Afleveringen
-
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 âmetaâ 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 âin the story worldâ the communication from the filmmakers is.
Ultimately, in exploring these three power films through this lens, we discover that these tools give filmmakers more control in conveying their theme. Quelle surprise.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
Thanks to Chris Walker for his excellent editing this episode.
CHAPTERS
00:00:00 - Cold Open 00:00:28 - The Meta of Meta 00:11:01 - Adaptation 00:36:43 - Sponsor: Arc Studio Pro 00:39:40 - Adaption (Part 2) 00:42:23 - Stories We Tell 01:12:13 - The Forty Year Old Version 01:48:14 - Wrap Up & Key Learnings 02:01:24 - Many thanks to our Patreons -
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 âin-worldâ the camera is, who is talking, and whom the character is talking to (i.e. who we are in the relationship), we end up discovering how breaking the 4th wall can involve the audience in the emotional present of the character and also grants the character a degree of narrative control (a craft lever that can be dialled in and out).
Separately, in a Backmatter to this episode to be found on our Patreon page, Mel and Chas answer a listener question and take a deep dive into how breaking the 4th wall changes the RELATIONSHIP between you - the viewer - and character.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
Thanks to Chris Walker for his excellent editing this episode.
CHAPTERS
00:00:00 - Cold Open
00:00:17 - What is âbarrellingâ?
00:13:45 - HIGH FIDELITY
00:39:46 - ABBOTT ELEMENTARY
01:04:09 - FLEABAG
01:40:54 - Key Learnings
01:50:48 - Patreon thanksRELATED EPISODES
Backmatter on Breaking the 4th Wall DZ-109: Talking DIRECTLY to your audience DZ-110: Voiceover DZ-111: Unreliable Narrators and Fight ClubThis episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!
And how can we forget our awesome Patreons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
SUBSCRIBE TO SHOT ZERO via Substack -
Zijn er afleveringen die ontbreken?
-
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 filmâs disconnected sequence-driven structure and how the voiceover âstitchesâ the film together. And then we look at what makes âJackâ an unreliable narrator and how his control over the storytelling impacts us.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
Thanks to Chris Walker for his excellent editing this episode.
CHAPTERS:
00:00:01 â Cold Open 00:00:20 â Fight Club 00:24:57 â Unreliable Narrators 00:49:09 â Key Learnings & Wrap Up 00:54:07 â Many thanks to our Patrons!RELATED EPISODES:
DZ-110: Voiceover DZ-109: Talking DIRECTLY to your audience DZ-53: Antagonists! 5 â vs AudienceHow can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Paulo, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
SUBSCRIBE TO SHOT ZERO via Substack -
How can you use Voiceover without it feeling like a cheat?
In this episode, we finally delve into the world of VOICEOVERS (as part of our larger series exploring craft tools that allow characters & storytellers to talk directly to the audience). Chas, Stu and Mel deep dive into the VERONICA MARS pilot, Disneyâs THE EMPERORâS 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 âwhen in time is the Voiceover coming fromâ). In this episode we discover how Voiceover can set tone, reveal character motivations, enhance viewer empathy, or even create tension.
Donât forget to check out the Backmatter (https://www.patreon.com/posts/backmatter-for-105083575) to this episode answering Patreon Abigailâs question.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
Thanks to Chris Walker for his excellent editing this episode.
CHAPTERS:
00:00:00 - Cold open 00:00:23 - Voiceover craft levers to pull 00:03:48 - Veronica Mars (pilot) 00:32:43 - The Emperorâs New Groove 00:54:11 - Pain & Gain 01:31:30 - Key Learnings & Wrap Up 01:39:34 - Thanks Patreons!RELATED EPISODES:
DZ-109: Talking DIRECTLY to your audience DZ-18: Michael Bay â F*ing the Frame and P*ing the PageHow can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
SUBSCRIBE TO SHOT ZERO via Substack -
What are the different ways a filmmaker can ask something of the audience?
Chas and Stu are joined by recurring guest Mel in this prelude episode to upcoming episodes on Voice Over and Breaking the Fourth Wall. In this episode, we attempt to taxonomise the different ways filmmakers can ask something directly of their audience. To this end, we identify 4 levers that can be pulled:
Diagetic to non-diagetic (in story world to outside story world) Who is talking? From story-teller to a character Whom are they talking to? Themselves or directly to the audience? From when in time is the communication coming?They then take these levers and ask a series of questions, including:
What does the communication want from the audience? Does the audience know whoâs 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 whoâs 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 thanksRELATED EPISODES:
DZ-108: The Emotional Event with Judith Weston DZ-15: World-building Rules DZ-54: Thematic SequencesHow can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
SUBSCRIBE TO SHOT ZERO via Substack -
How and why should every scene have an emotional event?
For the first episode of our tenth anniversary year, we are joined by Judith Weston to talk about Emotional Events.
What is an emotional event? Well, itâs 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 Directorâs Intuition are basically industry standards.
You can find Judith Weston (and her books!) at her website: https://judithweston.com/web/
As always: SPOILERS ABOUND.
Thanks to Chris Walker for his excellent editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
CHAPTERS:
00:00:00 â Cold Open 00:00:30 â What is an emotional event? 00:13:48 â Oppenheimer 00:46:16 â Casino Royale 00:59:35 â Past Lives 01:30:20 â Key Learnings & Wrap Up 01:36:05 â Thanks to our PatreonsRELATED EPISODES:
DZ-08: Status Transactions â https://draft-zero.com/2014/dz-08/ DZ-40: Tactics and Scenes â https://draft-zero.com/2017/dz-40/How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
SUBSCRIBE TO SHOT ZERO via Substack
-
How can we use dramatisation to create tone?
In this episode, Chas and Stu continue their deep dive into how to write tone by examining films with âlightâ (we use the phrase loosely) tones: LADY BIRD, EMILY THE CRIMINAL, THE BALLAD OF BUSTER SCRUGGS, and SPONTANEOUS. We also talk a surprising amount about DUNE and CRAZY STUPID LOVE.
We focus on the relationship between character & tone and how the writers of these films use dramatisation to create their unique tones. We talk minimalism vs maximalism, dialogue, character actions & reactions, emotional dynamic range, and rules of the world vs given circumstances.
Stu proposes a new triangle to help us understand the dials we as writers have to affect tone: the given circumstances of the story, how that effects character actions & reactions, and how the audience are told about those elements.
Thanks to Chris Walker for his excellent editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
CHAPTERS:
00:00:00 - Cold Open 00:00:23 - Tone & Character 00:15:26 - Ladybird 00:33:20 - Emily The Criminal 00:57:43 - The Ballad of Buster Scruggs 01:17:28 - Spontaneous 01:39:38 - Key Learnings & Wrap Up 01:51:58 - Many thanks to our PatreonsRELATED EPISODES:
DZ-105: Establishing Tone - Dark DZ-82: Dramatising Given Circumstances in WatchmenRELATED LINKS:
Tom Vaughan / Story and Plot: Controlling the tone in your screenwritingHow can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
-
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:
âIn 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?â
Thus we launch into a discussion on our writing processes and the varying usefulness of tools such as log lines, turning points, beat sheets, synopsis, treatments, and scene breakdowns. We also tackle the challenges encountered while developing an idea to first draft, such as balancing the pace of the story, developing distinct character voices, character choices, plot changes, pacing, and thematic clarity.
Is this backmatter? Or is it development tools? You decide! Hahaha.
Thanks so much to Chris Walker for his excellent editing on this episode!
CHAPTERS:
00:00:00 - Cold Open 00:00:30 - Introduction: Falling Short 00:02:38 - Our Development Processes 00:33:06 - Developing from concept 00:45:26 - Sponsor: Arc Studio Pro 00:48:12 - Expanding your Idea 01:15:29 - Long Short Documents 01:27:22 - Consistent problems with first drafts 01:34:28 - Many thanks to our Patreons!This episode brought to you by (drum roll):
ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!And how can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can also find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
SUBSCRIBE TO SHOT ZERO via Substack
-
How can we teach the reader to find the humour in our darkness?
Chas and Stu finally start their long-mooted exploration of tone with a series that examines films and shows with unusual tones and dives into how the writers establish those tones in the first 5 pages.
How does your script want your reader to experience violence in your story? Humour? Sex? Prejudice?
To answer these questions, this episode look at how films with âdarkerâ or âsadderâ tones teach the reader what they can laugh at, namely: THE NICE GUYS, THE BANSHEES OF INISHIRIN and the pilot for YELLOWJACKETS.
Together they learn how to better talk about tone, how to frame tone for a scene or sequence, and what levers writers can use on the page to compensate for cinematic tools like music, performance, composition, lighting, design, editing, etc etc etc.
Future episodes plan to explore establishing lighter or quirkier tones, as well as tools in shifting or changing tone on the page.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
CHAPTERS:
00:00:00 - Cold Open 00:00:32 - What is tone? 00:25:00 - The Nice Guys 00:55:07 - Sponsor: Arc Studio Pro 00:57:23 - The Banshees of Inisherin 01:25:06 - Yellowjackets 01:53:30 - Key Learnings & Wrap Up 02:04:40 - Many thanks to our Patreons!RELATED EPISODES
DZ-60: Unfilmables and Unscriptables (Part 1) - Engaging imagination DZ-61: Unfilmables 2 â Moments of AweThis episode brought to you by (drum roll):
ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!And how can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
SUBSCRIBE TO SHOT ZERO via Substack
-
How can 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 characterâs interiority. We talk how big print can reflect character; how finding moments for vulnerability allows characters to drop their masks; and how staging can help these moments occur organically.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
CHAPTERS
00:00:02 - Cold Open 00:00:24 - Intro: Character's Alone 00:13:04 - Aftersun 00:31:55 - Sponsor: Arc Studio Pro 00:34:16 - Sense and Sensibility 00:59:59 - The Equalizer 01:25:02 - Wrap Up & Key Learnings 01:28:34 - Many thanks to our Patreons!RELATED EPISODES
DZ-99: Scene Questions DZ-93: Talismans (Part 1) DZ-94 Talismans (Part 2) DZ-60: Unfilmables and Unscriptables (Part 1) - Engaging imaginationRELATED LINKS
Shot Zero: www.shot-zero.com Restoration: www.restorationseries.comThis episode brought to you by (drum roll):
ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!And how can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
SUBSCRIBE TO SHOT ZERO via Substack
-
How can games elevate dramatic scenes?
In part two of this two parter, Stu and Chas go further into the game (of the scene) and look at how games force characters *other* than the protagonist to interact. We deep dive into the wonderful social satires of TRIANGLE OF SADNESS and THE FAVOURITE.
We discuss how games reveal character through competency and decisions, how resources and skills impact the tactics that characters employ, and the difference between referees, rule lawyers, rule makers and rule breakers.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
CHAPTERS
00:00:00 - Cold Open 00:00:19 - Sponsor: ScriptUp 00:01:45 - Intro: Follow up 00:10:50 - Triangle of Sadness (Parts 1 and 2) 00:35:37 - Sponsor: Arc Studio Pro 00:38:25 - Triangle of Sadness (Part 3) 00:52:51 - The Favourite 01:30:34 - Wrap Up & Key Learnings 01:40:30 - Thanks to our Patreons!RELATED EPISODES
DZ-102: Game of the Scene 1 - Bluey, John Wick 4 DZ-99: Scene Questions DZ-40: Tactics and ScenesRELATED LINKS
IMDB: Molli and Max in the Future Letterboxd: Molli and Max in the FutureThis episode brought to you by (drum roll):
ScriptUp: https://www.scriptupstudio.com â use promo code DZ10 to get 10% off ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!And how can we forget our awesome Patreons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
SUBSCRIBE TO SHOT ZERO via our many social medias!
-
How can âgamesâ 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 â its rules, arenas, players, referees, and win conditions â can help you write more dynamic scenes.
This will be a two-parter, and for this half, we talk BLUEY, âThe Quiet Gameâ (from Season 2) and âPhonesâ (from Season 3), and JOHN WICK 4. We also touch on GAME NIGHT and LIFE OF BRIAN.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
CHAPTERS
00:00:00 - Cold Open 00:00:18 - Sponsor: ScriptUp 00:01:52 - Intro: What do we mean by Game of the Scene? 00:15:06 - The Life of Brian: "What have the Romans ever done for us?" 00:20:03 - Bluey 00:35:08 - Sponsor: Arc Studio Pro 00:37:56 - John Wick 4 01:14:34 - Wrap Up & Key Learnings 01:22:17 - Many thanks to our PatreonsRELATED EPISODES
DZ-100: Scenes through Swords DZ-99: Science Questions DZ-40: Tactics and ScenesRELATED LINKS
Shot Zero on Game Night's Hot Potato SequenceThis episode brought to you by (drum roll):
ScriptUp: https://www.scriptupstudio.com â use promo code DZ10 to get 10% off ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!And how can we forget our awesome Patreons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
SUBSCRIBE TO SHOT ZERO via Substack
-
What can we learn by analysing how âonersâ are written on the page?
Chas, Stu and Mel reunite to talk about writing the *feel* of camerawork in screenplays. We use âonersâ â a long-playing continuous take â as a lens to talk about how some writers have âdirectedâ 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 âZed attackâ from CHILDREN OF MEN. We also briefly discuss THE BOURNE IDENTITY, HEREDITARY, THE BEAR, ALL THE PRESIDENTS MEN and TOUCH OF EVIL.
And we do this breakdown by closely reading the actual words on the page. So thanks to Meegan May (of Starship Q Star) for performing the big print / action lines. Script Pages available on our Patreon.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
CHAPTERS
00:00:13 - Cold Open 00:00:23 - ScriptUp Sponsorship 00:00:33 - New Chapter 00:01:58 - Intro: Camerwork on the page 00:09:50 - Contrary Examples: The Bourne Identity and Hereditary 00:13:15 - Narrative Purpose and Oners 00:16:30 - Goodfellas (intro) 00:16:57 - Goodfellas (excerpt) 00:18:22 - Goodfellas (discussion) 00:32:48 - The Adventures of Tintin (intro) 00:34:14 - The Adventures of Tintin (excerpt) 00:37:23 - The Adventures of Tintin (discussion) 00:49:34 - Children of Men (intro) 00:53:38 - Children of Men (excerpt) 01:00:32 - Children of Men (discussion) 01:12:24 - Key Learnings and Wrap UpSCENE EXCERPTS via
Patreon: https://www.patreon.com/posts/dz-101-script-85503252 DZ Instagram: https://www.instagram.com/draft_zero/ SZ Instagram: https://www.instagram.com/_shotzero/ DZ Twitter: https://twitter.com/draft_zero SZ Twitter: https://twitter.com/_shotzeroLINKS
WATCH: Goodfellas, The âCopacabanaâ shot - https://youtube.com/watch?v=OJEEVtqXdK8 WATCH: The Adventures of TinTin, âGet that bird!â - https://youtube.com/watch?v=ryB-3BRdd64 WATCH: Children of Men, âZedâs attackâ - https://youtube.com/watch?v=YMM8XrZe1R8 WATCH: The Bourne Identity, âEscaping The American Embassyâ - https://youtube.com/watch?v=tqsUt9n13Gg WATCH: All The Presidentâs Men, âThe Dahlberg Sceneâ - https://www.youtube.com/watch?v=Qeemjaosp-E WATCH: Every Frame A Painting - The Spielberg Oner: https://www.youtube.com/watch?v=8q4X2vDRfR LISTEN: Starship Q Star: https://starshipqstar.comLINKS
WATCH: Goodfellas, TheâCopacabanaâ shot - https://youtube.com/watch?v=OJEEVtqXdK8 WATCH: The Adventures of TinTin, âGet that bird!â - https://youtube.com/watch?v=ryB-3BRdd64 WATCH: Children of Men, âZedâs attackâ - https://youtube.com/watch?v=YMM8XrZe1R8 WATCH: The Bourne Identity, âEscaping The American Embassyâ - https://youtube.com/watch?v=tqsUt9n13Gg WATCH: All The Presidentâs Men, âThe Dahlberg Sceneâ - https://www.youtube.com/watch?v=Qeemjaosp-E WATCH: Every Frame A Painting - The Spielberg Oner: https://www.youtube.com/watch?v=8q4X2vDRfR LISTEN: Starship Q Star: https://starshipqstar.comRELATED EPISODES
DZ-60: Unfilmables and Unscriptables (Part 1) - Engaging imagination DZ-61: Unfilmables and Unscriptables (Part 2) - Moments of Awe DZ-62: Unfilmables 3 â As Ifs & Emotional context DZ-16: Masters of Time and WhitespaceThis episode brought to you by (drum roll):
ScriptUp: https://www.scriptupstudio.com â use promo code DZ10 to get 10% offAnd how can we forget our awesome Patreons, especially Lily, Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
-
What scene work tools can be learned from martial arts?
In this slightly unusual episode of Draft Zero (but also incredibly on brand), Stu and philosopher swordsperson Damon Young discuss how the lessons they have learned from martial arts can be applied to scenes. In particular, they discuss how approaching an opponent in a sword fight can be analogous to how characters approach conflict, such as: the distance between the characters, who chooses to engage first, how to feint, how to lure an attack by leaving yourself vulnerable, etc.
They reference classic conflicts such as Clarice interviewing Dr. Lecter in SILENCE OF THE LAMBS, when Miranda puts down Andrea in THE DEVIL WEARS PRADA, and the final showdown between Obi-Wan and Darth Maul in the animated series THE CLONE WARS.
You can find Damon Young here:
Website: https://www.damonyoung.com.au/ Instagram: https://www.instagram.com/damonayoung/ Mastodon: https://mas.to/@damonyoungAs always: SPOILERS ABOUND.
RELATED EPISODES
DZ-29: Showdowns & Scene Structure: draft-zero.com/2016/dz-29/ DZ-84: Choices & Decisions 1: http://draft-zero.com/2021/dz-84/ DZ-84: Choices & Decisions 2: http://draft-zero.com/2021/dz-85/This episode is brought to you by our awesome Patreons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
-
How do audience questions shape scenes?
nspired by our earlier episodes on sequences, Chas and Stu narrow their focus to look at the atomic unit of screen storytelling: the scene. In particular, we breakdown how question and answers prompted in the audience structure individual scenes.
We talk plot, character, and theme questions (and their hybrids) by analysing scenes from LOKI, THE LAST CRUSADE, THE BOURNE SUPREMACY, QUEEN AND SLIM, and DO THE RIGHT THING. We also briefly discuss SUCCESSION, DUNGEONS & DRAGONS: HONOUR AMONG THIEVES, and ANDOR.
As always: SPOILERS ABOUND
CHAPTERS
00:00:00 - Cold Open 00:01:56 - Intro: Scene Questions 00:16:30 - Loki 00:23:24 - The Last Crusade 00:33:03 - The Bourne Supremacy 00:45:50 - Queen and Slim 01:03:03 - Do The Right Thing 01:15:03 - Key Learnings & Wrap Up 01:33:02 - Many thanks to our PatreonsSCENE EXCERPTS via:
Patreon: https://www.patreon.com/posts/dz-99-scene-82312058 Instagram: https://www.instagram.com/draft_zero/ Twitter: https://twitter.com/draft_zeroRELATED EPISODES
DZ-54: Thematic Sequences: https://draft-zero.com/2018/dz-54/ DZ-43: Driving Sequences â Character and Plot Intensity: https://draft-zero.com/2017/dz-43/ DZ-45: Arguments of the Scene: https://draft-zero.com/2017/dz-45/This episode brought to you by (drum roll):
ScriptUp: https://www.scriptupstudio.com â use promo code DZ10 to get 10% offAnd how can we forget our awesome Patreons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
-
What effect does adding a ton of characters have on your story?
In Part 3 (the final part? Ha!) of our exploration into ensemble stories, Stu, Chas & Mel examine films whose genres do not conventionally require a ton of character or that use those ensembles in unconventional ways - in particular, adding whole storylines that are separate from the main characterâs 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 storyâs theme. Plus we re-apply and re-contextualise the tools uncovered in previous episodes in how to service all these characters.
As always: SPOILERS ABOUND
Thanks to Chris Walker for editing this episode.
CHAPTERS
00:00:00 - Cold Open 00:01:35 - Intro: Character Function 00:08:43 - The Woman King 00:50:00 - Riders of Justice 01:20:36 - Nope 01:47:00 - Key Learnings & Wrap Up 01:59:06 - Many thanks to our PatreonsRELATED EPISODES
DZ-96: Ensembles 1 â What do we mean by an ensemble? DZ-97: Ensembles 2 â Servicing CharactersEPISODE LINKS
Mel Killingsworth on The Möbius Strip Storytelling of NOPE Mel Killingsworth on Riders of Justice: Tidings of Trauma and JoyThis episode brought to you by (drum roll):
ScriptUp: https://www.scriptupstudio.com â use promo code DZ10 to get 10% off; and ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!And how can we forget our awesome Patreons, especially Alexandre, Casimir, Eduardo, Thomas, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob. You rule!
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
-
How do you give your audience access to a lot of characters?
In Part 2 of our exploration into ensemble stories, Stu, Chas and Mel examine films whose plot and genre require a lot of characters. Thus we tackle a team sports film (PITCH PERFECT), a murder mystery (GLASS ONION), a slasher (SCREAM 2022) and a family holiday flick (THE FAMILY STONE).
By looking at these films, we discover tools for writers to service characters and give them more dimension. These tools include: shifting group dynamics; the spectrum of private to public behaviour; breaking POV, and quintessential group introductions.
As always: SPOILERS ABOUND
Thanks to Chris Walker for editing this episode.
CHAPTERS
00:00:00 - Cold Open 00:01:46 - Intro: Servicing Characters 00:14:40 - Pitch Perfect 00:37:54 - Glass Onion 01:09:20 - Scream 5 01:32:17 - The Family Stone 02:13:22 - Key Learnings & Wrap UpRELATED EPISODES
DZ-96: Ensembles 1 - What do we mean by an ensemble? DZ-43: Driving Sequences â Character and Plot Intensity DZ-09: Characterising IntroductionsThis episode brought to you by (drum roll):
ScriptUp: https://www.scriptupstudio.com â use promo code DZ10 to get 10% off; and
ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!
And how can we forget our awesome Patreons? Especially Casimir, Eduardo, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule!
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
BUY DRAFT ZERO MERCH via TeePublic
-
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:
âwhat do we mean by calling a story an ensemble?â
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, OCEANâS 11 vs OUT OF SIGHT, THIEF vs HEAT, AWAY FROM HER, DIRTY DOZEN, SAVING PRIVATE RYAN, SE7EN, READY OR NOT. Look, thereâs 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.
-
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 thereâs more technical gremlins like crosstalk. Our apologies in advance!
Thanks to Chris Walker for editing this episode.
-
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 Thorâs crisis of masculinity is articulated through his relationship with Mjolnir and Stormbreaker in THOR: LOVE AND THUNDER; how the yearning love in PORTRAIT OF A LADY ON FIRE is communicated through paintings and music; and how the impact of an emotional affair is charted through key locations in INTHE THE MOOD FOR LOVE.
As always: SPOILERS ABOUND
Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.
Thanks to Chris Walker for editing this episode.
CHAPTERS
00:00:00 - Intro 00:01:15 - Talismans (Part 1) Followup 00:08:37 - Forging a Talisman (The Beats) 00:23:22 - Thor: Love and Thunder 00:59:52 - Portrait of a Lady on Fire 01:32:39 - In the Mood for Love 01:59:39 - Key Learnings & Wrap Up 02:06:10 - Thanks to our PatreonsLINKS
Scott Myers / Go Into The Story: Talismans - https://medium.com/go-into-the-story/talismans-bcbf0a04d45d Scott Myers / Go Into The Story: Story Talismans - https://gointothestory.blcklst.com/story-talismans-89b91523e71dRELATED EPISODES
DZ-93: Talismans (Part 1) - http://draft-zero.com/2022/dz-93/ DZ-92: Insightful recognition in powerful endings - http://draft-zero.com/2022/dz-92/This episode brought to you by (drum roll):
ScriptUp: https://www.scriptupstudio.com â 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.
BUY DRAFT ZERO MERCH via TeePublic
- Laat meer zien
