals and (we reckon) can be revealing of the essence of their character. The shifting and thwarting of tactics can make scenes more dynamic; while over the course of a story, the changing of tactics can reflect the growth of characters... even if their goal stays the same.

We take a close look at great single scenes from ZODIAC and TRAINING DAY. And then we look at a number of scenes over the course of HELL OR HIGH WATER, SILENCE OF THE LAMBS and WINTER'S BONE. And we also skate over WILE E COYOTE, GAME OF THRONES, MACBETH, HAMLET, and EDGE OF SEVENTEEN. Audio quotations used for educational purposes only. Timestamps indicated below! It should go without saying but - SPOILERS AHOY.

EPISODE LINKS

DRAFT ZERO - Related Episodes
- DZ-34: Game of Choices – Decision Making and Character Implications
- DZ-32: High-Tension Sequences
- DZ-31: Tools for Better Dialogue
- DZ-29: Showdowns & Scene Structure
- DZ-14: Writing For Actors & Old Underwear
- DZ-08: Status Transactions and the Power of Washing Machines
The Game of the Scene
- Improv’s Babel: Defining the Game of the Scene
- http://kevinmullaney.com/tag/game-of-the-scene/
ROADRUNNER [@ 8m 08s]
- YouTube: Wile E Coyote and Road Runner E01
- Twitter: Coyote Rules for Road Runner
- Every Frame A Painting: Chuck Jones - Evolution of an Artist
Scenes Compiled PDF of all scene excerpts
ZODIAC [@ 16m 15s]
- Script: ZODIAC screenplay by James Vanderbilt
- YouTube: Zodiac - Arthur Leigh Allen interrogation
- Find it on JustWatch
TRAINING DAY [@ 36m 53s]
- Script: TRAINING DAY by David Ayer
- YouTube: Training Day - Initial Scene
- Find it on JustWatch
HELL OR HIGH WATER [@ 46m 22s]
- Script: HELL OR HIGH WATER written by Taylor Sheridan
- Find it on JustWatch
SILENCE OF THE LAMBS [@ 1hr 21m 34s]
- Script: SILENCE OF THE LAMBS by Ted Tally
- Every Frame a Painting: Who Wins the Scene?
- Find it on JustWatch
WINTER'S BONE [@ 1hr 43m 23s]
- WINTER'S BONE written by Debra Granik & Anne Rosellini
- Find it on JustWatch

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like finding new listeners.

How can writers make use of their time when hitting LA?

In another backmatter-only episode, Stu & Chas zig-zag through a range of topics. We talk about Chas' experience(s) hitting both Los Angeles and the Austin Film Festival, effective networking, career capital, the art of receiving feedback, and Stu's harsh Three Strikes Rule. We look back at the most important lessons we've learned about storytelling in 2016 and that leads us to talk about character choices in a little-known and little-talked about film called ROGUE ONE.

And, of course, we open the listener mail box for critiques, praise, suggestions and follow-up to earlier episodes -- especially our Exposition two-parter.

Thanks to everyone for their support in 2016! We look forward to erratically bringing you new episodes this year.

BACKMATTER LINKS

Urban Dictionary: Career Capital
Forbes: 7 Steps To Developing Career Capital -- And Achieving Success
Music Bed: Creative Critique - The Art of Receiving Feedback
Twitter: @theemilyblake on Failure and Hope
Emily Blake: Choosing to Fail - Journey From Writer to Scripty
/r/screenwriting: Fishmanmanfish on Given Circumstances vs Exposition
ROGUE ONE links because, well, Stu
- KCRW The Business: Hollywood News Banter
- Yahoo UK: Rogue One's editors reveal the scenes added in the Star Wars standalone reshoots (exclusive)
- Mamo 459: Rogue Two Podcast
- Super Ticket 8: Rowgue Three
- Vashi Visuals: ROGUE ONE – 46 SHOTS NOT IN THE FINAL FILM
- Destroy All Monsters: The Meme-ification of ROGUE ONE
Oscars.org: SHORT TERM 12 by Destin Cretton (Nicholls Draft)
DZ-37: Excelling at Exposition (Part 1)
DZ-38: Excelling at Exposition (Part 2)
DZ-34: Game of Choices – Decision Making and Character Implications
DZ-20: Writing Strong Secondary Characters – Trinity, Bechdel and a Bamboo Killer

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like finding new listeners

How can exposition twist your story in new directions?

In the second part of Draft Zero's two-part episode on "Exposition", Stu & Chas take an even deeper look at this notoriously challenging part of screenwriting. For many stories there are pre-existing facts (or given circumstances) that need to be communicated to an audience, and often we rely on dialogue to do it. But exposition can do more than just communicate, it can serve as dramatic revelation that twists a story into a new direction or provides an emotional payoff - or both!. So how do great writers make exposition work for the story, rather than just tell audience stuff they need to know? And how can writers go wrong?

To that end, we look at GONE GIRL, SHUTTER ISLAND, GHOSTBUSTERS: ANSWER THE CALL, THE MATRIX, THE MATRIX RELOADED, and CAPTAIN AMERICA: THE WINTER SOLDIER. Audio quotations are included for educational purposes.

It should go without saying but in case you missed it SPOILERS AHEAD.

EPISODE LINKS

Draft Zero: DZ-37: Excelling at Exposition (Part 1)
Compiled PDF of all screenplay excerpts for Part 2
GONE GIRL by Gillian Flynn
- Find it on JustWatch
SHUTTER ISLAND screenplay by Laeta Kalogridis
- Find it on JustWatch
GHOSTBUSTERS (2016) by Katie Dippold & Paul Feig
- Find it on JustWatch
THE MATRIX by Larry & Andy Wachowski
- Find it on JustWatch
THE MATRIX RELOADED by Larry & Andy Wachowski
- Find it on JustWatch
CAPTAIN AMERICA: THE WINTER SOLDIER screenplay by Christopher Markus & Stephen McFeely
- Find it on JustWatch

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like finding new listeners.

How can you successfully integrate exposition into your story?

In Draft Zero's first two part episode, Stu & Chas take an in-depth look at one of screenwriting's most common challenges: EXPOSITION. For many stories there are pre-existing facts that need to be communicated to the audience — whether those facts be about the rules of the world, the nature of a location, character motivations, character backstories or just character names. So how have great writers made exposition move the story forward, rather than stopping it to tell the audience stuff they need to know?

To that end, in Part 1 of Excelling At Exposition we break down scenes from PIRATES OF THE CARIBBEAN: CURSE OF THE BLACK PEARL, SHORT TERM 12, INSIDE OUT, THE WORLD'S END, THE BIG SHORT, IT FOLLOWS, JURASSIC PARK and JURASSIC WORLD. Audio quotations are included for educational purposes.

Many thanks to /r/screenwriting for suggesting so many examples.

EPISODE LINKS

On the Page: Ep 457. Terry Rossio
Compiled PDF of all Screenplays Excerpts
PIRATES OF THE CARIBBEAN: CURSE OF THE BLACK PEARL by Ted Elliot & Terry Rossio
- Find it on JustWatch
SHORT TERM 12 by Destin Daniel Cretton
- Find it on JustWatch
INSIDE OUT story by Pete Docter & Ronnie Del Carmen; Screenplay by Pete Docter & Meg LeFauve & Josh Cooley
- Find it on JustWatch
THE WORLD'S END by Simon Pegg & Edgar Wright
- Find it on JustWatch
THE BIG SHORT screenplay by Charles Randolph and Adam McKay
- Fandor: Who Deserves the 2016 for Best Picture by Kevin B. Lee
- Video Essayists - Nerd Writer & Every Frame A Painting
IT FOLLOWS by David Robert Mitchell
- Find it on JustWatch
JURASSIC PARK screenplay by David Koepp, based on the novel by Michael Crichton and on an adaptation by Michael Crichton and Malia Scotch Marmo
- Find it on JustWatch
JURASSIC WORLD by Rick Jaffa & Amanda Silver and Colin Trevorrow & Derek Connolly, story by Rick Jaffa & Amanda Silver
- Find it on JustWatch
Draft Zero: DZ-15: World Building Rules, Okay?

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like finding new listeners.

How can writers wisely invest their time in projects?

In this "special", backmatter-only episode, Stu & Chas take inspiration from Terry Rossio's excellent article on TIME RISK and ice skate over a range of topics. We talk about time investment in projects, Stuart's project Restoration, doing you down work first, managing feedback, thinking positive being a negative, and we open the listener mail bag for critiques, praise and suggestions. We also explore how we could do Draft Zero episodes exploring tone and theme.

We welcome any listener feedback as to whether we should do any backmatter-only episodes into the future.

EPISODE LINKS

RESTORATION written by Matthew Clayfield & Stuart Willis
- Watch it on STAN (Australia)
- The Solute: Could the Mirror Be Really You? RESTORATION (2016)
- Screen Director Podcast: Ben Mizzi talks to Stu Willis about directing Restoration
YouTube: #Stranger2015 - Metallica's St Anger (2003) Album Re-Recorded
Wordplayer: "Time Risk" by Terry Rossio
Aeon: Thinking positive is a surprisingly risky manoeuvre
Medium: Why You Should Do Your Work First, Others' Work Second
/r/screenwriting: Mortified at first professional feedback
David Foster Wallace "This Is Water"
- YouTube: David Foster Wallace Commencement Speech (Audio Only)
- Metastatic.org: http://metastatic.org/text/This%20is%20Water.pdf
- Kenyon.edu: http://bulletin.kenyon.edu/x4280.html
Ira Glass on Creativity, Taste and Our Work
- Writer Underground: Ira Glass On Creativity (or, The Gap Between Our Taste And Our Work…)
- Vimeo: Ira Glass on Storytelling
- Vimeo: THE GAP by Ira Glass
MikeJones.tv

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like finding new listeners.

How can films maintain audience interest without stakes or plot questions?

Continuing their focus on "character", Stuart and Chas take a close look at films that may be considered character-driven... or rather character studies... or just plot-lite films? Whatever you call them, these films —CHEF, HAPPY-GO-LUCKY, and AMOUR — let their plots take a back seat to a closer examination of their characters. Stuart and Chas dive in to investigate how, without plot driving the story forward, do these films maintain our interest? We talk Mike Leigh's 'Running Condition', Character Choice, SceneWork and the myriad other techniques the filmmakers use to keep us interested.

PS: There is no backmatter this episode.

PPS: Note that all these films are writer/directors. Hmm.

EPISODE LINKS

CHEF by Jon Favreau
- Watch it on iTunes or find it on JustWatch
HAPPY-GO-LUCKY by Mike Leigh
- Watch it on iTunes or find it on JustWatch
AMOUR by Michael Henke
- Watch it on on iTunes or find it on JustWatch
ScreenOnline: On Mike Leigh http://www.screenonline.org.uk/people/id/461294/

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

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How does the audience experience of a character's decision impact our feelings towards that character?

After a spectacular end to Season 6 of GAME OF THRONES, Chas and Stu were struck by the very different portrayals of Sansa in Episode 9 - Battle of the Bastards and Cersei in Episode 10 - The Winds of Winter. Despite both characters having an enormous impact on the narrative, the audience's experience of those characters is very different -- largely because Sansa is absent from 98% of Battle of the Bastards.

And thus: Stu and Chas embark on an exploration of how a writer's use of point of view - particularly in relation to how you show characters making decisions - can control how your audience perceives any given character (for good or ill).

Whether you are a Game of Thrones fan or not, we recommend you watch these two episodes for their contrasting but fascinating control of point of view and character. Both episodes were written by showrunners David Benioff & D. B. Weiss.

EPISODE LINKS

HBO: The Official Website of Game of Thrones
The AV Club: Thrones stages an epic battle, but to what end?
Youtube: Jon and Sansa - "We need to trust each other"
Youtube: Cersei [spoiler]
DZ-05: Shifting audience point of view and heightened emotions
DZ-20: Writing Strong Secondary Characters – Trinity, Bechdel and a Bamboo Killer
DZ-33: Protagonist vs Hero – Dawn of Character Function

BACK MATTER

/r/Screenwriting: Protagonist vs Hero - Dawn of Character Function
The Guardian: Words are losing their power. Not even Jason Bourne can save them now

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

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How does splitting 'character functions' enhance theme?

We are often told that our 'protagonist' needs to be a active. That they need to be compelling. That they need to change. And - old faithful - that they need to be likeable. But after looking at MAD MAX: FURY ROAD, STAR TREK (2009), THE FIGHTER, and SICARIO, Chas and Stu learn that your primary character does not need to do all these things. In fact, they learn that splitting these functions between your primary characters can reinforce theme and create potential for different types of narratives.

And stick around for backmatter if you want to hear Stu go on a rant. For a change.

EPISODE LINKS

John August: What’s the difference between Hero, Main Character and Protagonist?
Screen Anarchy: Destroy All Monsters: All We Have Are Our Bodies On FURY ROAD
MAD MAX: FURY ROAD by George Miller, Brendan McCarthy & Nico Lathouris
- Watch it on iTunes and Stan (AU)
STAR TREK (2009) by Roberto Orchi & Alex Kurtzman
- Watch it on iTunes and Netflix
Bitter Script Reader: How STAR TREK INTO DARKNESS gave us the Kirk we deserve
THE FIGHTER screenplay by Scott Silver and Paul Tamasy & Eric Johnson; story by Paul Tamasay & Eric Johnson & Keith Dorringon
- Watch it on iTunes and Netflix
SICARIO by Taylor Sheridan
- Watch it on iTunes and Stan (AU)
DZ-03: Making Unlikeable Protagonists Compelling
DZ-19: Car-Crash Characters
DZ-20: Writing Strong Secondary Characters
DZ-24: Forging Story Rules in TV Pilots

BACKMATTER LINKS

Done Deal Pro Forums: Podcast Recommendations

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like finding new listeners.

How can you recreate the feeling of cinematic high-tension on the page?

Chas & Stu take a close look at sequences of high-tension - the ones that make you lean forward in fear, or jump backwards in terror. Without camera angles, lighting, music or sound, how can screenwriters can evoke those emotions in readers using only the page? These sequences can be found in any genre of film, not just thriller or horror. To that end, Stu and Chas dive into high tension scenes from NO COUNTRY FOR OLD MEN, ZODIAC, ROOM, and THE BABADOOK. We cover their use of shifting POV, Dramatic Irony, Status Transactions, White Space, Sound FX, and many more.

And in backmatter we talk SICARIO and high tension, crack open the mail-bag, and look at how the so-called gurus rated the Oscar-nominated scripts.

EPISODE LINKS

Aeon: Neurothriller - Horror Films are scarier than they were in the past
Film Crit Hulk - HULK EXPLAINS ACTION SCENES - Part 1, Part 2, Part 3
NO COUNTRY FOR OLD MEN by Joel Coen & Ethan Coen - sequence starts page 60
- YouTube: Hotel Showdown (excerpt)
ZODIAC by Jamie Vanderbilt - sequence runs pages 125-129
- YouTube: Zodiac Basement Scene (partial scene excerpt)
- YouTube: Zodiac Analysis - Inside the Basement
ROOM by Emma Donoghue - sequence starts pdf page 56 (scene 35)
- YouTube: Jack's Escape (excerpt)
THE BABADOOK by Jennifer Kent - excerpt for educational purposes only
- The Babadook Production Notes
- YouTube: The Possession Scene "You Can Bring Me The Boy"
- Watch THE BABADOOK on GooglePlay
- Watch THE BABADOOK on iTunes
DZ-05: Shifting audience point of view and heightened emotions
DZ-13: True That – Tips from Tarantino
DZ-08: Status Transactions and the Power of Washing Machines
DZ-16: Masters of Time and Whitespace
DZ-29: Showdowns & Scene Structure
Jane Espenson: The Grim Brothers

BACKMATTER LINKS

Youtube: SICARIO - border crossing
DZ-30: Oscars revisited – Spotlight and Carol
Truby Rates the Oscar Hopefuls
Robert McKee's Work/Doesn't Work - ROOM
Scriptshadow on Spotlight (via Twitter) and his screenplay review

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

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How does dialogue serve to reveal character?

Chas & Stu are joined once again by the renowned script developer and producer, Stephen Cleary. In the first part of our series on writing better dialogue (there will be more!), we take a close look at how dialogue serves character: individuating characters, revealing characterisation, shifting status, and much more.

Together, they (well, mostly Stephen) break down scenes from ANALYSE THIS, NOTTING HILL, REMAINS OF THE DAY and THE AVENGERS. In a first for Draft Zero, we include audio excerpts to make everything even clearer / stop Chas & Stu (mostly Stu) from butchering lines. That, and not everything is on YouTube.

And, in back matter, we continue the discussion into more academic areas of the difference between theatrical, cinematic and television dialogue.

EPISODE LINKS

Stephen Cleary's Website: http://www.stephenclearyfilm.com
Inglorious Bastards - "Strudel"
ANALYSE THIS screenplay by Peter Tolan and Harold Ramis and Kenneth Lonergan
- YouTube: Analyze This - "Anxiety Disorder"
YouTube: Remains of the Day - "Book"
NOTTING HILL by Richard Curtis
- YouTube: Notting Hill - "Just A Girl"
THE AVENGERS by Joss Whedon
- YouTube: The Avengers - "We're a Timebomb"
Goodreads: Directing Actors by Judith Weston
iView: Please Like Me

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like listeners.

What makes a script so compelling that it ends up with an Oscar nod?

This week, Stu and Chas return to their first ever episode by tackling two Oscar-nominated screenplays. But this time - instead of exploring the rigid structures laid down by gurus - they use it as an opportunity to explore what they've learned in the last three years and apply them to the phenomenal writing in SPOTLIGHT and CAROL (with slight digression towards THE EXPANSE* and GAME OF THRONES).

And so this slightly meandering episodes revisits the excellent execution of catharsis, world-building, mid-points, dramatic point of view, status transactions and more.

Which has possibly replaced Star Wars as the de facto reference point for anything.

EPISODE LINKS

CAROL by Phyllis Nagy, based on the novel by Patricia Highsmith
- The Q&A Podcast with Jeff Goldsmith: Phyllis Nagy - CAROL
SPOTLIGHT by Josh Singer & Tom McCarthy
- The Q&A Podcast with Jeff Goldsmith: Tom McCarthy - SPOTLIGHT
YouTube: OUR LITTLE SECRET directed by Monique Schafter, written by Monique Schafter & Chas Fisher, Produced by Lee Matthews (link available only outside of Australia)
Every Frame a Painting: - Snowpiercer - Left or Right by Tony Zhou
Reddit: Academy Award for Best Original & Adapted Screenplay Nomines
AV Club: Stu on GOT vs The Expanse (with excellent followup by Motard)
SyFy: The Expanse
Birth. Movies. Death. : Film Crit Hulk Smash: NEVER HATE A MOVIE
Draft Zero: DZ-04: Catharsis and the Post-Coital Cigarette
Draft Zero: DZ-05: Shifting audience point of view and heightened emotions
Draft Zero: DZ-08: Status Transactions and the Power of Washing Machines
Draft Zero: DZ-10: Midpoint Reversals and the Ride
Draft Zero: DZ-15: World Building Rules, OK?

BACK MATTER

TableRead Production App
Netflix: Darkness on the Edge of Town (US & CA only) by Patrick Ireland

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

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What can fight scenes - whether physical or verbal - teach us about structuring any scene?

In exploring how to write good fight scenes, Stu and Chas compare how writers structure memorable showdowns - both verbal and physical. Fights vs arguments. Swords vs insults. Lightsabres vs passive aggressive subtext. To do this, they analyse the showdowns in EASTERN PROMISES, ROB ROY, THE FORCE AWAKENS (yes, yes, we finally let Stu officially discuss Star Wars), A FEW GOOD MEN, BREAKING BAD and BEFORE SUNSET.

As a result, they discover how larger structural elements like mid-points, reversals and act breaks can play out in making individual scenes compelling and dynamic. Also, they learn that great screenwriters don't just write "They fight" when writing fight scenes.

In Backmatter, we learn that Quentin Tarantino is a listener!

PS: Please complete our listener poll.

EPISODE LINKS

EASTERN PROMISES by Steven Knight
- Vimeo: Eastern Promises fight in the bath house
- The Nerd Writer: https://www.youtube.com/watch?v=qgLoIasrz9Q (YouTube)
Youtube: ROB ROY sword fight
Reddit: [RESOURCE] Star Wars: THE FORCE AWAKENS by Lawrence Kasdan & J.J. Abrams and Michael Arndt
A FEW GOOD MEN by Aaron Sorkin
- Youtube: A FEW GOOD MEN courtroom scene
Dailymotion.com: Saul Goodman kidnapped by the meth cooking duo
BEFORE SUNSET by Richard Linklater, Ethan Hawke & Julie Delpy
No Film School: Simplest Way to Make Your Films More Interesting: Use 'Therefore' & 'But' Instead of 'And Then'
The Movie Crypt Podcast: Episode 131 - Gareth Evans
Draft Zero: DZ-08: Status Transactions and the Power of Washing Machines
Draft Zero: DZ-10: Midpoint Reversals and the Ride

BACKMATTER

Brett Easton Ellis Podcast: Quentin Tarantino
- FULL Excerpt Link: https://overcast.fm/+BT14ACZVM/39:25
Draft Zero: DZ-13: True That - Tips from Tarantino
Draft Zero: DZ-27: Competing Views on Screenplay Competitions
Reddit.com/r/screenwriting: Can screenplay competitions be worth it?
Thirteen Minutes: Why Backmatter Matters
SKTCHD: Backmatter and the Golden Age of Comic Book Letters Columns
Listener Poll: Draft Zero & Patreon?

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like listeners.

How do you keep contained movies engaging?

Contained Thrillersseem to be a genre that never goes out of fashion. But being contained is not just limited to thrillers. It's a way of telling stories on a lower budget, regardless of genre. So - while allegedly easier to make / get made - limiting a story to a single location also limits the tools that maintain an audience's interest. Changing audience or character point of view, intercutting between locations or characters are all much harder (if not impossible) in contained films. So how do good contained films hook their audience and keep them?

In unravelling this locked room mystery, Stu & Chas look at three scripts form different genres: LOCKE - a drama; THE ONE I LOVE - a romcom or psychological thriller depending if you're Chas or Stu; and EVERLY - an exploitation action movie. They also discuss films including BURIED, PHONE BOOTH, THE DISAPPEARANCE OF ALICE CREED, CUBE & CUBE 2, INFINITE MAN and BOXING DAY.

EPISODE LINKS

Locke by Steven Knight (Script)
- YouTube: Locke - Trailer
- The Q&A Podcast: Steven Knight - Pawn Sacrifice Q&A
The One I Love by Justin Lader (IMDB)
- Watch on Netflix (US) and on Stan (Australia)
Everly screenplay by Yalo Hannon, story by Joe Lynch & Yale Hannon (IMDB)
- YouTube: Everly - Official Trailer #1
- The Movie Crypt with Adam Green & Joe Lynch
- Chicks Who Script: Ep 25 - Brett Hedblom and the Skinny on Producing
Boxing Day (IMDB)
- YouTube: Boxing Day - Trailer
- Boxing Day - Watch on iTunes
The Infinte Man (IMDB)
- YouTube: The Infinite Man - Trailer
- The Infinite Man - Watch on iTunes
YouTube: Buried - Trailer
YouTube: Phone Booth - Trailer
YouTube: the Disappearance of Alice Creed - Trailer
YouTube: Cube - Trailer & Cube 2: Hypercube - Trailer
ScriptShadow - GSU!!! (Goal, Stakes, Ugency)
Wikipedia: Pathetic Fallacy & LiteraryDevices.Net: Pathetic Fallacy
The Guardian: Covenhithe (short story) by China Miéville
Draft Zero: DZ-05: Shifting audience point of view and heightened emotions

BACKMATTER

Grant Nebel on Story Intensity Over Time & Forms of Storytelling on Television
Pete's Blog: A Thousand Men : TV for Writers
The Screen Director Podcast produced by Ben Mizzi
- Writing Predestination - The Spierig Brothers
- Corrie Chen on Bloomers
- Julietta Boscolo on Love Child
- Tommy Schlamme (The West Wing, Manhattan) interviewed by DZ's very own Stu Willis
Patreon.com : Recurring funding for artists and creators

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

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Can screenplay competitions be worth it?

After being repeatedly asked by listeners for thoughts on screenplay competitions, Stu and Chas go full back matter for this special episode. They tackle the question - do comps just feeding the hope machine or are they a valid investment? - in their typical detailed (i.e. long) style. With their differing perspectives, Stu (a director looking for material) and Chas (a writer keen for exposure), talk to an impressive roster of guests. We start with Gordy Hoffman, founder and judge of the Bluecat Screenplay Competition; repeat Austin Film Festival attendees - first for the screenplay and now for the finished web series of EX BEST - Diana Gettinger & Monica Hewes; Launchpad 2014 finalist Tony Pitman; and Insite Competition winner Blake Ashford, whose winning script CUT SNAKE hit cinemas in 2015... ten years after winning the competition.

These short descriptions in no way do justice to these eclectic and talented writers so - if you want to find out more - head to the links below.

Our apologies in advance for the inconsistent sound quality in these interviews. Sadly, that's the nature of pulling together four different interviews across states, countries, times zones and technological barriers.

LINKS

Gordy Hoffman, Founder of the Bluecat Screenplay Competition
- DOG BOWL by Gordy Hoffman
EX-BEST by Diana Gettinger & Monica Hewes
2014 Finalists for Tracking Board Launch Pad Competition including THE SINGULARITY by Tony Pitman
- Tony Pitman's skeptic podcast REALITY CHECK
IMDB: CUT SNAKE directed by Tony Ayres, written by Blake Ayshford
- YouTube: CUT SNAKE Trailer
- Find Blake Ayshford on Twitter: @episode2480
- AWG: Australian Writers Guild Competitions

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating us on iTunes! or sharing us on the Social Medias!

How does a screenwriter collaborate with a director on an existing property? In this halloween special, Chas (sans Stu) is joined by a very special guest... Aaron Sterns the co-writer of WOLF CREEK 2 -- the big budget sequel to the infamous WOLF CREEK, also directed by Greg McLean. Chas and Aaron talk horror, anti-horror, collaboration, novels and how a screenwriter works within an existing franchise. In backmatter, Stu & Chas talk about their experiences and methods for collaborating with other writers & directors. EPISODE LINKS

You can find Aaron Sterns at:
- Web: http://aaronsterns.com
- Twitter: @AaronSterns
- Facebook: https://www.facebook.com/aaronsternsauthor
GoodReads: Wolf Creek Origin by Greg McLean & Aaron Sterns
YouTube: Wolf Creek 2 Trailer
YouTube: Wolf Creek 2 Clip - the infamous 'kangaroo' scene
IMDB: Wolf Creek 2
- For Australian listeners it is on Stan.
- For US listeners it is on Netflix
Inside Film: Wolf Creek Series Starts Shooting

BACKMATTER LINKS

Movie Crypt - Ep 124: Greg McLean: http://geeknation.com/podcasts/the-movie-crypt-ep-124-greg-mclean/
WriterDuet - Real-time collaborative screenwriting software
Fountain - Fountain is a plain text markup language for screenwriting.
Fountain Tools for Google Docs
Literature & Latte: Scrivener

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating us on iTunes! or sharing us on the Social Medias!

How do screenwriters get away with using coincidences in their stories?

Remember that time in THE DARK KNIGHT RETURNS when Bruce suddenly - magically - returned to Gotham, and you were like "WTF?!" Well, it turns out that many of the best films have moments that are just as coincidental or contrived (or a flock of Giant Eagles) and yet get away with it. Does Pixar's "rule" that it is 'cheating to use coincidences to get your characters out of trouble', always apply?

In exploring how to get the audience to buy into these moments where the writer needs story to intrude over character or even logic, Stu and Chas dive into FINDING NEMO, MICHAEL CLAYTON and PULP FICTION (as well as honourably mentioning THOR II, OUT OF SIGHT, MAD MAX FURY ROAD, EMPIRE STRIKES BACK, INDEPENDENCE DAY and those bloody Giant Eagles in both RETURN OF THE KING and THE HOBBIT).

In back matter, we talk about moving forward vs working backwards when developing screenwriting skills.

EPISODE LINKS

io9.com: The 22 rules of storytelling according to Pixar
Wikipedia: Coincidence
Scriptmag.com - SPECS & THE CITY: Deus Ex Machina and "Lord of the Rings" by Brad Johnson
YouTube: FINDING NEMO - Fish Are Friends Not Food (flashback to diver at 2:53)
YouTube: MICHAEL CLAYTON Clip
YouTube: PULP FICTION - Butch kills Vincent
YouTube: PULP FICTION - Divine Intervention / Oh man I shot Marvin in the face...
YouTube: THE HOBBIT - Eagles Rescue
YouTube: White Boy Bob's Death - OUT OF SIGHT
Draft Zero: DZ-05: Shifting audience point of view and heightened emotions
Draft Zero: DZ-15: World Building Rules, rOkay?

BACK MATTER LINKS

reddit.com: clmazin comments on There are No Martells in the GOT Pilot
Open Channel: Stephen Cleary Story Structure Workshop
Kickstarter: Eat Me film - Draft Zero community project
Draft Zero: DZ-07: On Rewriting – How much Bull is left in the Hustle?
Draft Zero - Short Documents: http://traffic.libsyn.com/draftzero/Draft-Zero_ShortDocuments.zip

Are your story rules in your pilot strong enough to play out over the life of your show?

Stu and Chas move away from the world of features and dive into the Pilot Episodes of some (New) Golden Age Television: THE SHIELD, THE WIRE, BREAKING BAD, and MAD MEN. And we sneak in some discussion about ANGEL, THE SOPRANOS and GAME OF THRONES.

Our spiritual guide on this tele-vision quest is Wallflower (aka Grant Nebel), writer at The Solute and formerly of The Dissolve and the AV Club.

Together, they examine how the final acts of these pilot episodes - and the Dramatic, Literary and Cinematic rules established therein - will set the scene for the entire life of these seminal shows, right up to their end. Obviously, abound.

This was one of our favourite episodes to record and - given that both Chas and Stu are casting seductive glances at writing television - hopefully one of our most useful too.

LINKS

The-Solute.com: Wallflower (Grant Nebel)
- Grant Nebel: Collected writing on THE SHIELD
- Soundtracking: Grant's Podcast on Movie Soundtracks
THE SHIELD pilot by Shawn Ryan [@ 5m 02s]
THE WIRE - Episode 101 "THE TARGET" teleplay by David Simon, Story by David Simon and Edward Burns [@ 35m 03s]
BREAKING BAD pilot by Vince Gilligan [@ 48m 29s]
MAD MEN - "Smoke Gets In Your Eyes" by Matthew Weiner [@ 1hr 9m 45s]
- Vulture.com: Man Men Pilot Predicts the Final Episodes
Draft Zero: DZ-04: Catharsis and the Post-Coital Cigarette
Draft Zero: DZ-09: Characterising Introductions
Draft Zero: DZ-06: Key Scenes and Unlocking the Story
StyleCaster: ‘Breaking Bad’ and Colors: A Comprehensive Guide to the Theories, Costumes
The Disenchanted Costumier: Breaking Bad Costumes
Director's Guild of America: Elia Kazan - On What Makes a Director (pdf)
ActionCutPrint: Elia Kazan - On What Makes a Director (excerpted)
Every Frame A Painting: David Fincher - And the Other Way is Wrong (Vimeo)

BACK MATTER (BACKDRAFT?) [@ 1hr 32m 56s]

Bob Saenz: The Mean Old Writer
Genre Hacks: What is the Most Important Screenwriting Tool: The Rewriting Cycle
Wired: Harnessing the Power of Feedback Loops
GoodReader - PDF Reader (PDF Annotation)
Readdle: Documents & PDF Expert (PDF Annotation)
Literature & Latte: Scapple ("Flowcharting" for Scrivener)

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating us on iTunes! or sharing us on the Social Medias!

Are you a filmmaker but not sure how to start your career?

Draft Zero was invited to moderate a panel as part of the 2015 St Kilda Film Festival. In our very first live episode, we are joined by TV Writer Mithila Gupta (Winners and Losers), Director Corrie Chen (Reg Makes Contact) and Producer/Executive Simon de Bruyn (Acquisitions Executive, XYZ Films and Producer) to talk about 'breaking in', how it has changed, the different approaches, opportunities and challenges. They share their tips on networking effectively, setting up an online presence, persevering through doubt and getting relevant experience.

It's pretty out-of-format for us, but it's an informative and fun discussion.

We continue the discussion into BACKMATTER where we focus on emerging writers approaching directors to get stuff made.

EPISODE LINKS

The St Kilda Film Festival Official Webpage
- The live Draft Zero panel!
HEARTS ONLINE by Mithila Gupta
Corrie Chen
- Vimeo: BLOOMERS by Corrie Chen
Simon de Bruyn
YouTube: Henry & Aaron - It's a Snap
GoodReads: The Art of Asking: or, How I Learned to Stop Worrying and Let People Help by Amanda Palmer
- Ted Talks: The Art of Asking by Amanda Palmer

BACKMATTER

Short of the Week
Vimeo Staff Picks
Director's Notes
iTunes: The Infinite Man
Draft Zero: DZ-22: Romantic Comedy, Actually
Draft Zero: DZ-12: Craft, Career and Coffins
YouTube: TEDxConejo 2012 - Lindsay Doran - Saving The World vs Kissing The Girl via @troyguze
io9: The 22 rules of storytelling, according to Pixar

How can studying RomCom clichés teach us to subvert them?

With Stu busy working on Hollywood blockbusters, Chas is joined by Alli Parker (script department on Aussie TV series and former co-ordinator of European #scriptchat) to unpick successful romcoms to see if they can illuminate a path for writers working in this struggling genre. Cheap to produce and potentially highly lucrative, Chas and Alli look at romcom's conventions to see what it may take to reinvigorate this genre.

To that end, they look at deep breath WHEN HARRY MET SALLY, WHAT IF, THE PROPOSAL, 500 DAYS OF SUMMER, NOTTING HILL, FRIENDS WITH BENEFITS as well as special mentions to GOING THE DISTANCE, SEAN OF THE DEAD and ETERNAL SUNSHINE OF THE SPOTLESS MIND.

EPISODE LINKS

Vulture.com: 10 Most Over-Used Romantic Comedy Plot-Points
Draft Zero: DZ-13: True That – Tips from Tarantino
Goodreads: Writing the Romantic Comedy: From "Cute Meet" to "Joyous Defeat" by Billy Mernit
WHEN HARRY MET SALLY by Rob Reiner, Nora Ephron & Andrew Scheinman
- Youtube: WHEN HARRY MET SALLY - Restaurant Orgasm Scene
Youtube: WHAT IF trailer
Youtube: THE PROPOSAL trailer
500 DAYS OF SUMMER by Scott Neustadter & Michael H. Weber
- Youtube: (500) DAYS OF SUMMER - Expectations vs Reality
The Atlantic: Love Actually is the least romantic film of all time
BAFTA: Richard Curtis Delivers his BAFTA Screenwriters' Lecture
Alli Parker: Twitter - @alli_and_that and website - http://www.alliparker.com

BACKMATTER LINKS

TV Tropes: Romantic Comedy
Aeon Magazine: There Is No Language Instinct
DZ-04: Catharsis and the Post-Coital Cigarette
YouTube: Girls (HBO) Season 2 Episode 10 " Together" Finale
NewStatesman: “Let's talk about genre” - Neil Gaiman and Kazuo Ishiguro in conversation
TheDailyDot.com: The Mako Mori Test: 'Pacific Rim' inspires a Bechdel Test alternative
The Guardian: Woman sues to stop Drive getting away with a 'misleading' trailer
Listener Project: EX-BEST
Wikipedia: Cosmic Encounter

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating us on iTunes! or sharing us on the Social Medias!

How can scene transitions do more than just move from one location to another?

Stu and Chas look at one of the basic building blocks of a script: scene transitions. Transitions don't just move you from one scene to another in a slick way, they can help you compress time, enhance thematic connections, unify different story threads, orient (or disorient) your reader... and just make your script feel more like a movie.

To help us see how scenes connect & collide in interesting ways, we take a close look at scripts of films with great transitions to see how much of the work was done by the writer (as opposed to the director or editor): SCOTT PILGRIM VS THE WORLD, HIGHLANDER, AMERICAN SPLENDOR and BOYHOOD.

And then, in backmatter we take a self-reflective look at TIME MANAGEMENT (and naps).

Oh, we are also holding a LIVE EPISODE of Draft Zero at the 2015 St Kilda Film Festival. May 25, 8pm. More details shortly!

EPISODE LINKS

David Bordwell: http://www.davidbordwell.net
- The Hook: Scene Transitions in Classical Cinema
- There Will Be Blood - Hands and Faces Across the Table
- Watching You Watch There Will Be Blood
- Vimeo: There Will Be Blood with gaze locations of 11 viewers
Scriptnotes: Ep89 - Writing effective transitions
The Writer's Binder: 8 Ways to Hook The Reader by Karl Iglesias
2001: A SPACE ODYSSEY by Stanley Kubrick & Arthur C. Clarke
- YouTube: 2001 -From Bone to Satellite (1968) HD
SCOTT PILGRIM VS THE WORLD by Edgar Wright and Michael Bacall
- YouTube: Scott Pilgrim Transitions
- Every Frame a Painting: Edgar Wright - How to do Visual Comedy
HIGHLANDER Screenplay by Peter Bellwood & Larry Ferguson and Gregory Widen, Story by Gregory Widen
- YouTube: Highlander (1986) - Trailer
AMERICAN SPLENDOR by Robert Pulcini & Shari Springer Berman
- YouTube: American Splendor - What's In A Name
- YouTube: American Splendor - Supermark
BOYHOOD by RICHARD LINKLATER
- Kevin B. Lee : Who Deserves the 2015 Oscar for Best Director?
Zak Forsman: Are You Thinking About Your Transitions?
Screenwriting.io: What is a pre-lap?

BACKMATTER LINKS

The Next Web: The Secret To Insane Productivity? Will Power
Go Into the Story: Twitter Rant: Eric Heisserer on Procrastination, Precrastination and Productivity in Writing
The Write Practice: 23 Essential Quotes from Ernest Hemingway About Writing
Brain Pickings: The Daily Routines of Great Writers
The Guardian: Rise and shine: the daily routines of history's most creative minds
Paul Graham: How To Do What You Love
Fast Company: How To Be Prolific: Guidelines for Getting it Done by Joss Whedon
- Have Desert First - Joss Whedon
iView: Redesign my Brain with Todd Sampson
YouTube: Redesign my Brain - Series Trailer
Denvog: Index Card for iPhone and Index Card for iPad
Short of the Week: Deeper than Yesterday
Pozible: Real Lust, Inc
Phil Lemon: One Little Goat
St Kilda Film Festival - Forums Throughout the Week

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating us on iTunes! or sharing us on the Social Medias!

How can the Trinity Syndrome help you write better secondary characters?

Chas & Stu are joined by Bamboo Killer (aka Emily Blake) - one of the co-hosts of the Chicks Who Script podcast. They take a critical look at secondary female characters in mainstream movies through the lens of the oft-cited Bechdel test and the new, less-cited, Trinity Syndrome. The Trinity Syndrome berates movies for creating a "Strong Female Character With Nothing To Do" (like Trinity in the Matrix sequels) and raises a list of questions for filmmakers to ask themselves about their (female) characters.

Chas, Stu & Emily take these questions and use them to analyse the use of female characters in MISSION IMPOSSIBLE: GHOST PROTOCOL, EDGE OF TOMORROW, DAWN OF THE PLANET OF THE APES and HOW TO TRAIN YOU DRAGON 2. They also cover the awesomeness of the awesomeness that is Rose Tyler (Doctor Who), Katniss Everdeen (Hunger Games), and Kira Nerys (Deep Space Nine).

Funnily enough, turns out writing better female characters is really about writing better characters... who happen to be female.

EPISODE LINKS

Chicks Who Script Podcast. They are @cwspodcast on Twitter.
Emily Blake is @bambookiller on twitter. She also has a blog at http://bambookillers.blogspot.com.au
The Dissolve: We're losing all our Strong Female Characters to the Trinity Syndrome
DailyDot: An illustrated guide to superhero movies that pass the Bechdel Test
YouTube: EDGE OF TOMORROW - Emily Blunt Is Rita Vrataski [They gush about Rita in this - c.f. the DAWN video below]
YouTube:-DAWN OF THE PLANET OF THE APES - "Ellie" [in which Keri Russell struggles to explain her character at all]
YouTube: Everything wrong with DAWN OF THE PLANET OF THE APES
YouTube: MISSION IMPOSSIBLE: GHOST PROTOCOL - Girl Fight
YouTube: HOW TO TRAIN YOUR DRAGON 2 - Hiccup and Valka
Youtube: CATCHING FIRE - Katniss & Gale
Asking the Wrong Questions: Ode to Kira

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

Please considering rating us on iTunes! or sharing us on the Social Medias!

How do you make unlikeable characters compelling to watch... in drama?

Stu and Chas revisit a topic from a year ago: how do screenwriters make unlikeable characters compelling? This time, we turn our focus to dramas and analyse how AMERICAN HISTORY X, YOUNG ADULT, NIGHTCRAWLER all make their a**hole protagonists compelling to watch. We expand our original list of five writer's tools to include a few more for your tool belt.

In response to our audience survey, we also introduce our first episode of backmatter.

EPISODE LINKS

Draft Zero: DZ-03: Making Unlikable Protagonists Compelling
AMERICAN HISTORY X by David McKenna
- YouTube: American History X - First Scene
- YouTube: American History X - Basketball Game
YOUNG ADULT by Diablo Cody (Final Draft) - First 20 pages. For educational purposes only.
- YOUNG ADULT by Diablo Cody - First 20 pages. For educational purposes only.
- YouTube: Young Adult - Trailer
NIGHTCRAWLER by Dan Gilroy
- YouTube: Nightcrawler Best Scenes
- New York Times: 'Nightcrawler' Anatomy of a Scene with Dan Gilroy
YouTube: The Killer Inside Me - Trailer
Every Frame a Painting: Snowpiercer - Left or Right

BACKMATTER LINKS

Cinephilla & Beyond: Alien 3 Archive
The Contrarians: Episode 2 - Alien 3
Temple of the Seven Golden Camels: Staging and How It Affects Mood & Drama
Temple of the Seven Golden Camels: (Just a Little Bit) More Flat and Deep
Every Frame a Painting: Drive (2011) - the Quadrant System
Every Frame a Painting: The Bad Sleep Well (1960) - the Geometry of a Scene
Day One: A Simple and Elegant Journal for iPhone, iPad and Mac
Shawn Blanc: Day One review
IMDB: David Caesar

Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.

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Are there screenwriting lessons to be taken from analysing the work of Michael f-ing Bay?

Of course there are. How could there not be? After all, Michael Bay is the 3rd highest grossing director at the worldwide box office... of all time. Behind, y'know, Spielberg and stuff. How could a man of such credentials not know story? Or, so argues this week's guest: the author of MICHAEL F-ING BAY: THE UNHERALDED GENIUS IN MICHAEL BAY'S FILMS... [drumroll]... the Bitter Script Reader!

For those unfamiliar with the Bitter Script Reader and his puppet avatar, he is one of the internet's greatest free writing resources for emerging screenwriters. A man who shares his experiences of being a Hollywood gatekeeper for nothing because he's "sick of reading bad scripts".

Together, Stu, Chas and Bitter come through with their long-threatened episode to see what - if anything - screenwriters can learn from analysing the work of one of the most successful filmmakers all time, Michael Bay. We look at THE ROCK, THE ISLAND, and PAIN & GAIN, and cover writing great villains, controlling the flow of information to the audience (via car chases, of course) and creating visual decisions on the page.

So sit back and relax while Stu, Chas and the Bitter Script Reader learn how you can f@*k the page and not just the frame.

LINKS

Find the Bitter Script Reader:
- http://thebitterscriptreader.blogspot.com.au
- Twitter: @BittrScrptReadr
- Youtube: https://www.youtube.com/user/BitterScriptReader
- Facebook: https://www.facebook.com/pages/Bitter-Script-Reader/154427441425
- TRANSFORMERS: AGE OF EXTINCTION is the most brilliant and subversively political film you'll see all year
- Amazon: Michael F-ing Bay: The Unheralded Genius in Michael Bay's Films
Every Frame A Painting: What is Bayhem?
Michaelbay.com: Transformers 4: Bay on Action
Youtube: Car chase sequence from THE ROCK
Youtube: Trailer for THE ISLAND
Youtube: Best of Daniel Lugo from PAIN&GAIN

Please send feedback to ask at draft-zero.com or via our web form or @draft_zero on twitter. We are @chasffisher and @stuwillis on twitter.

Please considering rating us on iTunes! or sharing us on the Social Medias!

Michael F-ing Bay: The Unheralded Genius in Michael Bay's Films

When you're an emerging filmmaker, what are different ways to tackle a "career"?

It's our Holiday Special! In this episode (recorded December 2014), Chas and Stu break all the rules. No homework. No pages. No empirical analysis. They reluctantly but boldly reflect over the first year of Draft Zero and how it has influenced their 'careers' (such as they are). They also engage in a heated debate on whether a short film, a micro-budget feature or web-based content is the best way to go in terms of pushing a filmmaking career forward.

As the 2014 "season" comes to a close, Chas and Stu hold two polls for the listeners:

Should Chas and Stu spruik a favourite crowd-funding campaign run by listeners each episode?
Should Chas and Stu stick to the rules or occasionally set format aside to talk about their personal approaches to career and craft?

Click here to go to our 2 question/7 second Draft Zero listener survey!

May 2015 be great for all our listeners and may Chas and Stu finally open a door to find a gold-plated ensuite.

LINKS:

Austin Film Festival Staff Picks review of THE SUICIDE THEORY
Facebook: Offical Facebook page of THE SUICIDE THEORY
STAR WARS HOLIDAY SPECIAL Part 1 of 7 (youtube)
PAYLOAD written and directed by Stuart Willis
RESTORATION written by Matthew Clayfield & Stuart Willis, directed by Stuart Willis
THE TYGER written by Matthew Clayfield, art by Melanie Cook
PLAY IT SAFE written & directed by Chris Pahlow
MEATSPACE - Leon East's production company. He the man.
Draft Zero: DZ-03: Making Unlikable Protagonists Compelling
Draft Zero: DZ-10: Midpoint Reversals and the Ride
Draft Zero: DZ-15: World Building Rules, OK?
Draft Zero: DZ-16: Masters of Time and Whitespace

Please send feedback to ask at draft-zero.com or via our web form or @draft_zero on twitter. We are @chasffisher and @stuwillis on twitter.

Please considering rating us on iTunes! or sharing us on the Social Medias!

Does manipulating time on the page make your script feel more cinematic?

Chas and Stu are joined by Khrob Edmonds - an award-winning filmmaker and founder of TangoEDIT - to discuss manipulation of time...

... on the page!

Cinema is a time-based art, and one of the primary tools in film editing is manipulation of time. A closer look at sequences in the scripts of PULP FICTION, THE BOURNE IDENTITY, THE BOURNE ULTIMATUM, WOMAN IN BLACK, RAIDERS OF THE LOST ARK, UP, WHIPLASH, and THE UNTOUCHABLES reveals how master screenwriters use the same time-controlling techniques on the page. The closer a writer can recreate cinema's use of time on the page, the more of an "I'm watching a movie" feeling you can generate for the reader. Or, as Chas puts it, writing like you'd edit. We discuss use of white space, super-present tense, decompression & compression, Soviet Montage Theory, the Kuleshov effect and just a tiny amount of grammar.

NB: Stu refers to '-ing' words as 'present participles', John August (cited below) refers to 'present progressive'. Turns out there's a subtle difference between the two - see What Is the Difference between Present Participle and Present Progressive. Grammar esoterica FTW.

LINKS

John August: On the present tense
John August: Present tension
Scriptnotes: Ep 52: Grammar, Guns and Butter
TVTropes: Decompression in Comics
Storyteller's Journal: Decompression: Writing Comics Like Movies
Wikipedia: Soviet Montage Theory
- Wikipedia: The Kuleshov Effect
- YouTube: The Kuleshov Effect - Original experiment
- YouTube: Hitchcock on Pure Cinema - The Kuleshov Effect
- No Film School: How Hitchcock Used Editing to Turn 'Rear Window' into a Masterpiece of Visual Storytelling
- No Film School: The History of Editing, Eisenstein, & the Soviet Montage
- Kubrick Corner: Kubrick and the Kuleshov Effect
PULP FICTION by Quentin Tarantino & Roger Avary
- Miramax (YouTube): Mia Overdoses
- MovieClips (YouTube): A Shot of Adrenaline
THE BOURNE IDENTITY by Tony Gilroy
- MovieClips (YouTube): Bank Evacuation Plan
THE BOURNE ULTIMATUM by Tony Gilroy and Scott Z. Burns and George Nolfi, Screen Story by Tony Gilroy
- MovieClips (YouTube): Ross and Waterloo
WOMAN IN BLACK by Jane Goldman
- YouTube: Woman in Black - scary scene
RAIDERS OF THE LOST ARK Screenplay by Lawrence Kasdan, Story by George Lucas
- YouTube: Indiana Jones Fight Scene #1 (terrible quality)
- YouTube: Lego Indiana Jones and the Fight on the Flying Wing
UP Screenplay by Bob Peterson and Pete Docter, Story by Pete Docter, Bob Peterson and Tom McCarthy
- YouTube: Married Life - Carl & Eddie
THE UNTOUCHABLES by David Mamet
- MovieClips (YouTube): Knife to a Gun Fight
- YouTube: The Odessa Steps And Its Descendants
ACMI Dreamworks Animation: Interrogating Gingy
Temple of the Seven Golden Camels: Presentation Storyboards by Joe Ranft (short article of pitching storyboarded sequences in animation)
Goodreads: Cinematic Storytelling by Jennifer Van Sijll
Khrob Edmonds' Twitter: @KhrobEdmonds
TangoEdit - Collaborative, Cloud-based Editing: http://www.tangoedit.com
TangoEdit Watermark - Watermark video: http://watermark.meteor.com
Director's Guild of America: A Tribute to Director Steven Spielberg
Draft Zero: DZ-05: Shifting Audience Point-of-View

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How does setting up rules help you build a world?

In our most epic/longest episode yet, Chas and Stu tackle world building in films. Specifically, how the rules make something a world and not just a setting. Starting with world-centric genres like sci-fi and fantasy, we also cover horror, crime drama and - er - "other". We discuss a variety of techniques for setting up the rules of the world, including cold opens, voiceover, title cards and outsider characters! We've limited ourselves to the opening 3-5 pages... mostly... because (so the theory goes) they're the pages that teach the audience how to read/watch your story/film.

Like with the character introductions episode, we cover a lot of scripts. In no particular order... [deep breath]... THE MATRIX, THE MATRIX RELOADED, MATRIX REVOLUTIONS, INCEPTION, GRAVITY, MINORITY REPORT, MOON, LOOPER, ELYSIUM, JURASSIC PARK, HOW TO TRAIN YOUR DRAGON, HARRY POTTER AND THE SORCERER'S STONE, MADAGASCAR, FELLOWSHIP OF THE RING, PAN'S LABYRINTH, SNOW WHITE AND THE HUNTSMAN, NIGHT WATCH, VAN HELSING, THE ONE I LOVE, 28 WEEKS LATER, WORLD WAR Z, DAWN OF THE DEAD, 30 DAYS OF NIGHT, ZOMBIELAND, WOMAN IN BLACK, BRICK, ANIMAL KINGDOM, DIE HARD WITH A VENGEANCE, THE UNTOUCHABLES, GOODFELLAS, SHORT TERM 12, SILVER LININGS PLAYBOOK, TINKER TAILOR SOLDIER SPY, MOONRISE KINGDOM,THE ROYAL TENENBAUMS, and FOUR WEDDINGS AND A FUNERAL.

Damn that was a lot! And we've probably missed some, too. So have a listen and please let us know!

LINKS

Draft Zero: DZ-09: Characterising Introductions
Draft Zero: DZ-14: Old Underwear and Actor's Tools
Diary of a Screenwriter: Stanley Kubrick : Thoughts of Narrative
A Constatinework Orange: Non-Submersible Units
Reddit: Kate Powers (from Breaking Bad) on Non-Submersible Units
Visual Memory: 49 What are Non-Submersible Units?
io9: 7 Deadly Sins of Worldbuilding
THE MATRIX by Larry and Andy Wachowski
THE MATRIX RELOADED by Larry and Andy Wachowski
INCEPTION by Christopher Nolan
MINORITY REPORT by Scott Frank
MOON screenplay by Nathan Parker, story by Duncan Jones
LOOPER by Rian Johnson
ELYSIUM by Neill Blomkamp
- Think Progress: ‘Elysium’ Wants To Be A Lacerating Movie About Health Care, But It Has No Idea Why Inequality Exists
- io9: Here's What Elysium did wrong -- and what it did right
JURASSIC PARK screenplay by David Koepp
HOW TO TRAIN YOUR DRAGON by Dean DeBlois & Chris Sanders
SNOW WHITE AND THE HUNTSMAN by Evan Daugherty, John Lee Hancock & Hossein Amini, Story by Evan Daugherty
LOTR: FELLOWSHIP OF THE RING by Fran Walsh & Philippa Boyens & Peter Jackson
Trailer: NIGHT WATCH (YouTube)
PAN'S LABYRINTH by Guillermo del Toro
28 WEEKS LATER by Rowan Joffé, Juan Carlos Frensadillo, E.L. Lavigne, Jesus Olmo (uncredited, undated script)
ZOMBIELAND by Rhett Rheese & Paul Wernick
30 DAYS OF NIGHT by Steve Niles, Revisions by Stuart Beattie, Revisions by Adi Hasak
WOMAN IN BLACK by Jane Goldman
BRICK by Rian Johnson
GOODFELLAS by Nicholas Pileggi and Martin Scorsese
ANIMAL KINGDOM by David Michôd
SILVER LININGS PLAYBOOK by David O. Russell
TINKER TAILOR SOLDIER SPY by Bridget O'Connor & Peter Straughan
MOONRISE KINGDOM by Wes Anderson and Roman Coppola
THE ROYAL TENENBAUMS by Wes Anderson & Owen Wilson
Scriptnotes: Ep 149: The Long-Lost Austin Three Page Challenge (on Van Helsing)
Scriptnotes: Ep 135: World-building
Scriptnotes: Ep 160: A Screenwriter's Guide to the End of the World

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How can we make our screenwriting more appealing to Actors?

In this episode, Chas and Stu are joined by a very special guest, SARAH SNOOK - star of Succession, Predestination, Jessabelle, and Oddball, amongst many others - to discuss ACTING and it's relationship with WRITING.

We focus our analysis on two scenes from AUGUST: OSAGE COUNTY, a screenplay that started life as a Pulitzer Prize winning play, and whose writer - Tracy Letts - is a successful actor in his own right. But, as usual, we ice-skate between a whole range of topics, including what attracts actors to a script, writing realistic characters, how actors analyse scenes, character spines & objectives, and the importance of hugs.

LINKS

AUGUST: OSAGE COUNTY by Tracy Letts (we analyse pp 27-35)
IMDB: Sarah Snook
IMDB: PREDESTINATION
USC School of Cinematic Arts: James L. Brooks and Larry Moss at USC (YouTube)
Eric Sean McGiven: List of Intentions
ActorsHub: Objectives & SuperObjectives: An Acting Approach
Wordplayer: The Task
Wikipedia: Practical Aesthetics
Wikipedia: The GOTE Method
Goodreads: Directing Actors by Judith Weston
Goodreads: The Film Director's Intuition: Script Analysis and Rehearsal Techniques by Judith Weston
Goodreads:ACTIONS: The Actors Thesaurus by Marina Caldarone & Maggie Lloyd-Williams
ScriptNotes: Ep 134 So Many Questions & transcript (discussed John Ridley & 12 Years A Slave)
Nerdist Podcast: Michael Sheen

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The Film Director's Intuition: Script Analysis and Rehearsal Techniques

What is it about Tarantino's writing that elevates his work?

Chapter 1: Of Milk and Men

Tarantino is widely heralded as one of the great writer/directors. Yet new writers are advised to avoid emulating Tarantino because his voice is so strong. Only Tarantino can get away with being Tarantino. Or so the theory goes.

But if Tarantino is that good, why shouldn't we look under the hood and analyse his screenwriting? You don't have to want to emulate his voice to want to understand why his craft is so good.

Chapter 2: The Bloodied Purpose

To that bloodied end, Chas and Stu look at three scripts from distinct phases of QT's career: TRUE ROMANCE, KILL BILL (Volume 1), and INGLOURIOUS BASTERDS. Stu and Chas break down QT's use of structure, detail and - in particular - dramatic irony in an attempt to understand how Tarantino's films are that good.

Chapter 3: Epilogue, or, Links To Things We Talk About

USC School of Cinematic Arts: James L. Brooks and Larry Moss at USC (YouTube)
Eric Sean McGiven: List of Intentions
Wordplayer: The Task
TRUE ROMANCE by Quentin Tarantino
KILL BILL by Quentin Tarantino
INGLORIOUS BASTERDS by Quentin Tarantino
The Q&A with Jeff Goldsmith: Writing for Tony Scott: A Quentin Tarantino & Richard Kelly Q&A
Chicks Who Script Podcast: Lexi Alexander And The Power Of Determination
Draft Zero: DZ-05: Shifting audience point of view and heightened emotions
Draft Zero: DZ-08: Status Transactions and the Power of Washing Machines
BoardGameGeek: Dominion
- The Dice Tower: Dominion Review (YouTube)
- The Dice Tower: Dominion Intrigue Review (YouTube)

It's the The Podcast You Used To Know…. After a short hiatus, DRAFT ZERO is back!

Well, half of us is...

Chas (sans Stu) is joined by a very special guest - Natasha Pincus. As a screenwriter, Tash's feature CLIVE was on the 2012 Black List. As a director, her music video for Goyte's Someone I Used To Know was nominated for an MTV Music Video Award. And at the time of this recording, her debut feature as a screenwriter FELL was weeks away from opening night.

In other words, Tash has great experience behind the keyboard, behind the camera, and - as it turns out - in front of the camera. Experience that she is only happy to share with Chas as they discuss career, craft and process.

Stu wasn't around to bring up STAR WARS but he feels that linking to The Star Wars I Used To Know parody video will suffice.

LINKS

You can find Natasha Pincus at:
- http://www.starkravingproductions.com.au
- IMDB and
- via Twitter: @natashapincus
IMDB: FELL by Natasha Pincus
Watch FELL via Australian Centre for the Moving Image: Fell - Video-On-Demand
Broken Projector Podcast: http://podcast.filmschoolrejects.com/

Is the MacGuffin truly interchangable, and how does it impact on your character writing?

Stu and Chas are joined by a special guest - Scriptmag contributor Brad Johnson - to discuss how the choice of the MacGuffin can impact on the quality of an action/adventure film. To test this thesis, our heroes compare the auspicious originals of two iconic franchise with their, um, less-than-auspicious 4th instalments (in other words we compare RAIDERS OF THE LOST ARK with KINGDOM OF THE CRYSTAL SKULL and THE CURSE OF THE BLACK PEARL with ON STRANGER TIDES) as well as look at two recent & original entries into the genre, namely NATIONAL TREASURE and PRINCE OF PERSIA.

Our heroes uncover how key the relationship between the protagonist and the MacGuffin is and how this can impact on writing in any genre, not just action/adventure. Suprisingly, Brad brings up STAR WARS before Stu does...

LINKS

You can find Brad Johnson on Twitter or at www.ReadWatchWrite.com
Scriptmag: Specs & The City: MacGuffins and ‘Raiders of the Lost Ark’ by Brad Johnson pecs & The City: MacGuffins and ‘Raiders of the Lost Ark’ - See more at: http://www.scriptmag.com/features/specs-the-city-macguffins-and-raiders-of-the-lost-ark#sthash.zlc7sxQo.dpuf
The Blackboard forum: What is a MacGuffin? citing TVTropes.org and Alfred Hitchcock
Youtube: RAIDERS OF THE LOST ARK - The Greek Chorus/Exposition Scene
Youtube: RAIDERS OF THE LOST ARK - Showing protagonist's desire for the MacGuffin
The Complete Making of Indiana Jones by Rinzler and Bouzereau
Youtube: How Indy 4 should have ended
Youtube: PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL - Visualising and explaining the MacGuffin
Youtube: PIRATES OF THE CARIBBEAN: ON STRANGER TIDES - Where the protagonist says that they do not want the MacGuffin in the middle of the film
Youtube: NATIONAL TREASURE - Where the MacGuffin itself actually tells the protagonist to take action
Youtube: PRINCE OF PERSIA - The only point where the MacGuffin actually affects the plot

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Remastered July, 2020

The Complete Making of Indiana Jones: The Definitive Story Behind All Four Films

How can the middle of your film pivot so much that it pulls the rug out of your audience?

Stu and Chas embark on the first of a series of explorations into the dreaded Second Act. Their first stop is midpoint reversals or shifts, a plot point bang in the middle of ACT II that changes the protagonist's goal, raises the stakes and potentially leaves your audience leaning forward and asking "How the hell is this going to end?".

To get to the bottom of what makes a good midpoint shift (and whether your story needs one or not), Stu and Chas ride through DEATH AT A FUNERAL, PRISONERS, SHORT TERM 12, ALIEN, ALIENS and UP. We also drift across FULL METAL JACKET, PHILOMENA, HOW I LIVE NOW, ELYSIUM, DIE HARD and STAR WARS. Of course. Stu couldn't resist. It's not even funny anymore, is it?

LINKS

The Story Department by Karel Segers: That Mid Point Thing
Scriptshadow: GSU!!!
Broken Projector Podcast: Amazing movies you have to wait a year to see
Draft Zero: DZ-07: How much Bull is left in the Hustle?
Youtube: Midpoint from HOW I LIVE NOW
Youtube: DEATH AT A FUNERAL trailer
PHILOMENA by Steve Coogan and Jeff Pope
- Draft Zero: DZ-01: Do Screenplay Gurus win you Oscars?
PRISONERS by Aaron Gusikowski
Youtube: UP Official Trailer #3
ALIEN by Walter Hill and David Giler
- TV Tropes: Genre Blindness
ALIENS by James Cameron
Mike Jones: Star Wars is NOT Science Fiction. Mad Max is NOT a Road Movie.
UP by Bob Peterson and Pete Doctor
SHORT TERM 12 by Destin Daniel Crettin
- Youtube: Gangsta's Paradise by Coolio featuring L.V. (with appearance by Michelle Pfeiffer)
Youtube: Star Wars - That's no moon...
Amazon (non-affiliated link): Bruce Block's The Visual Story: Creating the Visual Structure of Film, TV and Digital Media
Restoration: http://www.restorationseries.com/
Kickstarter: RESTORATION - An online sci-fi mini-series by Stuart Willis
TRUE GRIT page excerpt:

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The Visual Story, Second Edition: Creating the Visual Structure of Film, TV and Digital Media

Can the introduction of a character be so good that the character doesn't need describing?

Stu and Chas argue about different techniques for introducing characters and whether character descriptions are even necessary. This is important for writers, as we only have words to compensate for the whole range of cinematic expression. And so Chas and Stu explore techniques like introducing characters through action, having other people discuss the character first, ensuring the introduction represents the character's goal/flaw/theme, and many more.

The scripts Stu and Chas tackle are... [takes a deep breath]... PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL, BLADE, THE DARK KNIGHT, the BREAKING BAD pilot, GIRL WITH THE DRAGON TATTOO, BLADE RUNNER, CHILDREN OF MEN, THE WRESTLER, THE SIXTH SENSE, MISS CONGENIALITY, LOCK STOCK & TWO SMOKING BARRELS, AMELIE, THE WOLF OF WALL STREET, FIGHT CLUB, ROCKY, JAWS, CABIN IN THE WOODS, and [mutters under breath] STAR WARS.

Is that it? Probably missed some. Bugger. Oh well. Have a listen and let us know.

LINKS

PIRATES OF THE CARRIBEAN: CURSE OF THE BLACK PEARL by Ted Elliott & Terry Rossio
- Youtube: Captain Jack Sparrow's intro
- Wordplayer: The Storyteller Cut by Terry Rossio
BLADE by David S. Goyer
- Youtube: Blade Opening Scene
THE DARK KNIGHT by Jonathan Nolan and Christopher Nolan (story by Christopher Nolan & David S. Goyer)
- Youtube: The Dark Knight Bank Robbery Scene
BREAKING BAD Pilot by Vince Gilligan
THE GIRL WITH THE DRAGON TATTOO by Steve Zaillian
THE WRESTLER by Rob Siegel
THE SIXTH SENSE by M. Knight Shyamalan
Youtube: Miss Congeniality Opening
BLADE RUNNER by Hampton Fancher and David Peoples
CHILDREN OF MEN by Alfonso Cuarón & Timothy Sexton
- Youtube: Children of Men Opening
JAWS by Carl Gottlieb and Peter Benchley
- Youtube: The Head, the Tail, the Whole Damn Thing
AMELIE by Jean-Pierre Jeanet (transcribed and translated - not original screenplay)
- Youtube: Introduction of Amelie's parents (in French, no subtitles)
FIGHT CLUB by Jim Uhls
LOCK STOCK & TWO SMOKING BARRELS by Guy Ritchie
- Youtube: Lock, Stock and Two Smoking Barrels Opening Scene
CABIN IN THE WOODS by Drew Goddard and Joss Whedon
THE WOLF OF WALL STREET by Terence Winter
- Youtube: Wolf of Wall Street Opening Scene
TAXI DRIVER by Paul Schrader
Chas Fisher: Seem vs Seen
Jane Espenson: That's 'jack-assity', not Jack Cassidy
DGA Quarterly: Picturing Life - The DGA Interview: David O'Russell
John August: How to introduce a character

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How does a shift in status or power reveal character?

Stu and Chas explore an idea they both came across studying theatre: status and by extension (or juxtaposition) power. Is a story where a character changes status or experiences loss (or gains) in power more compelling?

In order to explore this source of drama, Stu and Chas limit themselves to scenes where the status or power of a character shifts without the writer resorting to violence or revelation or plot.

LINKS

People Triggers: Keith Johnstone's Status Transaction
People Triggers: Status Transactions and the Actor
Swap Gas: Improv Acting Game: Status Therapy Session
Amazon: Taking Stock - The Theatre of Max Stafford-Clark
THE KING'S SPEECH by David Seidler - We analyse pages 18-25, the scene where Lionel and Bertie first meet.
- Youtube: "Bertie" from THE KING'S SPEECH
THE PRINCESS BRIDE by William Goldman - We analyse the Man in Black and Vizzini showdown (Search for "Picnic Spread" in the text).
- Youtube: Battle of Wits from THE PRINCESS BRIDE
THE SOCIAL NETWORK by Aaron Sorkin - We analyse pages 97-105, Sean Parker's entrance.
- Youtube: Sean Parker restaurant scene from THE SOCIAL NETWORK
TRUE GRIT adaptation by Joel and Ethan Coen - We analyse pages 9-13, where Maddie sells the ponies (except the gray horse).
- Youtube: The Art of Negotiating a Dispute from TRUE GRIT
Examples of scenes with power shifts:
- Youtube: Cypher's Death in THE MATRIX
- Youtube: Agent Kujan realises the truth in THE USUAL SUSPECTS
- Youtube: Get Busy Livin' scene from THE SHAWSHANK REDEMPTION
- Youtube: Luke refuses the Emperor in RETURN OF THE JEDI
- Youtube: Joey tries to make peace in A HISTORY OF VIOLENCE
- Youtube: Santa's Little Helpers scene in COLLATERAL
Stu and Chas' iMessage history:

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Taking Stock: The Theatre of Max Stafford-Clark

What can be gleamed from the substantial rewrite of a famed spec?

Stu and Chas look at AMERICAN BULLSH*T (the 2010 Black List spec script by Eric Warren Singer) and the film it became… AMERICAN HUSTLE (co-written and directed by David O'Russell), which garnered 10 Oscar nominations in 2014.

With both Singer and O'Russell credited on HUSTLE, Stu and Chas explore what O'Russell changed and what stayed the same in BULLSH*T. By comparing the spec with the eventual on-screen product, Stu and Chas gain valuable insights into the re-writing process: character, theme, voice over, back story and more.

LINKS

The Q&A Podcast with Jeff Goldsmith - The 7th Annual Screenwriting Nominees
AMERICAN BULLSH*T by Eric Warren Singer- FOR EDUCATIONAL PURPOSES ONLY
- The 2010 BLACK LIST - AMERICAN BULLSH*T is 8th, in between MARGIN CALL and ARGO
- Deadline: Ben Affleck eyes Black List ABSCAM Drama
AMERICAN HUSTLE by Eric Warren Singer and David O. Russell - FOR EDUCATIONAL PURPOSES ONLY
- YouTube: The Art and Soul of Survival
- YouTube: Jennifer Lawrence sets fire to the science oven
DGA Quarterly: Picturing Life - The DGA Interview: David O. Russell
Line by Line: No passive verbs! by Khrob Edmonds

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Can one scene be the key to unlocking the whole story?

Stu and Chas are joined once again by the inestimable Stephen Cleary to explore his idea of 'key scenes'. Scenes like the diner scene in HEAT. Or the boardroom showdown in MARGIN CALL. These scenes are not only key to a film, they can also be key to developing a story. Why? Stephen's observation is that if you put your protagonist and antagonist in a scene together for a period of time and they will instinctively play out the beats of your whole story... if you have the characters figured out.

An interesting theory and one we put to the test. In addition to HEAT and MARGIN CALL, we look at scenes and sequences from THE GODFATHER, NOTTING HILL, THE DARK KNIGHT, THE RAID 2: BERANDAL and Stu avoids mentioning STAR WARS by working in EMPIRE STRIKES BACK instead.

LINKS

SHORT TERM 12 by Destin Daniel Cretton -(Pages 42 - 48)
Mike Jones: "Mythology of Horror: The Story That Won't Go Away" - www.mikejones.tv
Stephen Cleary's Website: http://www.stephenclearyfilm.com
THE DARK KNIGHT by Jonathan Nolan and Christopher Nolan (Pages 101-106)
- The Dark Knight - "Interrogation Scene" (YouTube)
- Hero Complex: "Christopher Nolan revisits his favourite scene in 'Dark Knight'"
The Godfather Part II - "Corleone Family Flashback" (YouTube)
HEAT by Michael Mann (Pages 84 - 88)
- Heat - "The Diner Scene" (YouTube)
- Den Of Geek: "Michael Mann's Heat: how research created a classic thriller"
- Mann Made: From LA Takedown to Heat Part 1 (YouTube)
MARGIN CALL by J. C. Chandor (Pages 47 - 58)
- Margin Call - "The Music Stops" (Youtube)
- Margin Call - "Be First, Be Smarter or Cheat" (YouTube)
The Empire Strikes Back - "Tested on Dagobah" (YouTube)
The Decalogue: I Am Lord Thy God - "Catharsis" (YouTube)
The Raid 2: Berandal - Trailer (YouTube)
Jane Espenson: "Hot Cold Openings"

Can forcing your audience to ask questions - and then answering them - trigger an emotional response?

Stu and Chas delve into audience point of view - not character point of view! Does your audience know more, less or the same as your characters? And does changing this within a scene trigger or heighten the desired emotional response?

To test this theory, we look to the genre that changes the audience's point of view the most: thrillers. So we analyse scenes and sequences from THE BOURNE SUPREMACY, ZERO DARK THIRTY and ARGO. As usual though, we can't help ourselves and also consider scenes from GROUNDHOG DAY, PHILOMENA and - of course - Stu refers to STAR WARS.

LINKS

Reddit: Have you ever rooted for the bad guy?
Youtube: Hitchcock on Mastering Cinematic Tension
Lumina: New Thoughts in Screenwriting Prompted by the Thriller by Stephen Cleary
Wordplayer: The Task by Terry Rossio
PHILOMENA by Jeff Pope & Steve Coogan
THE BOURNE SUPREMACY by Tony Gilroy and Brian Helgeland - We analyse Pages 1 - 14
- Youtube: Beach and Goa car chase from THE BOURNE SUPREMACY
ZERO DARK THIRTY by Mark Boal
- Youtube: The bomb goes off from ZERO DARK THIRTY
ARGO by Chris Terrio
Youtube: Third checkpoint from ARGO airport sequence

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How does the end of certain films make your soul shudder?

Stu and Chas are joined by their first guest – illustrious script developer and producer Stephen Cleary – to explore how certain films can trigger an outpouring of emotion from the audience. Turns out that Aristotle may have figured it out a few thousand years ago and called it Catharsis.

To examine how Catharsis can be triggered by a sequence of fixed beats, Stu, Chas and Stephen zone in on the last few pages of FIELD OF DREAMS, TOY STORY 3 and SE7EN. And Stu brings up FROZEN. Again.

LINKS

Stephen Cleary's Website: http://www.stephenclearyfilm.com
Stephen Cleary's Lecture on Catharsis and Aristotle for Screenwriters
SAFC Filmlab on Low Budget Filmmaking
FIELD OF DREAMS by Phil Alden Robinson -- Last 5 pages. For educational purposes only.
- Field of Dreams -- “You’re not invited” (Youtube)
- Field of Dreams -- “Ray meets his father” (Youtube)
TOY STORY 3 by Michael Arndt -- Last 11 pages. For educational purposes only.
SE7EN by Andrew Kevin Walker -- Last 18 pages. For educational purposes only.
- Se7en – “The Box” (Youtube)
FROZEN by Jennifer Lee – Last 10 pages. For educational purposes only.
Stereofilm: "Defining TV Comedy One Word at a Time" blog by Leo Astudillo on Greg Daniels, writer on THE SIMPSONS and creator of the US version of THE OFFICE.
Diary of a Screenwriter: Paul Schrader on the American existentialist protagonist
#Scriptchat on Twitter: https://twitter.com/search?q=%23scriptchat
#Scriptchat Archives: http://scriptchat.blogspot.com
Done Deal Pro: http://www.donedealpro.com/
The Blackboard: http://theblackboard.blcklst.com
Reddit /r/Screenwriting Subreddit: http://www.reddit.com/r/Screenwriting/
Line by Line Melbourne: http://linebyline-melbourne.blogspot.com.au

Thanks to Noisepig Productions for location recording and producing this episode.

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Stu and Chas delve into unlikable protagonists in comedy. How do filmmakers keep us watching characters who should alienate us? To answer this question, Stu and Chas look at the first 20 pages of HOT FUZZ, AS GOOD AS IT GETS and - of course - GROUNDHOG DAY.

PS: In ANCHORMAN (which we also talk about)... um... they renamed the character of Alicia Corningstone to Veronica Corningstone (Christina Applegate) in the shooting script. We keep on referring to her as Alicia as that is what she is referred to in the screenplay. Wups.

LINKS

Steve Kaplan and his Definition of Comedy (plus Epiphany International Artists)
Mentorless: Steven Soderbergh on the Best Way to Learn to Make Films
HOT FUZZ by Simon Pegg and Edgar Wright - First 20 pages. For educational purposes only.
- Hot Fuzz - Opening Montage - Angel is Awesome! (YouTube)
- Hot Fuzz - Angel is promoted to the country (YouTube)
- Hot Fuzz - Janine tells Angel his flaw (YouTube)
AS GOOD AS IT GETS by Mark Aldrus and James L. Brooks - First 20 pages. For educational purposes only.
- As Good As It Gets - "We're All Going to Die Soon" (YouTube)
- As Good As It Gets - "Never, never, interrupt me, okay?" (YouTube)
GROUNDHOG DAY by Danny Rubin, 2nd Revisions by Harold Ramis - First 20 pages. For educational purposes only.
GROUNDHOG DAY by Danny Rubin, 3rd Revisions by Harold Ramis - First 20 pages. For educational purposes only.
- Harold Ramis on the Metaphor of Groudhog Day
- Jason Reitman's Live Reading of Groundhog Day: "Reitman said the script was full of deleted scenes."
- Groundhog Day - Re-shot Opening (YouTube)
- Groundhog Day - "Any Chance of an Espresso or Cappuccino?" (YouTube)
- FilmSchoolRejects: 27 Things We Learned from Harold Ramis' Groundhog Day Commentary
- Scriptnotes: Podcast on Groundhog Day
- Filmspotting #480: Top 5 Harold Ramis Moments
ANCHORMAN by Will Ferrell and Adam McKay - First 20 pages. For educational purposes only.
- Anchorman - Ron Hits on Veronica (YouTube)

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After analysing awards-nominated screenplays, Stu and Chas turn to the original screenplays that struck it biggest at the box office in 2013: GRAVITY and FROZEN. Do bigger films stick more closely to the archetypal story structures espoused by Vogler and Snyder?

We start discussing GRAVITY at around 7'33" and FROZEN at 54'40", although discussion does skip back-and-forth at times.

LINKS:

GRAVITY screenplay by Alfonso Cuarón & Jonas Cuarón
KCRW's The Business Podcast with Alfonso Cuarón
KCRW's The Business Podcast with David Heyman
Framestore's jaw-dropping Gravity Show and Tell (YouTube)
Gravity from Script to Screen Featurette (YouTube)
FROZEN screenplay by Jennifer Lee
KCRW's The Business Podcast – Jennifer Lee and Kristen Anderson-Lopez
The Q&A Podcast with Jeff Goldsmith – Frozen
Scriptnotes Podcast – Frozen with Jennifer Lee
Excerpt of Shane Black from The Q&A with Jeff Goldsmith - Iron Man 3 - quoted under Fair Use. Not covered by our CC license.
Allen Palmer on Where he disagrees with the Hero's Journey and his suggested Hero's Inner Journey.
Christopher Booker's The Seven Basic Plots is, in a way, an interpretation of the Hero's Journey and The Monomyth.

Please send feedback to ask at draft-zero.com.

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Do Oscar-Nominated screenwriters follow the structural formulas prescribed by the 'gurus' and books?

Stu and Chas analyse two screenplays nominated for Academy Awards in 2014 – PHILOMENA and DALLAS BUYERS CLUB – to see whether they follow the structural theories espoused by Blake Snyder, Michael Hauge and Christopher Vogler.

LINKS:

PHILOMENA Screenplay by Steve Coogan and Jeff Pope
The Q&A Podcast with Jeff Goldsmith – Philomena
DALLAS BUYERS CLUB screenplay by Craig Borten and Melisa Wallack
The Q&A Podcast with Jeff Goldsmith – Dallas Buyers Club
THE FIVE KEY TURNING POINTS OF ALL SUCCESSFUL SCRIPTS by Michael Hauge
Michael Hauge on the High Concept Movie (YouTube)
SAVE THE CAT BEATSHEET by Blake Snyder
THE WRITER'S JOURNEY STRUCTURE by Christopher Vogler
Ingrid's Notes on THE WRITER'S JOURNEY
SM Worth links to a few different Scrivener Templates including one for the Hero's Journey.
John Castle writes about using Scrivener and Save The Cat; and even offers his Save The Cat template for download.
We should probably link to Scrivener as well then.

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What, exactly, is Draft Zero?

Welcome to Draft Zero. A message from 2019 to those starting with our first episodes dating from 2014. We’ve learned a lot in five years. So where do you begin?

Read: The Beginner’s Guide to Draft Zero: http://draft-zero.com/beginners-guide/

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