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DZ-46: Organising your story around Point of View

Draft Zero: a screenwriting podcast

Release Date: 12/19/2017

DZ-109: Talking DIRECTLY to your audience show art 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...

info_outline DZ-108: The Emotional Event with Judith Weston show art 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...

info_outline DZ-107: Establishing Tone Through Character show art 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...

info_outline DZ-106: How do you know if you have enough story? show art 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 Print show art 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...

info_outline DZ-104: Characters Alone - Dramatizing the Internal show art 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...

info_outline DZ-103: Game of the Scene 2 - Triangle of Sadness, The Favourite show art 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...

info_outline DZ-102: Game of the Scene - Bluey, John Wick 4 show art 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...

info_outline DZ-101 Creating Immediacy & Anchoring Action on the Page show art 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...

info_outline DZ-100: Scenes through Swords show art 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...

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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.

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