100 avsnitt • Längd: 105 min • Oregelbundet
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.
The podcast Draft Zero: a screenwriting podcast is created by Chas Fisher and Stuart Willis. The podcast and the artwork on this page are embedded on this page using the public podcast feed (RSS).
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.
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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.
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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.
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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.
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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.
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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.
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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
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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.
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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.
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Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
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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.
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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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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:
They then take these levers and ask a series of questions, including:
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.
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How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.
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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.
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How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.
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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.
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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!
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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.
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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.
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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.
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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.
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Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
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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.
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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:
As always: SPOILERS ABOUND.
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This episode is brought to you by our awesome Patreons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob.
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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
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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.
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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.
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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!
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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
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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
LINKS
RELATED EPISODES
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
LINKS
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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 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
LINKS
RELATED EPISODES
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.
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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 (drum roll):
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 for $30 off a subscription!
And how can we forget our awesome Patreons?, 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.
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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
LINKS
RELATED EPISODES
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!
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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
LINKS
RELATED EPISODES
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.
CHAPTERSLINKS
RELATED EPISODES
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
LINKS
RELATED EPISODES
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 ORDEREPISODE LINKS
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:
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
LINKS
RELATED EPISODES
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:
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
LINKS
RELATED EPISODES
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
LINKS
Alice Fraser - http://www.alicecomedyfraser.com
Hannah Gadsby - Nanette:
Alice Wong - Baby Cobra:
Daniel Kitson - It’s The Fireworks Talking:
Bo Burnham - Inside:
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.
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:
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
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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:
RELATED EPISODES:
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
LINKS
RELATED EPISODES
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
LINKS
RELATED EPISODES
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
EPISODE LINKS
RELATED EPISODES
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
EPISODE LINKS
But the system using folders is actually from Anthony Johnston
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
EPISODE LINKS
RELATED EPISODES
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
EPISODE LINKS
RELATED EPISODES
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
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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.
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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
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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.
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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!
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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.
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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
EPISODE LINKS
DZ RELATED EPISODES
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:
EPISODE LINKS:
DZ RELATED EPISODES:
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:
EPISODE LINKS
DZ RELATED EPISODES:
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
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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
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.
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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.
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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.
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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.
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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 ORDERPlease 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 ORDEREPISODE LINKS
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)
FRAMING THE SCENE (@ 52:58)
OPENINGS (@ 59:27)
PERFORMANCE (@ 1:36:07)
TONE/THEME (@ 01:54:49)
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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.
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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.
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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
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
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.
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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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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.
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 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
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
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
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
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
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
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 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
BACK MATTER
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 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
BACKMATTER LINKS
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
BACKMATTER LINKS
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 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
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 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
BACK MATTER
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
BACKMATTER
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 Thrillers seem 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
BACKMATTER
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
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 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
BACKMATTER LINKS
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 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
BACK MATTER LINKS
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
BACK MATTER (BACKDRAFT?) [@ 1hr 32m 56s]
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 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
BACKMATTER
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
BACKMATTER LINKS
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 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
BACKMATTER LINKS
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
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 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
BACKMATTER LINKS
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 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
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.
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En liten tjänst av I'm With Friends. Finns även på engelska.
