Libsyn Directory

DZ-109: Talking DIRECTLY to your audience

Release Date: 05/01/2024

DZ-109: Talking DIRECTLY to your audience

Draft Zero: a screenwriting podcast

What are the different ways a filmmaker can ask something of the audience? Chas and Stu are joined by recurring guest Mel in this prelude episode to upcoming episodes on Voice Over and Breaking the Fourth Wall. In this episode, we attempt to taxonomise the different ways filmmakers can ask something directly of their audience. To this end, we identify 4 levers that can be pulled: Diagetic to non-diagetic (in story world to outside story world) Who is talking? From story-teller to a character Whom are they talking to? Themselves or directly to the audience? From when in time is the...

DZ-108: The Emotional Event with Judith Weston

Draft Zero: a screenwriting podcast

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...

DZ-107: Establishing Tone Through Character

Draft Zero: a screenwriting podcast

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...

DZ-106: How do you know if you have enough story?

Draft Zero: a screenwriting podcast

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...

DZ-105: Establishing Tone Through Big Print

Draft Zero: a screenwriting podcast

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...

DZ-104: Characters Alone - Dramatizing the Internal

Draft Zero: a screenwriting podcast

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...

DZ-103: Game of the Scene 2 - Triangle of Sadness, The Favourite

Draft Zero: a screenwriting podcast

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...

DZ-102: Game of the Scene - Bluey, John Wick 4

Draft Zero: a screenwriting podcast

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...

DZ-101 Creating Immediacy & Anchoring Action on the Page

Draft Zero: a screenwriting podcast

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...

DZ-100: Scenes through Swords

Draft Zero: a screenwriting podcast

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...

More Episodes

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

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

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

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

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

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

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

Thanks to Chris Walker for his excellent editing this episode.

CHAPTERS:

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

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