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...
info_outline DZ-108: The Emotional Event with Judith WestonDraft 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...
info_outline DZ-107: Establishing Tone Through CharacterDraft 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...
info_outline 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...
info_outline DZ-105: Establishing Tone Through Big PrintDraft 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...
info_outline DZ-104: Characters Alone - Dramatizing the InternalDraft 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...
info_outline DZ-103: Game of the Scene 2 - Triangle of Sadness, The FavouriteDraft 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...
info_outline DZ-102: Game of the Scene - Bluey, John Wick 4Draft 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...
info_outline DZ-101 Creating Immediacy & Anchoring Action on the PageDraft 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...
info_outline DZ-100: Scenes through SwordsDraft 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...
info_outlineHow can your characters' worldview dramatise your theme?
In this episode, Stu and Chas tackle one of the more esoteric topics in screenwriting (and writing in general): theme! To help us tackle this topic, we decided to look at television pilots, because we felt that television requires the theme to be more explicit. Our zig-zagging (and long) discussion covers thematic engines, music themes, thematic loglines, punishment vs reward, and - perhaps most of all - the worldview of characters.
So we take a look at the opening and closing scenes (and middle scenes, too) of some of our favourite shows: HOUSE OF CARDS, CRAZY EX-GIRLFRIEND, TRUE DETECTIVE, FARGO and TRANSPARENT. We also make passing reference to SPEC OPS: THE LINE, GAME OF THRONES (its Stu's new Star Wars), and BOJACK HORSEMAN.
In backmatter, we talk about the difference between the written scripts of these pilots and their released versions.
Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.
It should go without saying but - SPOILERS AHEAD.
- DRAFT ZERO - Related Episodes
- BACKGROUND MATERIAL
- /r/screenwriting: [QUESTION] How do I find my theme/moral/the point I want to make with my story?
- Game Maker's Toolkit: Morality in the Mechanics
- Game Maker's Toolkit: Telling Stories with Systems
- YouTube: SpecOps the Line - White Phosphorus Scenes
- PopMatters: Morality and Karma Systems
- HOUSE OF CARDS [@ 24m 33s]
- Script: HOUSE OF CARDS by Beau Williamson
- YouTube: Francis Underwood's first monologue
- YouTube: Tyrion and Varys Discuss Power
- Find it on JustWatch
- CRAZY EX GIRLFRIEND [@ 42m 23s]
- Script: CRAZY EX GIRLFRIEND "West Covina" Written by Rachel Bloom and Aline Brosh McKenna
- YouTube: "West Covina"
- YouTube: Bojack Horseman
- Find it on JustWatch
- TRUE DETECTIVE [@ 01hr 07m 27s]
- Script: TRUE DETECTIVE "The Long Bright Dark" by Nic Pizzolatto
- YouTube: Rust & Martin Car Conversation
- YouTube: Six Feet Under - Elephant Art vs Termite Art
- Find it on JustWatch
- FARGO [@ 1h1 35m 40s]
- Script: FARGO script by Noah Hawley
- YouTube: Lester Nygaard talks to Lorne Malvo about Sam Hess
- Find it on JustWatch
- TRANSPARENT [@ 1hr 52m 46s]
- Script: TRANSPARENT by Jill Soloway
- YouTube: A Big Change
- Find it on JustWatch
- WRAP UP MATERIAL [@ 2hr 01m 05s]
- BACKMATTER [@ 2hr 21m 29s]
Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero We are @chasffisher and @stuwillis on twitter.
Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like finding new listeners.