Draft Zero: a screenwriting podcast Transistor (https://transistor.fm) https://feeds.transistor.fm/draft-zero-a-screenwriting-podcast 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. Presented by Chas Fisher & Stuart Willis. Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. 1fb68179-ce4a-52b7-a5a1-0a536828230a yes Stuart Willis Chas Fisher en Wed, 13 May 2026 20:35:56 +1000 Wed, 13 May 2026 20:37:45 +1000 http://www.draft-zero.com https://img.transistorcdn.com/SNg7vlbjF99Iqt6O0suAq8ASob0lWK1CRClKin7a4gk/rs:fill:0:0:1/w:1400/h:1400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS85NjRj/Yjg4ODAyMWYzZTBk/OGNiM2ZjNmEzZjBk/NWY3NC5qcGc.jpg Draft Zero: a screenwriting podcast http://www.draft-zero.com episodic Chas Fisher and Stuart Willis 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. Two emerging screenwriters – Chas Fisher and Stuart Willis – try to work out what makes great screenplays work. Stuart Willis No No DZ-126: Secrets and Clues 126 126 DZ-126: Secrets and Clues full 9c07af92-747a-4d32-926b-ab3d9db0c210 https://draft-zero.com/2026/dz-126/ Listen if you want to understand how hidden information drives character motivation and plot structure!

“Getting information puts your character in danger. And danger rewards your character with information." — One of three ideas we steal from game design in this episode. In this two part series, we talk about how secrets, clues and hidden information motivate characters and may (or may not) help you plot from a character perspective. Part One (this episode) looks at WAKE UP DEAD MAN; while Part Two looks at SIDE EFFECTS, and the pilot episode of SHRINKING.

The other two (related) ideas are:

  • Landmark information (characters just have it), Secret (they know it's there, need to unlock it), and Hidden (invisible until they pay the cost)
  • Narrative velocity — are characters pushed forward or are they pulled forward?

To that end, in this episode Stu, Chas and Mel start with the murder mystery (ostensibly the easier deep-dive): Rian Johnson’s WAKE UP DEAD MAN. But this is a complex film made even more complex by being a dual-protagonist film. Uhuh. Benoit Blanc is pulled through the story by his need to solve the case; Father Judd pushed through, against his will, to prove his innocence. Breaking down how that plays out — and why it matters for the kind of escalation each character can sustain — is the heart of the episode.

And inevitably we go on some tangents: pointers, plants, and underpinnings (from our Everything Everywhere All At Once episode) fair play in locked-room mysteries, Narrative POV (as always) and node-based plotting and what dungeon-crawl game design has to do with writing a web of clues.

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

Information puts players in danger and danger rewards characters with information, right? That's kind of the loop with like thriller game design.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:18 – What do we mean by Secrets and Clues?
  • 00:13:22 – Wake Up Dead Man
  • 01:22:50 – Key Learnings & Wrap Up

FILMS

SCRIPTS

LINKS

EPISODES IN THE SECRETS AND CLUES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-126/

]]> Listen if you want to understand how hidden information drives character motivation and plot structure!

“Getting information puts your character in danger. And danger rewards your character with information." — One of three ideas we steal from game design in this episode. In this two part series, we talk about how secrets, clues and hidden information motivate characters and may (or may not) help you plot from a character perspective. Part One (this episode) looks at WAKE UP DEAD MAN; while Part Two looks at SIDE EFFECTS, and the pilot episode of SHRINKING.

The other two (related) ideas are:

  • Landmark information (characters just have it), Secret (they know it's there, need to unlock it), and Hidden (invisible until they pay the cost)
  • Narrative velocity — are characters pushed forward or are they pulled forward?

To that end, in this episode Stu, Chas and Mel start with the murder mystery (ostensibly the easier deep-dive): Rian Johnson’s WAKE UP DEAD MAN. But this is a complex film made even more complex by being a dual-protagonist film. Uhuh. Benoit Blanc is pulled through the story by his need to solve the case; Father Judd pushed through, against his will, to prove his innocence. Breaking down how that plays out — and why it matters for the kind of escalation each character can sustain — is the heart of the episode.

And inevitably we go on some tangents: pointers, plants, and underpinnings (from our Everything Everywhere All At Once episode) fair play in locked-room mysteries, Narrative POV (as always) and node-based plotting and what dungeon-crawl game design has to do with writing a web of clues.

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

Information puts players in danger and danger rewards characters with information, right? That's kind of the loop with like thriller game design.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:18 – What do we mean by Secrets and Clues?
  • 00:13:22 – Wake Up Dead Man
  • 01:22:50 – Key Learnings & Wrap Up

FILMS

SCRIPTS

LINKS

EPISODES IN THE SECRETS AND CLUES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-126/

]]> Tue, 05 May 2026 12:17:02 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5320 Listen if you want to understand how hidden information drives character motivation and plot structure!

“Getting information puts your character in danger. And danger rewards your character with information." — One of three ideas we steal from game design in this episode. In this two part series, we talk about how secrets, clues and hidden information motivate characters and may (or may not) help you plot from a character perspective. Part One (this episode) looks at WAKE UP DEAD MAN; while Part Two looks at SIDE EFFECTS, and the pilot episode of SHRINKING.

The other two (related) ideas are:

  • Landmark information (characters just have it), Secret (they know it's there, need to unlock it), and Hidden (invisible until they pay the cost)
  • Narrative velocity — are characters pushed forward or are they pulled forward?

To that end, in this episode Stu, Chas and Mel start with the murder mystery (ostensibly the easier deep-dive): Rian Johnson’s WAKE UP DEAD MAN. But this is a complex film made even more complex by being a dual-protagonist film. Uhuh. Benoit Blanc is pulled through the story by his need to solve the case; Father Judd pushed through, against his will, to prove his innocence. Breaking down how that plays out — and why it matters for the kind of escalation each character can sustain — is the heart of the episode.

And inevitably we go on some tangents: pointers, plants, and underpinnings (from our Everything Everywhere All At Once episode) fair play in locked-room mysteries, Narrative POV (as always) and node-based plotting and what dungeon-crawl game design has to do with writing a web of clues.

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

Information puts players in danger and danger rewards characters with information, right? That's kind of the loop with like thriller game design.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:18 – What do we mean by Secrets and Clues?
  • 00:13:22 – Wake Up Dead Man
  • 01:22:50 – Key Learnings & Wrap Up

FILMS

SCRIPTS

LINKS

EPISODES IN THE SECRETS AND CLUES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-126/

]]> Screenwriting, Structure, Character, Scenes, Secrets and Clues, Narrative Velocity, Character Motivation, Escalation, Character Agency, Dual Protoganist, Plot Questions, Plotting, Dramatic Irony, Genre Conventions, Stakes, Final Choice, Ensembles, Theme Yes Stuart Willis Mel Killingsworth Chas Fisher DZ-125: Oscars One-shot - BLUE MOON 125 125 DZ-125: Oscars One-shot - BLUE MOON full 30f6521e-f64f-436f-8d61-7dba988f2b4e https://draft-zero.com/2026/dz-125/ Listen if you want to understand how narrative POV, screenplay format, and dialogue craft can elevate a contained biopic into an Oscar-nominated film

BLUE MOON is a talky, period-drama that film about an obscure songer-writer in the 1940s. Yet, it attracted world-class talent AND Academy Award nominations, including for it's script. Join Chas & Mel as they explore how narrative POV, interweaving relationships, hooky dialogue, and even the screenplay format itself make the script for BLUE MOON so great.

While Stu is still on show and we are between the 2026 Oscar nominations and the actual ceremony, our patreons selected BLUE MOON for this one-shot and boy are Mel and Chas glad they did. They dive into many lessons learned in previous episodes, like our character-driven episode… or analysis of French scenes in Adolescence… or the story-telling power that comes from the audience knowing the ending from biopics.

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

When I say rules, I mean the prescriptive rules of when someone posts something on screenwriting and everyone goes *Oh, you broke all the rules*. I'm saying this is good. I'm saying most of those rules are suggestions or most of those rules are given to you when you are learning how to write for a reason.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – BLUE MOON
  • 00:02:19 – Summary of Key Learnings
  • 00:13:34 – Controlling narrative POV
  • 00:27:49 – Using screenplay FORMAT to reflect the emotional story
  • 00:39:27 – Interweaving relationships
  • 00:56:46 – Repetition and pop culture references in dialogue
  • 01:07:54 – Key learnings
  • 01:16:02 – Thanks patreons and Oscar-nominated listener!

FILMS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-125/

]]> Listen if you want to understand how narrative POV, screenplay format, and dialogue craft can elevate a contained biopic into an Oscar-nominated film

BLUE MOON is a talky, period-drama that film about an obscure songer-writer in the 1940s. Yet, it attracted world-class talent AND Academy Award nominations, including for it's script. Join Chas & Mel as they explore how narrative POV, interweaving relationships, hooky dialogue, and even the screenplay format itself make the script for BLUE MOON so great.

While Stu is still on show and we are between the 2026 Oscar nominations and the actual ceremony, our patreons selected BLUE MOON for this one-shot and boy are Mel and Chas glad they did. They dive into many lessons learned in previous episodes, like our character-driven episode… or analysis of French scenes in Adolescence… or the story-telling power that comes from the audience knowing the ending from biopics.

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

When I say rules, I mean the prescriptive rules of when someone posts something on screenwriting and everyone goes *Oh, you broke all the rules*. I'm saying this is good. I'm saying most of those rules are suggestions or most of those rules are given to you when you are learning how to write for a reason.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – BLUE MOON
  • 00:02:19 – Summary of Key Learnings
  • 00:13:34 – Controlling narrative POV
  • 00:27:49 – Using screenplay FORMAT to reflect the emotional story
  • 00:39:27 – Interweaving relationships
  • 00:56:46 – Repetition and pop culture references in dialogue
  • 01:07:54 – Key learnings
  • 01:16:02 – Thanks patreons and Oscar-nominated listener!

FILMS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-125/

]]> Thu, 26 Feb 2026 19:41:00 +1100 Draft Zero: a screenwriting podcast Draft Zero: a screenwriting podcast 4692 Listen if you want to understand how narrative POV, screenplay format, and dialogue craft can elevate a contained biopic into an Oscar-nominated film

BLUE MOON is a talky, period-drama that film about an obscure songer-writer in the 1940s. Yet, it attracted world-class talent AND Academy Award nominations, including for it's script. Join Chas & Mel as they explore how narrative POV, interweaving relationships, hooky dialogue, and even the screenplay format itself make the script for BLUE MOON so great.

While Stu is still on show and we are between the 2026 Oscar nominations and the actual ceremony, our patreons selected BLUE MOON for this one-shot and boy are Mel and Chas glad they did. They dive into many lessons learned in previous episodes, like our character-driven episode… or analysis of French scenes in Adolescence… or the story-telling power that comes from the audience knowing the ending from biopics.

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

When I say rules, I mean the prescriptive rules of when someone posts something on screenwriting and everyone goes *Oh, you broke all the rules*. I'm saying this is good. I'm saying most of those rules are suggestions or most of those rules are given to you when you are learning how to write for a reason.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – BLUE MOON
  • 00:02:19 – Summary of Key Learnings
  • 00:13:34 – Controlling narrative POV
  • 00:27:49 – Using screenplay FORMAT to reflect the emotional story
  • 00:39:27 – Interweaving relationships
  • 00:56:46 – Repetition and pop culture references in dialogue
  • 01:07:54 – Key learnings
  • 01:16:02 – Thanks patreons and Oscar-nominated listener!

FILMS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-125/

]]> Screenwriting, Structure, Character, Words, Narrative POV, French Scenes, Dialogue, Dramatic Irony, Setups & Payoffs, Formatting, Real Time, Character Motivation, Relationships, Writing for Actors, Genre Conventions, Subtext, Openings, Contained Thriller, Character Agency, Scene Headings, Character Questions Yes Chas Fisher Mel Killingsworth DZ-124: Making the Despicable Compelling 124 124 DZ-124: Making the Despicable Compelling full e7473299-3d69-42ec-835c-0a86ebcde32b https://draft-zero.com/2026/dz-124/ Listen if you need audiences to root for characters who do terrible things

Mel and Chas continue to explore what Noir (the genre) can teach writers of all other genres. In particular:

  • How to keep the audience on side of characters doing reprehensible things;
  • How to control your audience understanding of those reprehensible actions; and
  • Distinguishing between characters undergoing transformative arcs against discovering their true natures

In finding the common craft tools of Noir over 100 years, this Part 2 looks at two modern noirs – DEVIL IN A BLUE DRESS (1995) and WOMAN OF THE HOUR (2024) – after Part 1 looked at the classic DOUBLE INDEMNITY and THE LONG GOODBYE.

Despite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the day and got this done. Thanks Chris.

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

I think these films have got really strong control over the questions and that's how they get us to follow, compelling us to follow characters who are doing terrible things.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Using noir as a lens
  • 00:01:56 – DEVIL IN A BLUE DRESS
  • 00:31:33 – WOMAN OF THE HOUR
  • 01:04:30 – Key Learnings
  • 01:08:50 – Thank you Patreons!

FILMS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE NOIR SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-124/

Download episode: DZ-124.mp3

]]> Listen if you need audiences to root for characters who do terrible things

Mel and Chas continue to explore what Noir (the genre) can teach writers of all other genres. In particular:

  • How to keep the audience on side of characters doing reprehensible things;
  • How to control your audience understanding of those reprehensible actions; and
  • Distinguishing between characters undergoing transformative arcs against discovering their true natures

In finding the common craft tools of Noir over 100 years, this Part 2 looks at two modern noirs – DEVIL IN A BLUE DRESS (1995) and WOMAN OF THE HOUR (2024) – after Part 1 looked at the classic DOUBLE INDEMNITY and THE LONG GOODBYE.

Despite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the day and got this done. Thanks Chris.

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

I think these films have got really strong control over the questions and that's how they get us to follow, compelling us to follow characters who are doing terrible things.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Using noir as a lens
  • 00:01:56 – DEVIL IN A BLUE DRESS
  • 00:31:33 – WOMAN OF THE HOUR
  • 01:04:30 – Key Learnings
  • 01:08:50 – Thank you Patreons!

FILMS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE NOIR SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-124/

Download episode: DZ-124.mp3

]]> Fri, 30 Jan 2026 12:58:00 +1100 Draft Zero: a screenwriting podcast Draft Zero: a screenwriting podcast 4235 Listen if you need audiences to root for characters who do terrible things

Mel and Chas continue to explore what Noir (the genre) can teach writers of all other genres. In particular:

  • How to keep the audience on side of characters doing reprehensible things;
  • How to control your audience understanding of those reprehensible actions; and
  • Distinguishing between characters undergoing transformative arcs against discovering their true natures

In finding the common craft tools of Noir over 100 years, this Part 2 looks at two modern noirs – DEVIL IN A BLUE DRESS (1995) and WOMAN OF THE HOUR (2024) – after Part 1 looked at the classic DOUBLE INDEMNITY and THE LONG GOODBYE.

Despite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the day and got this done. Thanks Chris.

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

I think these films have got really strong control over the questions and that's how they get us to follow, compelling us to follow characters who are doing terrible things.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Using noir as a lens
  • 00:01:56 – DEVIL IN A BLUE DRESS
  • 00:31:33 – WOMAN OF THE HOUR
  • 01:04:30 – Key Learnings
  • 01:08:50 – Thank you Patreons!

FILMS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE NOIR SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-124/

Download episode: DZ-124.mp3

]]> Screenwriting, Character, Theme, Structure, Worldview, Dramatic Questions, Character Motivation, Audience Sympathy, Moral Ambiguity, Character Arcs, Voiceover, Representation and Endorsement, Antiheroes, Character Agency, Dramatic Irony, Unreliable Narrator, Genre Conventions, Visual Language Yes DZ-123: Flawed Characters in Noir 123 123 DZ-123: Flawed Characters in Noir full af2f7586-4c65-4cd6-ab97-e105c78405e6 https://draft-zero.com/2025/dz-123/ Listen if you want to write morally compromised characters without endorsing their choices.

In this two part series, Mel and Chas use Noir (the genre) as a lens to interrogate flawed characters. How can characters doing reprehensible things still engage audiences? How can you ensure representation isn’t endorsement? And whether these characters undergo transformative arcs, or simply reveal their true natures?

Part 1 (DZ-123) focuses on two (now classic) noirs: DOUBLE INDEMNITY and THE LONG GOODBYE.

While Part 2 (DZ-124) looks at two more contemporary examples DEVIL IN A BLUE DRESS and WOMAN OF THE HOUR.

Despite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the done and got this done by the end of 2025. Thanks Chris.

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

This is the philosophical question, right? When you get drunk, do you change what you do or do you simply allow your inhibitions to fall and do what you would normally want to do?

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:17 – Flawed Characters and Noir
  • 00:16:40 – Double Indemnity
  • 00:53:38 – The Long Goodbye
  • 01:21:15 – Wrap Up and Key Learnings

FILMS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE NOIR SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-123/

]]> Listen if you want to write morally compromised characters without endorsing their choices.

In this two part series, Mel and Chas use Noir (the genre) as a lens to interrogate flawed characters. How can characters doing reprehensible things still engage audiences? How can you ensure representation isn’t endorsement? And whether these characters undergo transformative arcs, or simply reveal their true natures?

Part 1 (DZ-123) focuses on two (now classic) noirs: DOUBLE INDEMNITY and THE LONG GOODBYE.

While Part 2 (DZ-124) looks at two more contemporary examples DEVIL IN A BLUE DRESS and WOMAN OF THE HOUR.

Despite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the done and got this done by the end of 2025. Thanks Chris.

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

This is the philosophical question, right? When you get drunk, do you change what you do or do you simply allow your inhibitions to fall and do what you would normally want to do?

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:17 – Flawed Characters and Noir
  • 00:16:40 – Double Indemnity
  • 00:53:38 – The Long Goodbye
  • 01:21:15 – Wrap Up and Key Learnings

FILMS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE NOIR SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-123/

]]> Wed, 31 Dec 2025 12:41:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 4972 Listen if you want to write morally compromised characters without endorsing their choices.

In this two part series, Mel and Chas use Noir (the genre) as a lens to interrogate flawed characters. How can characters doing reprehensible things still engage audiences? How can you ensure representation isn’t endorsement? And whether these characters undergo transformative arcs, or simply reveal their true natures?

Part 1 (DZ-123) focuses on two (now classic) noirs: DOUBLE INDEMNITY and THE LONG GOODBYE.

While Part 2 (DZ-124) looks at two more contemporary examples DEVIL IN A BLUE DRESS and WOMAN OF THE HOUR.

Despite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the done and got this done by the end of 2025. Thanks Chris.

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

This is the philosophical question, right? When you get drunk, do you change what you do or do you simply allow your inhibitions to fall and do what you would normally want to do?

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:17 – Flawed Characters and Noir
  • 00:16:40 – Double Indemnity
  • 00:53:38 – The Long Goodbye
  • 01:21:15 – Wrap Up and Key Learnings

FILMS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE NOIR SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-123/

]]> Screenwriting, Character, Theme, Scenes, Audience Complicity, Moral Ambiguity, Character Motivation, Character Arcs, Dramatic Irony, Worldview, Representation and Endorsement, Moral Complexity, Antiheroes, Genre Conventions, Given Circumstances Yes 1dZ-01: Arkyvrs - A Mansion Most Vile - Ep1 1dZ-01: Arkyvrs - A Mansion Most Vile - Ep1 bonus b2a3e97f-4388-42bd-afe8-10b4c3ad7300 https://share.transistor.fm/s/5863a23f What happens when a group of filmmakers play a ragtag group of filmmakers in a gritty sci-fi horror?


"Ignite the fire within and explore unknown territory" - Werner Herzog.


This episode is unusual, even by Draft Zero standards. It's an "Actual Play Podcast" where Chas, Stu, & Mel are joined by Kim Ho and Luke Clark to play MOTHERSHIP, the sci-fi horror game we talked about in episodes DZ-121 and DZ-122. Stu is the GM while everyone else is a ragtag crew of freelance filmmakers. We debrief the experience (so far) at the end of the episode)


Mel plays Zara, the glamorous face of the operation. Chas plays Winston, the cynical and egoistical "photojournalist". Kim is Cal, the scrappy scrounger and sound recordists, while Luke is Tarsos the steadfast producer of the group. The crew are enlisted to record a sensationalist report on a missing corporate president before the mercenary retrieval team arrives.


And yeah, this means we're soft-launching yet another project that's called 1dZ, which looks at how we can use tools from ttrpgs in screenwriting… and vice versa.

To get future episodes go to: http://www.1d-zero.com/


CHAPTERS

  • 00:00:11 - Intro for DZ Listeners
  • 00:01:51 - Meet the Snortin' Betsy
  • 00:06:22 - A Mansion Most Vile (Ep 1)
  • 01:52:32 - Debrief through TOMBS

RELATED EPISODES

LINKS

More Draft Zero is brought to you more often by 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.

SUBSCRIBE TO SHOT ZERO via Substack

SUBSCRIBE TO 1DZERO via Substack

ACKNOWLEDGES via our website: https://draft-zero.com/2025/1dz-01/


]]> What happens when a group of filmmakers play a ragtag group of filmmakers in a gritty sci-fi horror?


"Ignite the fire within and explore unknown territory" - Werner Herzog.


This episode is unusual, even by Draft Zero standards. It's an "Actual Play Podcast" where Chas, Stu, & Mel are joined by Kim Ho and Luke Clark to play MOTHERSHIP, the sci-fi horror game we talked about in episodes DZ-121 and DZ-122. Stu is the GM while everyone else is a ragtag crew of freelance filmmakers. We debrief the experience (so far) at the end of the episode)


Mel plays Zara, the glamorous face of the operation. Chas plays Winston, the cynical and egoistical "photojournalist". Kim is Cal, the scrappy scrounger and sound recordists, while Luke is Tarsos the steadfast producer of the group. The crew are enlisted to record a sensationalist report on a missing corporate president before the mercenary retrieval team arrives.


And yeah, this means we're soft-launching yet another project that's called 1dZ, which looks at how we can use tools from ttrpgs in screenwriting… and vice versa.

To get future episodes go to: http://www.1d-zero.com/


CHAPTERS

  • 00:00:11 - Intro for DZ Listeners
  • 00:01:51 - Meet the Snortin' Betsy
  • 00:06:22 - A Mansion Most Vile (Ep 1)
  • 01:52:32 - Debrief through TOMBS

RELATED EPISODES

LINKS

More Draft Zero is brought to you more often by 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.

SUBSCRIBE TO SHOT ZERO via Substack

SUBSCRIBE TO 1DZERO via Substack

ACKNOWLEDGES via our website: https://draft-zero.com/2025/1dz-01/


]]> Sun, 26 Oct 2025 13:20:00 +1100 Stu Willis & Chas Fisher Stu Willis & Chas Fisher 7699 What happens when a group of filmmakers play a ragtag group of filmmakers in a gritty sci-fi horror?


"Ignite the fire within and explore unknown territory" - Werner Herzog.


This episode is unusual, even by Draft Zero standards. It's an "Actual Play Podcast" where Chas, Stu, & Mel are joined by Kim Ho and Luke Clark to play MOTHERSHIP, the sci-fi horror game we talked about in episodes DZ-121 and DZ-122. Stu is the GM while everyone else is a ragtag crew of freelance filmmakers. We debrief the experience (so far) at the end of the episode)


Mel plays Zara, the glamorous face of the operation. Chas plays Winston, the cynical and egoistical "photojournalist". Kim is Cal, the scrappy scrounger and sound recordists, while Luke is Tarsos the steadfast producer of the group. The crew are enlisted to record a sensationalist report on a missing corporate president before the mercenary retrieval team arrives.


And yeah, this means we're soft-launching yet another project that's called 1dZ, which looks at how we can use tools from ttrpgs in screenwriting… and vice versa.

To get future episodes go to: http://www.1d-zero.com/


CHAPTERS

  • 00:00:11 - Intro for DZ Listeners
  • 00:01:51 - Meet the Snortin' Betsy
  • 00:06:22 - A Mansion Most Vile (Ep 1)
  • 01:52:32 - Debrief through TOMBS

RELATED EPISODES

LINKS

More Draft Zero is brought to you more often by 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.

SUBSCRIBE TO SHOT ZERO via Substack

SUBSCRIBE TO 1DZERO via Substack

ACKNOWLEDGES via our website: https://draft-zero.com/2025/1dz-01/


]]> Yes DZ-122: Escalating Antagonism Across Genres 122 122 DZ-122: Escalating Antagonism Across Genres full ad65978c-daca-4c13-981f-3d2a7332df96 https://draft-zero.com/2025/dz-122/ Listen to learn how thinking of your hero as the horror (for your villains) makes your script dynamic.

In this episode Chas, Stu and guest Kim Ho continue their exploration into the power(s) of antagonism and how focusing on them can develop story.

While Part 1 looked at the horror film SINNERS, in Part 2 we venture into genres beyond horror with the action-thriller REBEL RIDGE, and the comedy classic MEET THE PARENTS.

To both these films we apply the generative story framework TOMBS (Transgression – Omens – Manifestation – Banishment – Slumber) and are surprised at just how well it maps. TOMBS comes from the MOTHERSHIP sci-fi horror table-top role-playing game. Which we love.

We explore how TOMBS, and thinking about antagonism in general, allows writers to deepen their understanding of their characters, their relationship of the heroes with the antagonists, and generate story fuel in a way that escalates the story.

We discuss how thinking of your hero as the horror for your villains helps everything become more dynamic.

Oh, and we talk about launching an actual play podcast. Which is happening. Stay tuned!

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

There's a great line from Don Johnson later where he says, the deal was fair. The issue is that you felt that you were allowed to offer it. He tells him that he has transgressed against the rules of the laws or the rules of this system of this world.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:12 – Escalating Antagonism Part 2
  • 00:03:29 – Rebel Ridge
  • 00:45:30 – Meet the Parents
  • 01:30:29 – Key Learnings & Wrap Up
  • 01:41:38 – Thanks to our Patreons

FILMS

LINKS

EPISODES IN THE ESCALATING ANTAGONISM SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-122/

]]> Listen to learn how thinking of your hero as the horror (for your villains) makes your script dynamic.

In this episode Chas, Stu and guest Kim Ho continue their exploration into the power(s) of antagonism and how focusing on them can develop story.

While Part 1 looked at the horror film SINNERS, in Part 2 we venture into genres beyond horror with the action-thriller REBEL RIDGE, and the comedy classic MEET THE PARENTS.

To both these films we apply the generative story framework TOMBS (Transgression – Omens – Manifestation – Banishment – Slumber) and are surprised at just how well it maps. TOMBS comes from the MOTHERSHIP sci-fi horror table-top role-playing game. Which we love.

We explore how TOMBS, and thinking about antagonism in general, allows writers to deepen their understanding of their characters, their relationship of the heroes with the antagonists, and generate story fuel in a way that escalates the story.

We discuss how thinking of your hero as the horror for your villains helps everything become more dynamic.

Oh, and we talk about launching an actual play podcast. Which is happening. Stay tuned!

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

There's a great line from Don Johnson later where he says, the deal was fair. The issue is that you felt that you were allowed to offer it. He tells him that he has transgressed against the rules of the laws or the rules of this system of this world.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:12 – Escalating Antagonism Part 2
  • 00:03:29 – Rebel Ridge
  • 00:45:30 – Meet the Parents
  • 01:30:29 – Key Learnings & Wrap Up
  • 01:41:38 – Thanks to our Patreons

FILMS

LINKS

EPISODES IN THE ESCALATING ANTAGONISM SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-122/

]]> Wed, 01 Oct 2025 18:51:00 +1000 Chas Fisher * Stu Willis Chas Fisher * Stu Willis 6291 Listen to learn how thinking of your hero as the horror (for your villains) makes your script dynamic.

In this episode Chas, Stu and guest Kim Ho continue their exploration into the power(s) of antagonism and how focusing on them can develop story.

While Part 1 looked at the horror film SINNERS, in Part 2 we venture into genres beyond horror with the action-thriller REBEL RIDGE, and the comedy classic MEET THE PARENTS.

To both these films we apply the generative story framework TOMBS (Transgression – Omens – Manifestation – Banishment – Slumber) and are surprised at just how well it maps. TOMBS comes from the MOTHERSHIP sci-fi horror table-top role-playing game. Which we love.

We explore how TOMBS, and thinking about antagonism in general, allows writers to deepen their understanding of their characters, their relationship of the heroes with the antagonists, and generate story fuel in a way that escalates the story.

We discuss how thinking of your hero as the horror for your villains helps everything become more dynamic.

Oh, and we talk about launching an actual play podcast. Which is happening. Stay tuned!

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

There's a great line from Don Johnson later where he says, the deal was fair. The issue is that you felt that you were allowed to offer it. He tells him that he has transgressed against the rules of the laws or the rules of this system of this world.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:12 – Escalating Antagonism Part 2
  • 00:03:29 – Rebel Ridge
  • 00:45:30 – Meet the Parents
  • 01:30:29 – Key Learnings & Wrap Up
  • 01:41:38 – Thanks to our Patreons

FILMS

LINKS

EPISODES IN THE ESCALATING ANTAGONISM SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-122/

]]> Screenwriting, Character, Structure, Genre, Antagonism, TOMBS Cycle, Escalation, Character Motivation, Genre Translation, Midpoints, Moral Complexity, Character Agency, Antiheroes, Character Depth, Internal Journey, Dramatic Irony, Genre Conventions, Generative Tools Yes DZ-121: Escalating Antagonism in SINNERS 121 121 DZ-121: Escalating Antagonism in SINNERS full adffa1ca-a0d8-4def-a1c4-a8285f261625 https://draft-zero.com/2025/dz-121/ Listen to strengthen your story by focusing on the antagonistic forces in your script.

We often struggle to develop the middle stages of a story. Could this be because we focus on our protagonists’ journeys and plot structure more than on how the antagonistic powers are awakened, wronged, discovered, gathering strength and revealing themselves?

In this episode, Chas and Stu are joined by professional screenwriter and playwright Kim Ho to explore how a generative story cycle (from tabletop role-playing game MOTHERSHIP) can be used to develop stories, not just write them better. This cycle is TOMBS: Transgression – Omens – Manifestation – Banishment – Slumber. Kim also contrasts this cycle with the Onset, Discovery, Confirmation, Confrontation cycle identified by horror philosopher Noel Carroll, as well as the philosophy of the FINAL DESTINATION franchise as analysed by The Morbid Zoo.

By applying the TOMBS cycle to Ryan Coogler’s amazing 2025 original feature SINNERS, we discover how focusing on the rising power of the various sources of antagonism can generate narrative fuel (and make your second Act sing); force your protagonists to Survive, Solve or Save (pick one); and how this escalation in antagonism can be mapped quite separately from your protagonists’ character arcs.

To prove that TOMBS does not just work for horror stories, we polled our patreons for which other genres to explore. Stay turned for the next episode (DZ-122) where we apply the TOMBS cycle to thriller REBEL RIDGE and comedy classic MEET THE PARENTS.

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

when you use those structures that are out there, they tend to be around plot and they tend to think primarily from the protagonist's point of view. And using this system, we can actually look at the forces of antagonism in a story.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold open
  • 00:00:18 – What is T.O.M.B.S?
  • 00:31:04 – SINNERS
  • 01:17:51 – Key Learnings & Wrap Up
  • 01:23:51 – Thank you patreons!

FILMS

LINKS

EPISODES IN THE ESCALATING ANTAGONISM SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-121/

]]> Listen to strengthen your story by focusing on the antagonistic forces in your script.

We often struggle to develop the middle stages of a story. Could this be because we focus on our protagonists’ journeys and plot structure more than on how the antagonistic powers are awakened, wronged, discovered, gathering strength and revealing themselves?

In this episode, Chas and Stu are joined by professional screenwriter and playwright Kim Ho to explore how a generative story cycle (from tabletop role-playing game MOTHERSHIP) can be used to develop stories, not just write them better. This cycle is TOMBS: Transgression – Omens – Manifestation – Banishment – Slumber. Kim also contrasts this cycle with the Onset, Discovery, Confirmation, Confrontation cycle identified by horror philosopher Noel Carroll, as well as the philosophy of the FINAL DESTINATION franchise as analysed by The Morbid Zoo.

By applying the TOMBS cycle to Ryan Coogler’s amazing 2025 original feature SINNERS, we discover how focusing on the rising power of the various sources of antagonism can generate narrative fuel (and make your second Act sing); force your protagonists to Survive, Solve or Save (pick one); and how this escalation in antagonism can be mapped quite separately from your protagonists’ character arcs.

To prove that TOMBS does not just work for horror stories, we polled our patreons for which other genres to explore. Stay turned for the next episode (DZ-122) where we apply the TOMBS cycle to thriller REBEL RIDGE and comedy classic MEET THE PARENTS.

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

when you use those structures that are out there, they tend to be around plot and they tend to think primarily from the protagonist's point of view. And using this system, we can actually look at the forces of antagonism in a story.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold open
  • 00:00:18 – What is T.O.M.B.S?
  • 00:31:04 – SINNERS
  • 01:17:51 – Key Learnings & Wrap Up
  • 01:23:51 – Thank you patreons!

FILMS

LINKS

EPISODES IN THE ESCALATING ANTAGONISM SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-121/

]]> Fri, 29 Aug 2025 12:01:00 +1000 Draft Zero: a screenwriting podcast Draft Zero: a screenwriting podcast 5099 Listen to strengthen your story by focusing on the antagonistic forces in your script.

We often struggle to develop the middle stages of a story. Could this be because we focus on our protagonists’ journeys and plot structure more than on how the antagonistic powers are awakened, wronged, discovered, gathering strength and revealing themselves?

In this episode, Chas and Stu are joined by professional screenwriter and playwright Kim Ho to explore how a generative story cycle (from tabletop role-playing game MOTHERSHIP) can be used to develop stories, not just write them better. This cycle is TOMBS: Transgression – Omens – Manifestation – Banishment – Slumber. Kim also contrasts this cycle with the Onset, Discovery, Confirmation, Confrontation cycle identified by horror philosopher Noel Carroll, as well as the philosophy of the FINAL DESTINATION franchise as analysed by The Morbid Zoo.

By applying the TOMBS cycle to Ryan Coogler’s amazing 2025 original feature SINNERS, we discover how focusing on the rising power of the various sources of antagonism can generate narrative fuel (and make your second Act sing); force your protagonists to Survive, Solve or Save (pick one); and how this escalation in antagonism can be mapped quite separately from your protagonists’ character arcs.

To prove that TOMBS does not just work for horror stories, we polled our patreons for which other genres to explore. Stay turned for the next episode (DZ-122) where we apply the TOMBS cycle to thriller REBEL RIDGE and comedy classic MEET THE PARENTS.

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

when you use those structures that are out there, they tend to be around plot and they tend to think primarily from the protagonist's point of view. And using this system, we can actually look at the forces of antagonism in a story.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold open
  • 00:00:18 – What is T.O.M.B.S?
  • 00:31:04 – SINNERS
  • 01:17:51 – Key Learnings & Wrap Up
  • 01:23:51 – Thank you patreons!

FILMS

LINKS

EPISODES IN THE ESCALATING ANTAGONISM SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-121/

]]> Screenwriting, Structure, Character, Genre, TOMBS Cycle, Antagonism, Escalation, Character Agency, Development, Stakes, Genre Conventions, Dramatic Irony, Act Two, Genre Translation, Character Motivation Yes DZ-120: Subtext is Overrated! 120 120 DZ-120: Subtext is Overrated! full 6f346486-ebff-4af0-b04c-2fe762ceb40f https://draft-zero.com/2025/dz-120/ Listen if you're struggling to write subtext without it feeling forced!

Or, how focusing on good drama will result in good subtext. We often hear how subtext is important for good screenwriting. We're here to tell you it isn't. Good subtext is a result of good drama, and your focus should be on creating that good drama. But how?

In this episode, Chas Fisher and Stu Willis are joined by screenwriter and teacher Tom Vaughn (Winchester) to delve into the world of subtext.

We kick off the discussion by talking through Tom's article "Why Subtext is Overrated" and break down his core idea that subtext is a byproduct of character goals, tactics and fears.

We explore this further through close examination of "the other way" scene from MICHAEL CLAYTON, "the strudel" scene from INGLOURIOUS BASTERDS (both known for their subtext) and the "new years" sequence from THE SUBSTANCE.

Inevitably discussion also turns to the relationship of subtext to emotional truth, theme, symbolism, dramatic irony and filmmaker's subtext.

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

You can't market subtext, man.

— tom

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:20 – Intro: What is Subtext?
  • 00:00:21 – Cold Open
  • 00:18:59 – Michael Clayton
  • 00:42:59 – Inglorious Basterds
  • 01:13:48 – The Substance
  • 01:46:13 – Wrap up & Key Learnings

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-120/

]]> Listen if you're struggling to write subtext without it feeling forced!

Or, how focusing on good drama will result in good subtext. We often hear how subtext is important for good screenwriting. We're here to tell you it isn't. Good subtext is a result of good drama, and your focus should be on creating that good drama. But how?

In this episode, Chas Fisher and Stu Willis are joined by screenwriter and teacher Tom Vaughn (Winchester) to delve into the world of subtext.

We kick off the discussion by talking through Tom's article "Why Subtext is Overrated" and break down his core idea that subtext is a byproduct of character goals, tactics and fears.

We explore this further through close examination of "the other way" scene from MICHAEL CLAYTON, "the strudel" scene from INGLOURIOUS BASTERDS (both known for their subtext) and the "new years" sequence from THE SUBSTANCE.

Inevitably discussion also turns to the relationship of subtext to emotional truth, theme, symbolism, dramatic irony and filmmaker's subtext.

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

You can't market subtext, man.

— tom

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:20 – Intro: What is Subtext?
  • 00:00:21 – Cold Open
  • 00:18:59 – Michael Clayton
  • 00:42:59 – Inglorious Basterds
  • 01:13:48 – The Substance
  • 01:46:13 – Wrap up & Key Learnings

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-120/

]]> Fri, 01 Aug 2025 10:14:00 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6844 Listen if you're struggling to write subtext without it feeling forced!

Or, how focusing on good drama will result in good subtext. We often hear how subtext is important for good screenwriting. We're here to tell you it isn't. Good subtext is a result of good drama, and your focus should be on creating that good drama. But how?

In this episode, Chas Fisher and Stu Willis are joined by screenwriter and teacher Tom Vaughn (Winchester) to delve into the world of subtext.

We kick off the discussion by talking through Tom's article "Why Subtext is Overrated" and break down his core idea that subtext is a byproduct of character goals, tactics and fears.

We explore this further through close examination of "the other way" scene from MICHAEL CLAYTON, "the strudel" scene from INGLOURIOUS BASTERDS (both known for their subtext) and the "new years" sequence from THE SUBSTANCE.

Inevitably discussion also turns to the relationship of subtext to emotional truth, theme, symbolism, dramatic irony and filmmaker's subtext.

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

You can't market subtext, man.

— tom

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:20 – Intro: What is Subtext?
  • 00:00:21 – Cold Open
  • 00:18:59 – Michael Clayton
  • 00:42:59 – Inglorious Basterds
  • 01:13:48 – The Substance
  • 01:46:13 – Wrap up & Key Learnings

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-120/

]]> Screenwriting, Character, Theme, Scenes, Character Motivation, Tactics, Subtext, Emotional Truth, Scene Structure, Dramatic Irony, Visual Language, Narrative Aesthetics, Big Print, Character Agency Yes DZ-119: Final Character Choices & Great Endings 119 119 DZ-119: Final Character Choices & Great Endings full ccbbd538-e15e-430b-b243-4ea8fa3aadd1 https://draft-zero.com/2025/dz-119/ Listen if you want to understand how to better dramatise a character's internal journey

In this episode, Stu and Chas focus solely on the final choices made by protagonists and how that reflects their character journey and successfully, or not, dramatises the internal.

We compare and contrast different uses of narrative POV in respect to these final choices. And in particular whether and when the audience is made aware of the options available to the character, the act of making the choice, and the consequences of the choice.

We breakdown examples from DUNGEONS & DRAGONS: HONOR AMONG THIEVES, FINDING NEMO, MICHAEL CLAYTON, PROMISING YOUNG WOMAN and TALK TO ME.

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

A character has to make the most difficult decision of their life, and it becomes the crisis because each alternative poses a loss as well as a gain. And so, therefore, characters have to weigh what really matters most to them.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Opening
  • 00:00:18 – Why Final Choices?
  • 00:10:45 – DUNGEONS & DRAGONS
  • 00:19:09 – FINDING NEMO
  • 00:28:45 – MICHAEL CLAYTON
  • 00:53:11 – PROMISING YOUNG WOMAN
  • 01:16:38 – TALK TO ME
  • 01:41:45 – Key Learnings
  • 01:50:13 – Thanks awesome patreons!

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-119/

]]> Listen if you want to understand how to better dramatise a character's internal journey

In this episode, Stu and Chas focus solely on the final choices made by protagonists and how that reflects their character journey and successfully, or not, dramatises the internal.

We compare and contrast different uses of narrative POV in respect to these final choices. And in particular whether and when the audience is made aware of the options available to the character, the act of making the choice, and the consequences of the choice.

We breakdown examples from DUNGEONS & DRAGONS: HONOR AMONG THIEVES, FINDING NEMO, MICHAEL CLAYTON, PROMISING YOUNG WOMAN and TALK TO ME.

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

A character has to make the most difficult decision of their life, and it becomes the crisis because each alternative poses a loss as well as a gain. And so, therefore, characters have to weigh what really matters most to them.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Opening
  • 00:00:18 – Why Final Choices?
  • 00:10:45 – DUNGEONS & DRAGONS
  • 00:19:09 – FINDING NEMO
  • 00:28:45 – MICHAEL CLAYTON
  • 00:53:11 – PROMISING YOUNG WOMAN
  • 01:16:38 – TALK TO ME
  • 01:41:45 – Key Learnings
  • 01:50:13 – Thanks awesome patreons!

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-119/

]]> Wed, 18 Jun 2025 11:35:00 +1000 Draft Zero: a screenwriting podcast Draft Zero: a screenwriting podcast 6759 Listen if you want to understand how to better dramatise a character's internal journey

In this episode, Stu and Chas focus solely on the final choices made by protagonists and how that reflects their character journey and successfully, or not, dramatises the internal.

We compare and contrast different uses of narrative POV in respect to these final choices. And in particular whether and when the audience is made aware of the options available to the character, the act of making the choice, and the consequences of the choice.

We breakdown examples from DUNGEONS & DRAGONS: HONOR AMONG THIEVES, FINDING NEMO, MICHAEL CLAYTON, PROMISING YOUNG WOMAN and TALK TO ME.

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

A character has to make the most difficult decision of their life, and it becomes the crisis because each alternative poses a loss as well as a gain. And so, therefore, characters have to weigh what really matters most to them.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Opening
  • 00:00:18 – Why Final Choices?
  • 00:10:45 – DUNGEONS & DRAGONS
  • 00:19:09 – FINDING NEMO
  • 00:28:45 – MICHAEL CLAYTON
  • 00:53:11 – PROMISING YOUNG WOMAN
  • 01:16:38 – TALK TO ME
  • 01:41:45 – Key Learnings
  • 01:50:13 – Thanks awesome patreons!

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-119/

]]> Screenwriting, Character, Structure, Theme, Final Choice, Narrative POV, Internal Journey, Stakes, Choices & Decisions, Endings, Character Agency, Character Arcs, Dramatic Irony, Anagnorisis, Emotional Truth, Climax, Thematic Question, Moral Complexity Yes DZ-118: ADOLESCENCE and Tension Through Questions 118 118 DZ-118: ADOLESCENCE and Tension Through Questions full 3e170a90-a873-40aa-a6db-8c3701626f4d https://draft-zero.com/2025/dz-118/ Listen if you think tension only comes from plot.

In this episode, Stu and Chas delve into the cultural phenomenon of ADOLESCENCE. We try to find the craft tools that have made the show so compelling and such a catalyst for conversation.

In particular, we breakdown how the show’s emphasis on questions creates tension: not just tension through plot, but tension through character, and ultimately tension through theme.

We analsyse the show episode-by-episode, and discuss how the overall structure skilfully shifts from a plot-heavy police procedural towards a thematic-heavy melodrama and the impact that has on our experience.

We discuss how the decision to shoot the show in a series of “oners” affects the writing and what tools we can take from that to apply to our own writing (even if we’re not writing it to be a one-shot): POV characters, handovers, French scenes, emotional events, and more.

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

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

The absence of plot does not mean the absence of tension.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:10 – Why Adolescence?
  • 00:09:32 – Episode One
  • 00:32:03 – Episode Two
  • 00:46:59 – Episode Three
  • 00:57:47 – Episode Four
  • 01:19:19 – Melodrama
  • 01:23:32 – Scene-level tools
  • 01:52:57 – Key Learnings & Wrap Up
  • 01:58:33 – Thanks to our Patreons

SHOWS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-118/

]]> Listen if you think tension only comes from plot.

In this episode, Stu and Chas delve into the cultural phenomenon of ADOLESCENCE. We try to find the craft tools that have made the show so compelling and such a catalyst for conversation.

In particular, we breakdown how the show’s emphasis on questions creates tension: not just tension through plot, but tension through character, and ultimately tension through theme.

We analsyse the show episode-by-episode, and discuss how the overall structure skilfully shifts from a plot-heavy police procedural towards a thematic-heavy melodrama and the impact that has on our experience.

We discuss how the decision to shoot the show in a series of “oners” affects the writing and what tools we can take from that to apply to our own writing (even if we’re not writing it to be a one-shot): POV characters, handovers, French scenes, emotional events, and more.

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

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

The absence of plot does not mean the absence of tension.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:10 – Why Adolescence?
  • 00:09:32 – Episode One
  • 00:32:03 – Episode Two
  • 00:46:59 – Episode Three
  • 00:57:47 – Episode Four
  • 01:19:19 – Melodrama
  • 01:23:32 – Scene-level tools
  • 01:52:57 – Key Learnings & Wrap Up
  • 01:58:33 – Thanks to our Patreons

SHOWS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-118/

]]> Thu, 01 May 2025 13:00:00 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7218 Listen if you think tension only comes from plot.

In this episode, Stu and Chas delve into the cultural phenomenon of ADOLESCENCE. We try to find the craft tools that have made the show so compelling and such a catalyst for conversation.

In particular, we breakdown how the show’s emphasis on questions creates tension: not just tension through plot, but tension through character, and ultimately tension through theme.

We analsyse the show episode-by-episode, and discuss how the overall structure skilfully shifts from a plot-heavy police procedural towards a thematic-heavy melodrama and the impact that has on our experience.

We discuss how the decision to shoot the show in a series of “oners” affects the writing and what tools we can take from that to apply to our own writing (even if we’re not writing it to be a one-shot): POV characters, handovers, French scenes, emotional events, and more.

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

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

The absence of plot does not mean the absence of tension.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:10 – Why Adolescence?
  • 00:09:32 – Episode One
  • 00:32:03 – Episode Two
  • 00:46:59 – Episode Three
  • 00:57:47 – Episode Four
  • 01:19:19 – Melodrama
  • 01:23:32 – Scene-level tools
  • 01:52:57 – Key Learnings & Wrap Up
  • 01:58:33 – Thanks to our Patreons

SHOWS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-118/

]]> Screenwriting, Structure, Audience, Scenes, Dramatic Questions, Tension, Emotional Event, Genre Shift, Audience Questions, Melodrama, Oners, POV Characters, French Scenes, Character Questions, Thematic Questions, Subtext, Character Agency Yes DZ-117: Pulling Off Tonal Shifts 117 117 DZ-117: Pulling Off Tonal Shifts full af2cb7eb-54f1-46a7-89e2-eef08feefacf https://draft-zero.com/2025/dz-117/ Listen if you want to write tonal pivots that land on the page without a director's toolkit.

Following on from our episodes on establishing tone through action lines and through character, this is what we have been building up to: how to pull off a tonal switch… that does NOT throw the audience out of the film. And, in particular, how to pull that off on the page when writers don’t have framing, lighting, music, editing, etc. at our disposal?

With that goal in mind, Mel and Chas dissect specific moments on the pages of SHAUN OF THE DEAD, SORRY TO BOTHER YOU and SWISS ARMY MAN.

While there are definite craft tools identified - rhythm of action lines, varying use of unfilmmables and metaphors, establishing language patterns - the two big takeaways are:

(1) pulling off a tonal shift takes a lot of setup; and (2) when the time comes, contrast on the page is key.

Thanks to Chris Walker for editing this episode.

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

Not only does it allow us to accept the mother's death, but it allows them to really go for emotion because they've already taught us that throughout the film, there will be these moments.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:25 – What do we mean by tonal shift?
  • 00:08:35 – Distinguishing between genre shift and tonal shift
  • 00:13:08 – Shaun of the Dead
  • 00:45:41 – Sorry to Bother You
  • 01:28:07 – Swiss Army Man
  • 02:02:10 – Key learnings and wrap up
  • 02:06:35 – Patreon thanks

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE ESTABLISHING TONE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-117/

]]> Listen if you want to write tonal pivots that land on the page without a director's toolkit.

Following on from our episodes on establishing tone through action lines and through character, this is what we have been building up to: how to pull off a tonal switch… that does NOT throw the audience out of the film. And, in particular, how to pull that off on the page when writers don’t have framing, lighting, music, editing, etc. at our disposal?

With that goal in mind, Mel and Chas dissect specific moments on the pages of SHAUN OF THE DEAD, SORRY TO BOTHER YOU and SWISS ARMY MAN.

While there are definite craft tools identified - rhythm of action lines, varying use of unfilmmables and metaphors, establishing language patterns - the two big takeaways are:

(1) pulling off a tonal shift takes a lot of setup; and (2) when the time comes, contrast on the page is key.

Thanks to Chris Walker for editing this episode.

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

Not only does it allow us to accept the mother's death, but it allows them to really go for emotion because they've already taught us that throughout the film, there will be these moments.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:25 – What do we mean by tonal shift?
  • 00:08:35 – Distinguishing between genre shift and tonal shift
  • 00:13:08 – Shaun of the Dead
  • 00:45:41 – Sorry to Bother You
  • 01:28:07 – Swiss Army Man
  • 02:02:10 – Key learnings and wrap up
  • 02:06:35 – Patreon thanks

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE ESTABLISHING TONE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-117/

]]> Mon, 31 Mar 2025 20:00:00 +1100 Draft Zero: a screenwriting podcast Draft Zero: a screenwriting podcast 7693 Listen if you want to write tonal pivots that land on the page without a director's toolkit.

Following on from our episodes on establishing tone through action lines and through character, this is what we have been building up to: how to pull off a tonal switch… that does NOT throw the audience out of the film. And, in particular, how to pull that off on the page when writers don’t have framing, lighting, music, editing, etc. at our disposal?

With that goal in mind, Mel and Chas dissect specific moments on the pages of SHAUN OF THE DEAD, SORRY TO BOTHER YOU and SWISS ARMY MAN.

While there are definite craft tools identified - rhythm of action lines, varying use of unfilmmables and metaphors, establishing language patterns - the two big takeaways are:

(1) pulling off a tonal shift takes a lot of setup; and (2) when the time comes, contrast on the page is key.

Thanks to Chris Walker for editing this episode.

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

Not only does it allow us to accept the mother's death, but it allows them to really go for emotion because they've already taught us that throughout the film, there will be these moments.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:25 – What do we mean by tonal shift?
  • 00:08:35 – Distinguishing between genre shift and tonal shift
  • 00:13:08 – Shaun of the Dead
  • 00:45:41 – Sorry to Bother You
  • 01:28:07 – Swiss Army Man
  • 02:02:10 – Key learnings and wrap up
  • 02:06:35 – Patreon thanks

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE ESTABLISHING TONE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-117/

]]> Screenwriting, Character, Words, Genre, Tonal Shifts, Big Print, Setups & Payoffs, Genre Shift, Craft Tools, Unfilmables, POV Characters, Visual Language, Dramatic Irony, Unreliable Narrator, Character Introductions, Narrative Aesthetics, Establishing Tone, Emotional Truth Yes DZ-116: Writing Physical Comedy 116 116 DZ-116: Writing Physical Comedy full 2837bf24-5f7f-425e-ae2c-f2bc20caa15e https://draft-zero.com/2025/dz-116/ Listen if you're writing physical comedy and have no idea how to make it work on the page

Mel joins Chas to tackle physical comedy. We limited our homework selection to extended scenes (as opposed to moments and sight gags) in live action projects and – with the help of our Patreons – selected early sequences from BRINGING UP BABY, the pilot for HAPPY ENDINGS and that wonderful food poisoning scene in BRIDESMAIDS.

We discover how these incredible writers take their time (on the page) to set up geography, framing and running gags. We also get tips on judicious use ALL CAPS, ellipses and M-dashes to recreate visual gags… and when to just let a paragraph go long and draw attention to itself.

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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

The words on the page and the repetition are mimicking the edit, so we can visualize the humor and the repetition of it.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:19 – What physical comedy scenes are we looking at?
  • 00:10:27 – BRINGING UP BABY
  • 00:31:44 – Thank you, Arc Studio Pro!
  • 00:34:34 – HAPPY ENDINGS pilot
  • 00:58:15 – BRIDESMAIDS
  • 01:27:31 – Key learnings
  • 01:33:56 – Thank you amazing Patreons!

FILMS

SHOWS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-116/

]]> Listen if you're writing physical comedy and have no idea how to make it work on the page

Mel joins Chas to tackle physical comedy. We limited our homework selection to extended scenes (as opposed to moments and sight gags) in live action projects and – with the help of our Patreons – selected early sequences from BRINGING UP BABY, the pilot for HAPPY ENDINGS and that wonderful food poisoning scene in BRIDESMAIDS.

We discover how these incredible writers take their time (on the page) to set up geography, framing and running gags. We also get tips on judicious use ALL CAPS, ellipses and M-dashes to recreate visual gags… and when to just let a paragraph go long and draw attention to itself.

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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

The words on the page and the repetition are mimicking the edit, so we can visualize the humor and the repetition of it.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:19 – What physical comedy scenes are we looking at?
  • 00:10:27 – BRINGING UP BABY
  • 00:31:44 – Thank you, Arc Studio Pro!
  • 00:34:34 – HAPPY ENDINGS pilot
  • 00:58:15 – BRIDESMAIDS
  • 01:27:31 – Key learnings
  • 01:33:56 – Thank you amazing Patreons!

FILMS

SHOWS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-116/

]]> Wed, 26 Feb 2025 12:57:00 +1100 Draft Zero: a screenwriting podcast Draft Zero: a screenwriting podcast 5740 Listen if you're writing physical comedy and have no idea how to make it work on the page

Mel joins Chas to tackle physical comedy. We limited our homework selection to extended scenes (as opposed to moments and sight gags) in live action projects and – with the help of our Patreons – selected early sequences from BRINGING UP BABY, the pilot for HAPPY ENDINGS and that wonderful food poisoning scene in BRIDESMAIDS.

We discover how these incredible writers take their time (on the page) to set up geography, framing and running gags. We also get tips on judicious use ALL CAPS, ellipses and M-dashes to recreate visual gags… and when to just let a paragraph go long and draw attention to itself.

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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

The words on the page and the repetition are mimicking the edit, so we can visualize the humor and the repetition of it.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:19 – What physical comedy scenes are we looking at?
  • 00:10:27 – BRINGING UP BABY
  • 00:31:44 – Thank you, Arc Studio Pro!
  • 00:34:34 – HAPPY ENDINGS pilot
  • 00:58:15 – BRIDESMAIDS
  • 01:27:31 – Key learnings
  • 01:33:56 – Thank you amazing Patreons!

FILMS

SHOWS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-116/

]]> Screenwriting, Words, Structure, Genre, Physical Comedy, Scene Structure, Big Print, Whitespace, Setups & Payoffs, Craft Tools, Visual Language, Writing for Actors, POV Characters, Dialogue, Narrative Velocity, Narrative POV, Genre Conventions Yes DZ-115: A Christmas Special - Rewatching & Rituals 105 105 DZ-115: A Christmas Special - Rewatching & Rituals full b219621f-2577-4345-8049-a3e473dd6b3d https://draft-zero.com/2024/dz-115/ Listen if you want to understand what makes holiday films enduring parts of our seasonal rituals!

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!

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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.

What makes it rewatchable is not the Christmas elements. Like that's sort of what makes it rewatchable are all of the structure. The fact that like a lot of good noir mysteries, you forget exactly how things get solved.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:01:00 – What do we mean by Holiday Movies?
  • 00:18:52 – Kiss Kiss Bang Bang
  • 00:41:16 – Riders of Justice
  • 01:03:45 – Sponsorship: Arc Studio Pro
  • 01:06:30 – It's A Wonderful Life
  • 01:48:37 – Wrap up & Key Learnings
  • 01:51:03 – On Nostalgia
  • 01:54:28 – Many thanks to our Patreons

FILMS

SCRIPTS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-115/

]]> Listen if you want to understand what makes holiday films enduring parts of our seasonal rituals!

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!

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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.

What makes it rewatchable is not the Christmas elements. Like that's sort of what makes it rewatchable are all of the structure. The fact that like a lot of good noir mysteries, you forget exactly how things get solved.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:01:00 – What do we mean by Holiday Movies?
  • 00:18:52 – Kiss Kiss Bang Bang
  • 00:41:16 – Riders of Justice
  • 01:03:45 – Sponsorship: Arc Studio Pro
  • 01:06:30 – It's A Wonderful Life
  • 01:48:37 – Wrap up & Key Learnings
  • 01:51:03 – On Nostalgia
  • 01:54:28 – Many thanks to our Patreons

FILMS

SCRIPTS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-115/

]]> Mon, 23 Dec 2024 16:18:00 +1100 Chas Fisher & Stu Wllis Chas Fisher & Stu Wllis 6999 Listen if you want to understand what makes holiday films enduring parts of our seasonal rituals!

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!

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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.

What makes it rewatchable is not the Christmas elements. Like that's sort of what makes it rewatchable are all of the structure. The fact that like a lot of good noir mysteries, you forget exactly how things get solved.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:01:00 – What do we mean by Holiday Movies?
  • 00:18:52 – Kiss Kiss Bang Bang
  • 00:41:16 – Riders of Justice
  • 01:03:45 – Sponsorship: Arc Studio Pro
  • 01:06:30 – It's A Wonderful Life
  • 01:48:37 – Wrap up & Key Learnings
  • 01:51:03 – On Nostalgia
  • 01:54:28 – Many thanks to our Patreons

FILMS

SCRIPTS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-115/

]]> Screenwriting, Tone, Structure, Theme, Rewatchability, Emotional Truth, Establishing Tone, Genre Conventions, Ensembles, Dialogue, Plotting, Setups & Payoffs, Voiceover Yes DZ-114: Climaxes in CHALLENGERS 114 114 DZ-114: Climaxes in CHALLENGERS full 79369359-cdd8-410c-9cf5-12bd741a823c https://draft-zero.com/2024/dz-114/ Listen to understand how withholding resolution can become your story's greatest statement.

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 explorations into Choices and Decisions (and hopefully serving as a prelude to our episode on Hero's Choice - aka DZ-119), 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.

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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

It's nice that the climax of the movie is actually at the end of the movie like to me the movie climaxes at the point where it cuts to black which is awesome yeah.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:24 – Breaking down the ending of Challengers
  • 00:14:51 – Can one action line change everything?
  • 00:39:41 – This episode is brought to you by Arc Studio Pro
  • 00:42:29 – Giving characters decisions
  • 00:52:10 – Meta subtext
  • 00:53:53 – Choices + feeling = theme?
  • 01:06:03 – Ending on the climax
  • 01:09:27 – Key Learnings
  • 01:15:59 – Thank you patreons!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-114/

]]> Listen to understand how withholding resolution can become your story's greatest statement.

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 explorations into Choices and Decisions (and hopefully serving as a prelude to our episode on Hero's Choice - aka DZ-119), 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.

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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

It's nice that the climax of the movie is actually at the end of the movie like to me the movie climaxes at the point where it cuts to black which is awesome yeah.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:24 – Breaking down the ending of Challengers
  • 00:14:51 – Can one action line change everything?
  • 00:39:41 – This episode is brought to you by Arc Studio Pro
  • 00:42:29 – Giving characters decisions
  • 00:52:10 – Meta subtext
  • 00:53:53 – Choices + feeling = theme?
  • 01:06:03 – Ending on the climax
  • 01:09:27 – Key Learnings
  • 01:15:59 – Thank you patreons!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-114/

]]> Fri, 29 Nov 2024 11:38:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 4646 Listen to understand how withholding resolution can become your story's greatest statement.

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 explorations into Choices and Decisions (and hopefully serving as a prelude to our episode on Hero's Choice - aka DZ-119), 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.

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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

It's nice that the climax of the movie is actually at the end of the movie like to me the movie climaxes at the point where it cuts to black which is awesome yeah.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:24 – Breaking down the ending of Challengers
  • 00:14:51 – Can one action line change everything?
  • 00:39:41 – This episode is brought to you by Arc Studio Pro
  • 00:42:29 – Giving characters decisions
  • 00:52:10 – Meta subtext
  • 00:53:53 – Choices + feeling = theme?
  • 01:06:03 – Ending on the climax
  • 01:09:27 – Key Learnings
  • 01:15:59 – Thank you patreons!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-114/

]]> Screenwriting, Character, Structure, Theme, Climax, Character Motivation, Narrative Aesthetics, Final Choice, Emotional Contract, Endings, Character Agency, Audience Questions, Emotional Event, Choices & Decisions Yes DZ-113: Tools For Filmmakers To Talk To The Audience 113 113 DZ-113: Tools For Filmmakers To Talk To The Audience full 2ba8b884-8bb9-4f32-85b4-d270e4cd9648 https://draft-zero.com/2024/dz-113/ Listen if you want to explore how you can make your creative hand visible through meta-storytelling and structural choices!?!

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 where "in the story world" the communication from the filmmakers is.

Ultimately, in exploring these three powerful films through this lens, we discover that these tools give filmmakers more control in conveying their theme. Quelle surprise.

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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.

I would guess that some of the most watched content in the world has people talking directly to the camera and that's stuff that people watch on YouTube.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for 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 <3

FILMS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-113/

]]> Listen if you want to explore how you can make your creative hand visible through meta-storytelling and structural choices!?!

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 where "in the story world" the communication from the filmmakers is.

Ultimately, in exploring these three powerful films through this lens, we discover that these tools give filmmakers more control in conveying their theme. Quelle surprise.

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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.

I would guess that some of the most watched content in the world has people talking directly to the camera and that's stuff that people watch on YouTube.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for 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 <3

FILMS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-113/

]]> Sun, 22 Sep 2024 18:16:00 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7388 Listen if you want to explore how you can make your creative hand visible through meta-storytelling and structural choices!?!

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 where "in the story world" the communication from the filmmakers is.

Ultimately, in exploring these three powerful films through this lens, we discover that these tools give filmmakers more control in conveying their theme. Quelle surprise.

This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!

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.

I would guess that some of the most watched content in the world has people talking directly to the camera and that's stuff that people watch on YouTube.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for 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 <3

FILMS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-113/

]]> Screenwriting, Theme, Words, Structure, Direct Address, Narrative Aesthetics, Thematic Question, Fourth Wall, Character Authenticity Yes DZ-112: Breaking the 4th wall 112 112 DZ-112: Breaking the 4th wall full 63a51dd1-bb45-4325-b47c-0a12ca764dfc https://draft-zero.com/2024/dz-112/ Listen to understand how breaking the 4th wall directly involves the audience in a character's emotional present.

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 the tv-version-of HIGH FIDELITY ("Top Five Breakups"), ABBOTT ELEMENTARY ("Attack Ad)") 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 (which can 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.

This episode brought to you by (drum roll) ArcStudio: go to $30 off a pro subscription! 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.

She's trying to work herself out in some ways. Like it's the reason a lot of people write in their diary or self-talk or do have a running monologue or encourage that. Like she's trying to understand and explain herself and in doing so maybe hopefully help herself.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 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 – Thank you patreons!

SHOWS

LINKS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-112/

]]> Listen to understand how breaking the 4th wall directly involves the audience in a character's emotional present.

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 the tv-version-of HIGH FIDELITY ("Top Five Breakups"), ABBOTT ELEMENTARY ("Attack Ad)") 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 (which can 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.

This episode brought to you by (drum roll) ArcStudio: go to $30 off a pro subscription! 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.

She's trying to work herself out in some ways. Like it's the reason a lot of people write in their diary or self-talk or do have a running monologue or encourage that. Like she's trying to understand and explain herself and in doing so maybe hopefully help herself.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 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 – Thank you patreons!

SHOWS

LINKS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-112/

]]> Wed, 31 Jul 2024 11:32:00 +1000 Draft Zero Draft Zero 6736 Listen to understand how breaking the 4th wall directly involves the audience in a character's emotional present.

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 the tv-version-of HIGH FIDELITY ("Top Five Breakups"), ABBOTT ELEMENTARY ("Attack Ad)") 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 (which can 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.

This episode brought to you by (drum roll) ArcStudio: go to $30 off a pro subscription! 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.

She's trying to work herself out in some ways. Like it's the reason a lot of people write in their diary or self-talk or do have a running monologue or encourage that. Like she's trying to understand and explain herself and in doing so maybe hopefully help herself.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 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 – Thank you patreons!

SHOWS

LINKS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-112/

]]> Screenwriting, Character, Words, Tone, Fourth Wall, Audience Complicity, Character Agency, Voiceover, Character Motivation, Establishing Tone, Relationships, Narrative POV, Internal Journey, Emotional Truth, Craft Tools Yes DZ-111: Unreliable Narrators and FIGHT CLUB 111 111 DZ-111: Unreliable Narrators and FIGHT CLUB full 8438b582-b674-45e3-a908-ddd7017e7e24 https://draft-zero.com/2024/dz-111/ Listen to learn how unreliable narrators shape storytelling through voiceover, structure, and control.

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.

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.

I mean, no wonder the manosphere jumped on this film, because it's all about men who don't take responsibility for their actions. And so they're like, that really resonates with me and how my life is not in my control, even though clearly Jack at this point has control over the entire narrative.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Paulo, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:01 – Cold Open
  • 00:00:20 – Fight Club
  • 00:24:57 – Unreliable Narrators
  • 00:49:09 – Key Learnings & Wrap Up
  • 00:54:07 – Many thanks to our Patrons!

FILMS

SCRIPTS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-111/

]]> Listen to learn how unreliable narrators shape storytelling through voiceover, structure, and control.

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.

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.

I mean, no wonder the manosphere jumped on this film, because it's all about men who don't take responsibility for their actions. And so they're like, that really resonates with me and how my life is not in my control, even though clearly Jack at this point has control over the entire narrative.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Paulo, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:01 – Cold Open
  • 00:00:20 – Fight Club
  • 00:24:57 – Unreliable Narrators
  • 00:49:09 – Key Learnings & Wrap Up
  • 00:54:07 – Many thanks to our Patrons!

FILMS

SCRIPTS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-111/

]]> Tue, 02 Jul 2024 17:35:00 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 3326 Listen to learn how unreliable narrators shape storytelling through voiceover, structure, and control.

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.

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.

I mean, no wonder the manosphere jumped on this film, because it's all about men who don't take responsibility for their actions. And so they're like, that really resonates with me and how my life is not in my control, even though clearly Jack at this point has control over the entire narrative.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Paulo, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:01 – Cold Open
  • 00:00:20 – Fight Club
  • 00:24:57 – Unreliable Narrators
  • 00:49:09 – Key Learnings & Wrap Up
  • 00:54:07 – Many thanks to our Patrons!

FILMS

SCRIPTS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-111/

]]> Screenwriting, Character, Structure, Words, Unreliable Narrator, Voiceover, Narrative POV, Sequences, Dramatic Irony, Audience Complicity Yes Mel Killingsworth Stuart Willis DZ-110: Voiceover 110 110 DZ-110: Voiceover full 1501a7a2-c3ba-4bc0-9d56-1a6e6fe25bdd https://draft-zero.com/2024/dz-110/ Listen to explore how voiceover can set tone, reveal character, enhance empathy, and create tension.

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 (to this episode) answering Patreon Abigail’s question —

"I'm currently writing a screenplay where the twist relies on the audience believing the narrator is a different character until Act III. Thus, have been thinking a lot about casting and audience voice recognition, etc. Would be interested in hearing thoughts on this."

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.

The tone is huge in a noir show in particular. This is like a noir show set in high school. And the voiceover kicks that off and keeps it consistent all the way throughout.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for 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 Emperor's New Groove
  • 00:54:11 – Pain & Gain
  • 01:31:30 – Key Learnings & Wrap Up
  • 01:39:34 – Thanks Patreons!

FILMS

SHOWS

LINKS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-110/

]]> Listen to explore how voiceover can set tone, reveal character, enhance empathy, and create tension.

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 (to this episode) answering Patreon Abigail’s question —

"I'm currently writing a screenplay where the twist relies on the audience believing the narrator is a different character until Act III. Thus, have been thinking a lot about casting and audience voice recognition, etc. Would be interested in hearing thoughts on this."

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.

The tone is huge in a noir show in particular. This is like a noir show set in high school. And the voiceover kicks that off and keeps it consistent all the way throughout.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for 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 Emperor's New Groove
  • 00:54:11 – Pain & Gain
  • 01:31:30 – Key Learnings & Wrap Up
  • 01:39:34 – Thanks Patreons!

FILMS

SHOWS

LINKS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-110/

]]> Fri, 31 May 2024 13:47:00 +1000 Chas Fisher & Stuu Willis Chas Fisher & Stuu Willis 6083 Listen to explore how voiceover can set tone, reveal character, enhance empathy, and create tension.

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 (to this episode) answering Patreon Abigail’s question —

"I'm currently writing a screenplay where the twist relies on the audience believing the narrator is a different character until Act III. Thus, have been thinking a lot about casting and audience voice recognition, etc. Would be interested in hearing thoughts on this."

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.

The tone is huge in a noir show in particular. This is like a noir show set in high school. And the voiceover kicks that off and keeps it consistent all the way throughout.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for 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 Emperor's New Groove
  • 00:54:11 – Pain & Gain
  • 01:31:30 – Key Learnings & Wrap Up
  • 01:39:34 – Thanks Patreons!

FILMS

SHOWS

LINKS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-110/

]]> Screenwriting, Character, Audience, Words, Voiceover, Character Motivation, Craft Tools, Establishing Tone, Audience Sympathy, Unreliable Narrator, Tension Yes DZ-109: Talking DIRECTLY to your audience 109 109 DZ-109: Talking DIRECTLY to your audience full 0646c45d-33e2-4138-8e18-cc3b9dfd4e0e https://draft-zero.com/2024/dz-109/ Listen if you've wondered what a character actually wants when they're talking directly to the audience!?

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

Chas and Stu are joined by Mel in this prelude episode to upcoming episodes on Voiceover (DZ-110, DZ-111) and Breaking the 4th Wall (DZ-112). 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:

1. Diagetic to non-diagetic (in story world to outside story world) 2. Who is talking? From story-teller to a character 3. Whom are they talking to? Themselves or directly to the audience? 4. 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

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.

If you don't have anything dramatic to say, don't say it at all.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:49 – Distinguishing talking directly to the audience
  • 00:04:32 – Different levers to pull
  • 00:09:20 – Who is communicating?
  • 00:26:13 – Does the audience know who's talking?
  • 00:40:00 – From when is the communication coming?
  • 00:40:50 – How reliable is the communication?
  • 00:46:08 – How aware are the characters?
  • 00:58:35 – Analysing edge cases
  • 01:07:37 – What effects do these have on the audience?
  • 01:16:00 – Key learnings and wrap-up
  • 01:19:00 – Thanks patreons!

FILMS

SCRIPTS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-109/

]]> Listen if you've wondered what a character actually wants when they're talking directly to the audience!?

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

Chas and Stu are joined by Mel in this prelude episode to upcoming episodes on Voiceover (DZ-110, DZ-111) and Breaking the 4th Wall (DZ-112). 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:

1. Diagetic to non-diagetic (in story world to outside story world) 2. Who is talking? From story-teller to a character 3. Whom are they talking to? Themselves or directly to the audience? 4. 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

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.

If you don't have anything dramatic to say, don't say it at all.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:49 – Distinguishing talking directly to the audience
  • 00:04:32 – Different levers to pull
  • 00:09:20 – Who is communicating?
  • 00:26:13 – Does the audience know who's talking?
  • 00:40:00 – From when is the communication coming?
  • 00:40:50 – How reliable is the communication?
  • 00:46:08 – How aware are the characters?
  • 00:58:35 – Analysing edge cases
  • 01:07:37 – What effects do these have on the audience?
  • 01:16:00 – Key learnings and wrap-up
  • 01:19:00 – Thanks patreons!

FILMS

SCRIPTS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-109/

]]> Wed, 01 May 2024 13:28:00 +1000 Draft Zero Draft Zero 4828 Listen if you've wondered what a character actually wants when they're talking directly to the audience!?

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

Chas and Stu are joined by Mel in this prelude episode to upcoming episodes on Voiceover (DZ-110, DZ-111) and Breaking the 4th Wall (DZ-112). 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:

1. Diagetic to non-diagetic (in story world to outside story world) 2. Who is talking? From story-teller to a character 3. Whom are they talking to? Themselves or directly to the audience? 4. 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

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.

If you don't have anything dramatic to say, don't say it at all.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:49 – Distinguishing talking directly to the audience
  • 00:04:32 – Different levers to pull
  • 00:09:20 – Who is communicating?
  • 00:26:13 – Does the audience know who's talking?
  • 00:40:00 – From when is the communication coming?
  • 00:40:50 – How reliable is the communication?
  • 00:46:08 – How aware are the characters?
  • 00:58:35 – Analysing edge cases
  • 01:07:37 – What effects do these have on the audience?
  • 01:16:00 – Key learnings and wrap-up
  • 01:19:00 – Thanks patreons!

FILMS

SCRIPTS

EPISODES IN THE TALKING DIRECTLY TO THE AUDIENCE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-109/

]]> Screenwriting, Words, Character, Structure, Direct Address, Voiceover, Character Motivation, Fourth Wall, Unreliable Narrator, Narrative POV, Tactics, Exposition Yes DZ-108: The Emotional Event with Judith Weston 108 108 DZ-108: The Emotional Event with Judith Weston full 9a11ee8d-b879-47b7-8fdb-3c2a8fc98355 https://draft-zero.com/2024/dz-108/ Listen to understand why a scene's power lives in what shifts between characters, not what happens to them.

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/

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.

If you think the scene is just there to give the audience information, then you need to look into it further and find out what the emotional event is.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:30 – What is an emotional event?
  • 00:13:48 – Oppenheimer
  • 00:46:16 – Casino Royale
  • 00:59:35 – Past Lives
  • 01:30:20 – Key Learnings & Wrap Up
  • 01:36:05 – Thanks to our Patreons!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-108/

]]> Listen to understand why a scene's power lives in what shifts between characters, not what happens to them.

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/

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.

If you think the scene is just there to give the audience information, then you need to look into it further and find out what the emotional event is.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:30 – What is an emotional event?
  • 00:13:48 – Oppenheimer
  • 00:46:16 – Casino Royale
  • 00:59:35 – Past Lives
  • 01:30:20 – Key Learnings & Wrap Up
  • 01:36:05 – Thanks to our Patreons!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-108/

]]> Sun, 31 Mar 2024 21:53:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5823 Listen to understand why a scene's power lives in what shifts between characters, not what happens to them.

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/

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.

If you think the scene is just there to give the audience information, then you need to look into it further and find out what the emotional event is.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Cold Open
  • 00:00:30 – What is an emotional event?
  • 00:13:48 – Oppenheimer
  • 00:46:16 – Casino Royale
  • 00:59:35 – Past Lives
  • 01:30:20 – Key Learnings & Wrap Up
  • 01:36:05 – Thanks to our Patreons!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-108/

]]> Screenwriting, Character, Scenes, Structure, Emotional Event, Subtext, Relationships, Status, Scene Structure, Tactics, Big Print, Character Motivation, Writing for Actors, Dramatic Irony Yes DZ-107: Establishing Tone through Character 107 107 DZ-107: Establishing Tone through Character full ee7809b5-aafd-4964-965c-8562926ea533 https://draft-zero.com/2024/dz-107/ Listen if you want to understand how character actions and reactions shape a film's 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,
  • 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.

Emily feels a rush of blood to the head. And the blood, to me, kind of connects it to the feral thing, right? Like it's just got a little bit of an animalistic quality to it in terms of the kind of language system they're using it.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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 Patreons

FILMS

SCRIPTS

LINKS

EPISODES IN THE ESTABLISHING TONE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-107/

]]> Listen if you want to understand how character actions and reactions shape a film's 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,
  • 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.

Emily feels a rush of blood to the head. And the blood, to me, kind of connects it to the feral thing, right? Like it's just got a little bit of an animalistic quality to it in terms of the kind of language system they're using it.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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 Patreons

FILMS

SCRIPTS

LINKS

EPISODES IN THE ESTABLISHING TONE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-107/

]]> Thu, 29 Feb 2024 23:28:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6859 Listen if you want to understand how character actions and reactions shape a film's 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,
  • 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.

Emily feels a rush of blood to the head. And the blood, to me, kind of connects it to the feral thing, right? Like it's just got a little bit of an animalistic quality to it in terms of the kind of language system they're using it.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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 Patreons

FILMS

SCRIPTS

LINKS

EPISODES IN THE ESTABLISHING TONE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2024/dz-107/

]]> Screenwriting, Tone, Structure, Process, Establishing Tone, Given Circumstances, Craft Tools, Narrative Aesthetics, Dialogue Yes DZ-106: How do you know if you have enough story? 106 106 DZ-106: How do you know if you have enough story? full f49148fa-5cf7-4a76-ab94-9bad1bf1738a https://draft-zero.com/2023/dz-106/ Listen you're not sure whether your idea has enough fuel for 90 pages.

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!

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

I know that I personally really tend to use a five-act structure on anything that's longer than 20 pages. I just find it more helpful for me to have five acts and the turning points and the climaxes and etc within that.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for 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!

EPISODES IN THE DEVELOPMENT TOOLS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-106/

]]> Listen you're not sure whether your idea has enough fuel for 90 pages.

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!

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

I know that I personally really tend to use a five-act structure on anything that's longer than 20 pages. I just find it more helpful for me to have five acts and the turning points and the climaxes and etc within that.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for 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!

EPISODES IN THE DEVELOPMENT TOOLS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-106/

]]> Sun, 31 Dec 2023 16:34:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5773 Listen you're not sure whether your idea has enough fuel for 90 pages.

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!

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

I know that I personally really tend to use a five-act structure on anything that's longer than 20 pages. I just find it more helpful for me to have five acts and the turning points and the climaxes and etc within that.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for 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!

EPISODES IN THE DEVELOPMENT TOOLS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-106/

]]> Screenwriting, Process, Structure, Theme, Development, Generative Tools, Plotting, Loglines, Scene Structure, Treatments, Sequences, Midpoints, Character Arcs, Rewriting Yes DZ-105: Establishing Tone through Big Print 105 105 DZ-105: Establishing Tone through Big Print full 05f97353-3c56-4d1c-98bf-381034ae28b6 https://draft-zero.com/2023/dz-105/ Listen if you want to use an unusual tone in your screenplay.

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 INISHERIN 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.

He is writing our experience as the audience to us as we're reading it.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

FILMS

SHOWS

SCRIPTS

EPISODES IN THE ESTABLISHING TONE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-105/

]]> Listen if you want to use an unusual tone in your screenplay.

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 INISHERIN 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.

He is writing our experience as the audience to us as we're reading it.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

FILMS

SHOWS

SCRIPTS

EPISODES IN THE ESTABLISHING TONE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-105/

]]> Thu, 30 Nov 2023 22:40:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7569 Listen if you want to use an unusual tone in your screenplay.

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 INISHERIN 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.

He is writing our experience as the audience to us as we're reading it.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

FILMS

SHOWS

SCRIPTS

EPISODES IN THE ESTABLISHING TONE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-105/

]]> Screenwriting, Tone, Process, Genre, Establishing Tone, Dark Comedy, Craft Tools, Visual Language, Openings, Narrative Aesthetics, Tonal Shifts Yes DZ-104: Characters Alone - Dramatizing the Internal 104 104 DZ-104: Characters Alone - Dramatizing the Internal full 8a6bb44c-e451-428c-ae23-08a1703ae9d2 https://draft-zero.com/2023/dz-104/ Listen to understand how solitude reveals character interiority and deepens audience connection

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.

I've been for a long time trying to improve my ability to what I call dramatize the internal and I think this is a really good opportunity to do this.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-104/

]]> Listen to understand how solitude reveals character interiority and deepens audience connection

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.

I've been for a long time trying to improve my ability to what I call dramatize the internal and I think this is a really good opportunity to do this.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-104/

]]> Wed, 01 Nov 2023 15:29:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5383 Listen to understand how solitude reveals character interiority and deepens audience connection

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.

I've been for a long time trying to improve my ability to what I call dramatize the internal and I think this is a really good opportunity to do this.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-104/

]]> Screenwriting, Scenes, Character, Audience, Characters Alone, Character Depth, Audience Sympathy, Big Print, Scene Structure Yes DZ-103: Game of the Scene 2 - Triangle of Sadness, The Favourite 103 103 DZ-103: Game of the Scene 2 - Triangle of Sadness, The Favourite full 3766f0c1-6896-463e-bde8-62b9a2018992 https://draft-zero.com/2023/dz-103/ Listen to understand how games force characters to interact and reveal themselves (through competency, decisions, and rule-breaking)

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.

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

games are about a series of choices and relatedness is the way that they build interaction so you can see how that is actually really useful for characters because what you actually want to do is put your characters in a situation where they're competent enough to be challenged but you don't want them to be destroyed.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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!

FILMS

SCRIPTS

LINKS

EPISODES IN THE GAME OF THE SCENE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-103/

]]> Listen to understand how games force characters to interact and reveal themselves (through competency, decisions, and rule-breaking)

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.

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

games are about a series of choices and relatedness is the way that they build interaction so you can see how that is actually really useful for characters because what you actually want to do is put your characters in a situation where they're competent enough to be challenged but you don't want them to be destroyed.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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!

FILMS

SCRIPTS

LINKS

EPISODES IN THE GAME OF THE SCENE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-103/

]]> Sun, 01 Oct 2023 23:18:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6157 Listen to understand how games force characters to interact and reveal themselves (through competency, decisions, and rule-breaking)

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.

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

games are about a series of choices and relatedness is the way that they build interaction so you can see how that is actually really useful for characters because what you actually want to do is put your characters in a situation where they're competent enough to be challenged but you don't want them to be destroyed.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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!

FILMS

SCRIPTS

LINKS

EPISODES IN THE GAME OF THE SCENE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-103/

]]> Screenwriting, Character, Scenes, Game of the Scene, Character Agency, Secondary Characters, Tactics, Scene Structure, Moral Complexity Yes DZ-102: Game of the Scene - Bluey, John Wick 4 102 102 DZ-102: Game of the Scene - Bluey, John Wick 4 full ed04f8f8-5fc0-4401-a8b3-faff35b1615f https://draft-zero.com/2023/dz-102/ Listen to make your scene writing more dynamic (by looking at the underlying game)

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.

So I think there's the referees, there's the arena, the victory conditions important and it leads into this other idea, speaking of board games, of like the path to victory.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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 Patreons

FILMS

SHOWS

SCRIPTS

LINKS

EPISODES IN THE GAME OF THE SCENE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-102/

]]> Listen to make your scene writing more dynamic (by looking at the underlying game)

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.

So I think there's the referees, there's the arena, the victory conditions important and it leads into this other idea, speaking of board games, of like the path to victory.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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 Patreons

FILMS

SHOWS

SCRIPTS

LINKS

EPISODES IN THE GAME OF THE SCENE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-102/

]]> Thu, 31 Aug 2023 12:23:00 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5010 Listen to make your scene writing more dynamic (by looking at the underlying game)

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.

So I think there's the referees, there's the arena, the victory conditions important and it leads into this other idea, speaking of board games, of like the path to victory.

— stu

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

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 Patreons

FILMS

SHOWS

SCRIPTS

LINKS

EPISODES IN THE GAME OF THE SCENE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-102/

]]> Screenwriting, Scenes, Audience, Process, Game of the Scene, Tension, Craft Tools, Scene Structure, Conflict, Stakes, Character Agency Yes DZ-101: Oners - Creating Immediacy & Anchoring Action on the Page 101 101 DZ-101: Oners - Creating Immediacy & Anchoring Action on the Page full 0243a1d0-ea54-49d2-8322-7c50ba10484b https://draft-zero.com/2023/dz-101/ Listen to understand how screenwriters direct the camera without calling shots.

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 -> https://www.patreon.com/posts/dz-99-scene-82312058

Thanks to Chris Walker for editing this episode.

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

You're meant to be swept along with this action. In Children of Men, the script's... just bang, bang, bang. You can almost tell that it's happening simultaneously because of the mini slugs, you know, in the road, in the car, outside, inside. It's all felt as one.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:13 – Cold Open
  • 00:00:23 – ScriptUp Sponsorship
  • 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 Up
  • 01:21:03 – Thanks to our Patreons

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-101/

]]> Listen to understand how screenwriters direct the camera without calling shots.

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 -> https://www.patreon.com/posts/dz-99-scene-82312058

Thanks to Chris Walker for editing this episode.

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

You're meant to be swept along with this action. In Children of Men, the script's... just bang, bang, bang. You can almost tell that it's happening simultaneously because of the mini slugs, you know, in the road, in the car, outside, inside. It's all felt as one.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:13 – Cold Open
  • 00:00:23 – ScriptUp Sponsorship
  • 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 Up
  • 01:21:03 – Thanks to our Patreons

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-101/

]]> Mon, 03 Jul 2023 16:55:00 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 4981 Listen to understand how screenwriters direct the camera without calling shots.

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 -> https://www.patreon.com/posts/dz-99-scene-82312058

Thanks to Chris Walker for editing this episode.

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

You're meant to be swept along with this action. In Children of Men, the script's... just bang, bang, bang. You can almost tell that it's happening simultaneously because of the mini slugs, you know, in the road, in the car, outside, inside. It's all felt as one.

— mel

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:13 – Cold Open
  • 00:00:23 – ScriptUp Sponsorship
  • 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 Up
  • 01:21:03 – Thanks to our Patreons

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-101/

]]> Screenwriting, Scenes, Genre, Process, Oners, Visual Language, Craft Tools, Big Print, Scene Structure, Narrative Aesthetics Yes DZ-100: Scenes through Swords 100 100 DZ-100: Scenes through Swords full 3d0cce52-b3e0-471a-b559-5b20b0c151c6 https://draft-zero.com/2023/dz-100/ Listen if you want to know why the distance between two characters matters more than what they say.

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: https://www.damonyoung.com.au/

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

I'm really interested in crafts, in the way we move from little bits of knowledge that we have to work through painstakingly one step at a time to a more fluid knowledge that we can deploy on the fly, as it were.

— damon-young

LIKE THIS EPISODE?

Thanks to our Patrons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:02:45 – Interview with Damon Young
  • 00:59:19 – Thanks patreons!

FILMS

SHOWS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-100/

]]> Listen if you want to know why the distance between two characters matters more than what they say.

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: https://www.damonyoung.com.au/

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

I'm really interested in crafts, in the way we move from little bits of knowledge that we have to work through painstakingly one step at a time to a more fluid knowledge that we can deploy on the fly, as it were.

— damon-young

LIKE THIS EPISODE?

Thanks to our Patrons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:02:45 – Interview with Damon Young
  • 00:59:19 – Thanks patreons!

FILMS

SHOWS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-100/

]]> Mon, 29 May 2023 20:26:00 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 3635 Listen if you want to know why the distance between two characters matters more than what they say.

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: https://www.damonyoung.com.au/

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

I'm really interested in crafts, in the way we move from little bits of knowledge that we have to work through painstakingly one step at a time to a more fluid knowledge that we can deploy on the fly, as it were.

— damon-young

LIKE THIS EPISODE?

Thanks to our Patrons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:02:45 – Interview with Damon Young
  • 00:59:19 – Thanks patreons!

FILMS

SHOWS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-100/

]]> Screenwriting, Scenes, Character, Audience, Scene Structure, Tension, Character Agency, Tactics, Conflict, Subtext, Dramatic Irony, Showdowns Yes DZ-99: Scene Questions 99 99 DZ-99: Scene Questions full 5ea17875-d506-49c2-ae62-c2e34b05e193 https://draft-zero.com/2023/dz-99/ Listen if learn how to structure individual scenes through the questions you pose to your audience!

Inspired 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob..

———

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 Patreons

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-99/

]]> Listen if learn how to structure individual scenes through the questions you pose to your audience!

Inspired 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob..

———

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 Patreons

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-99/

]]> Mon, 01 May 2023 10:09:00 +1000 Chas Fisher & STU WILLIS Chas Fisher & STU WILLIS 5683 Listen if learn how to structure individual scenes through the questions you pose to your audience!

Inspired 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob..

———

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 Patreons

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-99/

]]> Screenwriting, Structure, Scenes, Audience, Scene Questions, Audience Questions, Dramatic Questions, Scene Structure, Character Questions, Thematic Questions, Plot Questions Yes DZ-98: Ensembles 3 - Character Function & Theme 98 98 DZ-98: Ensembles 3 - Character Function & Theme full 9c608faa-698e-4657-ab58-71abd3994a53 https://draft-zero.com/2023/dz-98/ Listen if you're writing an ensemble storiy and want to understand how different characters serve different narrative and thematic functions!

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 characters 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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Alexandre, Casimir, Eduardo, Thomas, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex, Khrob, Thomas and Alexandre.

———

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 Patreons

FILMS

SCRIPTS

LINKS

EPISODES IN THE ENSEMBLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-98/

]]> Listen if you're writing an ensemble storiy and want to understand how different characters serve different narrative and thematic functions!

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 characters 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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Alexandre, Casimir, Eduardo, Thomas, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex, Khrob, Thomas and Alexandre.

———

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 Patreons

FILMS

SCRIPTS

LINKS

EPISODES IN THE ENSEMBLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-98/

]]> Fri, 31 Mar 2023 23:05:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7323 Listen if you're writing an ensemble storiy and want to understand how different characters serve different narrative and thematic functions!

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 characters 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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Alexandre, Casimir, Eduardo, Thomas, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex, Khrob, Thomas and Alexandre.

———

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 Patreons

FILMS

SCRIPTS

LINKS

EPISODES IN THE ENSEMBLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-98/

]]> Screenwriting, Character, Genre, Theme, Ensembles, Character Function, Genre Conventions, Character Agency, Sequences Yes DZ-97: Ensembles 2 - Servicing Characters 97 97 DZ-97: Ensembles 2 - Servicing Characters full 6847688e-a83f-4ad4-9355-8e132f6db96c https://draft-zero.com/2023/dz-97/ Listen if you're writing ensemble stories and want to discover tools for giving all your characters adimension

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

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 Up

FILMS

SCRIPTS

EPISODES IN THE ENSEMBLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-97/

]]> Listen if you're writing ensemble stories and want to discover tools for giving all your characters adimension

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

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 Up

FILMS

SCRIPTS

EPISODES IN THE ENSEMBLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-97/

]]> Tue, 28 Feb 2023 11:23:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 8548 Listen if you're writing ensemble stories and want to discover tools for giving all your characters adimension

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

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 Up

FILMS

SCRIPTS

EPISODES IN THE ENSEMBLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-97/

]]> Screenwriting, Character, Genre, Ensembles, Character Introductions, Secondary Characters, POV Characters, Character Depth, Genre Conventions Yes DZ-96: Ensembles 1 - What do we mean by an ensemble? 96 96 DZ-96: Ensembles 1 - What do we mean by an ensemble? full 19ef5a1b-b83b-4f0b-8cfb-0fb6f38fc771 https://draft-zero.com/2023/dz-96/ Listen if you're working on a story with multiple protagonists and want to understand what makes an ensemble different from a single-protagonist narrative

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. Thanks to Chris Walker for editing this episode. <3 Chris!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis and Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:04:17 – What is an ensemble?
  • 00:26:51 – Taxonomy of Ensembles
  • 00:47:25 – ArcStudio Sponsorship
  • 00:48:32 – Group Dynamics
  • 01:08:39 – Wrap Up & Hopeful Learnings
  • 01:15:15 – Patreon Thanks

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE ENSEMBLES SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-96/

]]> Listen if you're working on a story with multiple protagonists and want to understand what makes an ensemble different from a single-protagonist narrative

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. Thanks to Chris Walker for editing this episode. <3 Chris!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis and Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:04:17 – What is an ensemble?
  • 00:26:51 – Taxonomy of Ensembles
  • 00:47:25 – ArcStudio Sponsorship
  • 00:48:32 – Group Dynamics
  • 01:08:39 – Wrap Up & Hopeful Learnings
  • 01:15:15 – Patreon Thanks

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE ENSEMBLES SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-96/

]]> Tue, 31 Jan 2023 18:25:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 4586 Listen if you're working on a story with multiple protagonists and want to understand what makes an ensemble different from a single-protagonist narrative

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. Thanks to Chris Walker for editing this episode. <3 Chris!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis and Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:04:17 – What is an ensemble?
  • 00:26:51 – Taxonomy of Ensembles
  • 00:47:25 – ArcStudio Sponsorship
  • 00:48:32 – Group Dynamics
  • 01:08:39 – Wrap Up & Hopeful Learnings
  • 01:15:15 – Patreon Thanks

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE ENSEMBLES SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2023/dz-96/

]]> Screenwriting, Character, Structure, Theme, Ensembles, Dual Protoganist, Narrative Aesthetics, Character Function, Genre Conventions, Plotting Yes DZ-95: Backmatter - Building and Maintenance 95 95 DZ-95: Backmatter - Building and Maintenance full 0a34e7fa-0afb-4587-b2d2-df3c32d8bc85 https://draft-zero.com/2022/dz-95/ Listen listen to hear why first acts keep shrinking--and whether yours should too

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.

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!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro: Backmatter
  • 00:02:44 – Housekeeping
  • 00:05:49 – Future Episode Ideas
  • 00:25:52 – Are first acts getting shorter?
  • 00:40:16 – New projects vs current projects
  • 00:48:59 – Maintaining Hope or Avoiding Despair
  • 00:54:21 – The Big Lessons of 2022
  • 00:55:19 – Andor vs Keobi
  • 01:14:37 – Key Lessons & Wrap Up
  • 01:16:06 – Many thanks

SHOWS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-95/

]]> Listen listen to hear why first acts keep shrinking--and whether yours should too

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.

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!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro: Backmatter
  • 00:02:44 – Housekeeping
  • 00:05:49 – Future Episode Ideas
  • 00:25:52 – Are first acts getting shorter?
  • 00:40:16 – New projects vs current projects
  • 00:48:59 – Maintaining Hope or Avoiding Despair
  • 00:54:21 – The Big Lessons of 2022
  • 00:55:19 – Andor vs Keobi
  • 01:14:37 – Key Lessons & Wrap Up
  • 01:16:06 – Many thanks

SHOWS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-95/

]]> Sat, 31 Dec 2022 18:13:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 4610 Listen listen to hear why first acts keep shrinking--and whether yours should too

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.

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!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro: Backmatter
  • 00:02:44 – Housekeeping
  • 00:05:49 – Future Episode Ideas
  • 00:25:52 – Are first acts getting shorter?
  • 00:40:16 – New projects vs current projects
  • 00:48:59 – Maintaining Hope or Avoiding Despair
  • 00:54:21 – The Big Lessons of 2022
  • 00:55:19 – Andor vs Keobi
  • 01:14:37 – Key Lessons & Wrap Up
  • 01:16:06 – Many thanks

SHOWS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-95/

]]> Screenwriting, Process, Structure, Genre, Career, Development, Act One, Genre Conventions Yes DZ-94: Talismans (Part 2) 94 94 DZ-94: Talismans (Part 2) full a6c2fdc4-5455-412b-93b1-5295d1aafe97 https://draft-zero.com/2022/dz-94/ Listen to write objects that accumulate powerful meanings across your story and create unspoken emotional payoffs.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

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 Patreons

FILMS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE TALISMANS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-94/

]]> Listen to write objects that accumulate powerful meanings across your story and create unspoken emotional payoffs.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

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 Patreons

FILMS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE TALISMANS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-94/

]]> Thu, 01 Dec 2022 00:04:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7654 Listen to write objects that accumulate powerful meanings across your story and create unspoken emotional payoffs.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

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 Patreons

FILMS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE TALISMANS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-94/

]]> Screenwriting, Character, Structure, Genre, Talismans, Character Arcs, Setups & Payoffs, Subtext, Visual Language, Emotional Impact Yes DZ-93: Talismans (Part 1) 93 93 DZ-93: Talismans (Part 1) full a6f110c8-2a9b-442d-8065-671ff38cdea8 https://draft-zero.com/2022/dz-93/ Listen to so you can write talismans that are powerful tools for accessing 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.

Thanks to Chas Fisher & Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:03:15 – Talismans in our own lives
  • 00:08:41 – Scott Myer's definition of Talismans
  • 00:18:58 – What are not Talismans?
  • 00:21:48 – Wardrobe
  • 00:28:26 – Talismans vs Characters
  • 00:43:18 – Talismans vs MacGuffins
  • 00:49:33 – Photos
  • 00:53:53 – Jewellery
  • 01:02:22 – Weapons & Tools
  • 01:10:02 – Vehicles
  • 01:12:03 – Letters & Journals
  • 01:14:19 – Andor (Spoilers)
  • 01:16:20 – Talismans and Rituals
  • 01:24:14 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE TALISMANS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-93/

]]> Listen to so you can write talismans that are powerful tools for accessing 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.

Thanks to Chas Fisher & Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:03:15 – Talismans in our own lives
  • 00:08:41 – Scott Myer's definition of Talismans
  • 00:18:58 – What are not Talismans?
  • 00:21:48 – Wardrobe
  • 00:28:26 – Talismans vs Characters
  • 00:43:18 – Talismans vs MacGuffins
  • 00:49:33 – Photos
  • 00:53:53 – Jewellery
  • 01:02:22 – Weapons & Tools
  • 01:10:02 – Vehicles
  • 01:12:03 – Letters & Journals
  • 01:14:19 – Andor (Spoilers)
  • 01:16:20 – Talismans and Rituals
  • 01:24:14 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE TALISMANS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-93/

]]> Mon, 31 Oct 2022 19:14:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5865 Listen to so you can write talismans that are powerful tools for accessing 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.

Thanks to Chas Fisher & Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:03:15 – Talismans in our own lives
  • 00:08:41 – Scott Myer's definition of Talismans
  • 00:18:58 – What are not Talismans?
  • 00:21:48 – Wardrobe
  • 00:28:26 – Talismans vs Characters
  • 00:43:18 – Talismans vs MacGuffins
  • 00:49:33 – Photos
  • 00:53:53 – Jewellery
  • 01:02:22 – Weapons & Tools
  • 01:10:02 – Vehicles
  • 01:12:03 – Letters & Journals
  • 01:14:19 – Andor (Spoilers)
  • 01:16:20 – Talismans and Rituals
  • 01:24:14 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE TALISMANS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-93/

]]> Screenwriting, Character, Process, Genre, Talismans, Character Depth, Craft Tools, Visual Language, Character Authenticity, Setups & Payoffs Yes DZ-92: Insightful Recognition in Powerful Endings 92 92 DZ-92: Insightful Recognition in Powerful Endings full 6ffdef54-8480-4084-8ada-2e529ae5b202 https://draft-zero.com/2022/dz-92/ Listen if you want to write endings that make audiences pause and ponder (in a good way, obvs)

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Malay, Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:00:48 – Insightful recognition in endings
  • 00:03:39 – What the hell is "anagnorisis"?
  • 00:12:04 – LA LA LAND
  • 00:30:45 – INCEPTION
  • 00:35:14 – NO COUNTRY FOR OLD MEN
  • 01:00:04 – TURNING RED
  • 01:18:18 – Wrap up & Key Learnings
  • 01:24:26 – Thanks patreons!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-92/

]]> Listen if you want to write endings that make audiences pause and ponder (in a good way, obvs)

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Malay, Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:00:48 – Insightful recognition in endings
  • 00:03:39 – What the hell is "anagnorisis"?
  • 00:12:04 – LA LA LAND
  • 00:30:45 – INCEPTION
  • 00:35:14 – NO COUNTRY FOR OLD MEN
  • 01:00:04 – TURNING RED
  • 01:18:18 – Wrap up & Key Learnings
  • 01:24:26 – Thanks patreons!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-92/

]]> Thu, 29 Sep 2022 21:39:00 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5166 Listen if you want to write endings that make audiences pause and ponder (in a good way, obvs)

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Malay, Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:00:48 – Insightful recognition in endings
  • 00:03:39 – What the hell is "anagnorisis"?
  • 00:12:04 – LA LA LAND
  • 00:30:45 – INCEPTION
  • 00:35:14 – NO COUNTRY FOR OLD MEN
  • 01:00:04 – TURNING RED
  • 01:18:18 – Wrap up & Key Learnings
  • 01:24:26 – Thanks patreons!

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-92/

]]> Screenwriting, Audience, Structure, Character, Anagnorisis, Endings, Audience Complicity, Emotional Impact, Thematic Questions Yes DZ-91: Raising (different kinds of) Stakes 91 91 DZ-91: Raising (different kinds of) Stakes full bfbe7f09-d71c-493c-af9e-25e74631fcd0 https://draft-zero.com/2022/dz-91/ Listen listen if you're writing a biopic or any story where the audience already knows how it ends.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Malay, Casimir, Eduardo, Jennifer, Leigh, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

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!

FILMS

SCRIPTS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-91/

]]> Listen listen if you're writing a biopic or any story where the audience already knows how it ends.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Malay, Casimir, Eduardo, Jennifer, Leigh, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

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!

FILMS

SCRIPTS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-91/

]]> Wed, 31 Aug 2022 11:00:41 +1000 Draft Zero: a screenwriting podcast Draft Zero: a screenwriting podcast 8386 Listen listen if you're writing a biopic or any story where the audience already knows how it ends.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Malay, Casimir, Eduardo, Jennifer, Leigh, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

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!

FILMS

SCRIPTS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-91/

]]> Screenwriting, Audience, Structure, Character, Stakes, Tension, Emotional Impact, Dramatic Questions, Character Motivation, Theme Yes DZ-90: Setups & Payoffs in Everything Everywhere All At Once 90 90 DZ-90: Setups & Payoffs in Everything Everywhere All At Once full 55aedf27-71b5-4ad8-8a75-b2801628ea93 https://draft-zero.com/2022/dz-90/ Listen to understand how setups, payoffs, and reversals create narrative cohesion even when your story is fkn bonkers.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Malay, Casimir, Eduardo, Jennifer, Leigh, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:00:43 – Anywhere Anything At The Same time
  • 00:10:48 – Summary
  • 00:29:51 – Pointers and Planters
  • 00:56:17 – The Ending
  • 01:17:59 – Wrap Up and Key Learnings
  • 01:30:06 – Thanks to our Patreons

FILMS

SCRIPTS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-90/

]]> Listen to understand how setups, payoffs, and reversals create narrative cohesion even when your story is fkn bonkers.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Malay, Casimir, Eduardo, Jennifer, Leigh, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:00:43 – Anywhere Anything At The Same time
  • 00:10:48 – Summary
  • 00:29:51 – Pointers and Planters
  • 00:56:17 – The Ending
  • 01:17:59 – Wrap Up and Key Learnings
  • 01:30:06 – Thanks to our Patreons

FILMS

SCRIPTS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-90/

]]> Wed, 27 Jul 2022 10:12:49 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5454 Listen to understand how setups, payoffs, and reversals create narrative cohesion even when your story is fkn bonkers.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Malay, Casimir, Eduardo, Jennifer, Leigh, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:00:43 – Anywhere Anything At The Same time
  • 00:10:48 – Summary
  • 00:29:51 – Pointers and Planters
  • 00:56:17 – The Ending
  • 01:17:59 – Wrap Up and Key Learnings
  • 01:30:06 – Thanks to our Patreons

FILMS

SCRIPTS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-90/

]]> Screenwriting, Structure, Genre, Setups & Payoffs, Plot Twists, Endings, Genre Conventions Yes DZ-89: Opening Sequences 89 89 DZ-89: Opening Sequences full 1120da08-5296-4c56-9d6b-4ddf99e15845 https://draft-zero.com/2022/dz-89/ Listen if you want to understand how great opening sequences establish character, genre, and theme while defying genre conventions

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Lloyd, Eduardo, Jennifer, Leigh, Thomas, Garrett, Bjorn, Randy, Jesse, Sandra, Alex and Khrob.

———

CHAPTERS

  • 00:00:56 – Intro
  • 00:12:04 – Ocean's Eleven
  • 00:30:26 – Long Shot
  • 01:01:32 – Arrival
  • 01:22:22 – A Serious Man
  • 01:41:17 – Wrap Up
  • 01:46:47 – Patreon thanks

FILMS

SCRIPTS

LINKS

EPISODES IN THE SEQUENCES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-89/

]]> Listen if you want to understand how great opening sequences establish character, genre, and theme while defying genre conventions

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Lloyd, Eduardo, Jennifer, Leigh, Thomas, Garrett, Bjorn, Randy, Jesse, Sandra, Alex and Khrob.

———

CHAPTERS

  • 00:00:56 – Intro
  • 00:12:04 – Ocean's Eleven
  • 00:30:26 – Long Shot
  • 01:01:32 – Arrival
  • 01:22:22 – A Serious Man
  • 01:41:17 – Wrap Up
  • 01:46:47 – Patreon thanks

FILMS

SCRIPTS

LINKS

EPISODES IN THE SEQUENCES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-89/

]]> Tue, 31 May 2022 12:56:36 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6489 Listen if you want to understand how great opening sequences establish character, genre, and theme while defying genre conventions

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Casimir, Lloyd, Eduardo, Jennifer, Leigh, Thomas, Garrett, Bjorn, Randy, Jesse, Sandra, Alex and Khrob.

———

CHAPTERS

  • 00:00:56 – Intro
  • 00:12:04 – Ocean's Eleven
  • 00:30:26 – Long Shot
  • 01:01:32 – Arrival
  • 01:22:22 – A Serious Man
  • 01:41:17 – Wrap Up
  • 01:46:47 – Patreon thanks

FILMS

SCRIPTS

LINKS

EPISODES IN THE SEQUENCES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-89/

]]> Screenwriting, Structure, Genre, Tone, Openings, Genre Conventions, Establishing Tone, Character Introductions, Given Circumstances, Theme Yes DZ-88: Drama in Genre clothing 88 88 DZ-88: Drama in Genre clothing full 0673c96c-e037-4231-ac5a-9264b426984e https://draft-zero.com/2022/dz-88/ Listen if you're writing a genre film but sense your story wants to become something else entirely.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:01 – Intro
  • 00:00:56 – Drama in Genre Clothing
  • 00:02:21 – Sam Elliot on Power of the Dog
  • 00:03:19 – Lessons from Keeping Genre Fresh
  • 00:08:14 – Hustlers
  • 00:43:58 – Pig
  • 01:16:24 – The Power of the Dog
  • 01:55:02 – Key Learnings and Wrap Up

FILMS

SCRIPTS

LINKS

EPISODES IN THE TWISTING GENRE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-88/

]]> Listen if you're writing a genre film but sense your story wants to become something else entirely.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:01 – Intro
  • 00:00:56 – Drama in Genre Clothing
  • 00:02:21 – Sam Elliot on Power of the Dog
  • 00:03:19 – Lessons from Keeping Genre Fresh
  • 00:08:14 – Hustlers
  • 00:43:58 – Pig
  • 01:16:24 – The Power of the Dog
  • 01:55:02 – Key Learnings and Wrap Up

FILMS

SCRIPTS

LINKS

EPISODES IN THE TWISTING GENRE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-88/

]]> Sun, 01 May 2022 09:43:18 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7593 Listen if you're writing a genre film but sense your story wants to become something else entirely.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:01 – Intro
  • 00:00:56 – Drama in Genre Clothing
  • 00:02:21 – Sam Elliot on Power of the Dog
  • 00:03:19 – Lessons from Keeping Genre Fresh
  • 00:08:14 – Hustlers
  • 00:43:58 – Pig
  • 01:16:24 – The Power of the Dog
  • 01:55:02 – Key Learnings and Wrap Up

FILMS

SCRIPTS

LINKS

EPISODES IN THE TWISTING GENRE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-88/

]]> Screenwriting, Genre, Structure, Theme, Genre Conventions, Genre Shift, Emotional Contract, Character Questions, Setups & Payoffs Yes DZ-87: Keeping Genre Fresh 87 87 DZ-87: Keeping Genre Fresh full 0915c19a-e043-4d8c-9b21-080bc0584eec https://draft-zero.com/2022/dz-87/ Listen when you're writing within a genre but terrified you'll deliver something your audience has already seen.

In tackling this enormous topic, Stu and Chads enlist professional TV writer and director 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.

Thanks to Chris for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:57 – Intro: Keeping Genre Fresh
  • 00:03:10 – What is Genre?
  • 00:16:30 – Get Out
  • 00:45:10 – Promising Young Woman
  • 01:25:08 – The Invisible Man
  • 01:59:18 – Wrap Up
  • 02:11:44 – Thanks to our Patreons!

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE TWISTING GENRE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-87/

]]> Listen when you're writing within a genre but terrified you'll deliver something your audience has already seen.

In tackling this enormous topic, Stu and Chads enlist professional TV writer and director 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.

Thanks to Chris for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:57 – Intro: Keeping Genre Fresh
  • 00:03:10 – What is Genre?
  • 00:16:30 – Get Out
  • 00:45:10 – Promising Young Woman
  • 01:25:08 – The Invisible Man
  • 01:59:18 – Wrap Up
  • 02:11:44 – Thanks to our Patreons!

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE TWISTING GENRE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-87/

]]> Mon, 28 Mar 2022 13:48:41 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7993 Listen when you're writing within a genre but terrified you'll deliver something your audience has already seen.

In tackling this enormous topic, Stu and Chads enlist professional TV writer and director 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.

Thanks to Chris for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:57 – Intro: Keeping Genre Fresh
  • 00:03:10 – What is Genre?
  • 00:16:30 – Get Out
  • 00:45:10 – Promising Young Woman
  • 01:25:08 – The Invisible Man
  • 01:59:18 – Wrap Up
  • 02:11:44 – Thanks to our Patreons!

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE TWISTING GENRE SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-87/

]]> Screenwriting, Genre, Theme, Structure, Emotional Contract, Genre Conventions, Plot Twists, Genre Shift, Thematic Questions Yes DZ-86: Backmatter - Minimum Viable Product 86 86 DZ-86: Backmatter - Minimum Viable Product full c042f592-7e79-48f1-8287-4453005416bf https://draft-zero.com/2022/dz-86/ Listen for screenwriting lessons from 2021, strategies for pitching projects, and insights on running a writers workshop

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Backmatter
  • 00:03:02 – Looking Forward - Episode Ideas
  • 00:19:40 – Looking Back - Screenwriting Lessons
  • 00:49:46 – Looking Now - Processes
  • 01:28:26 – Outro

FILMS

  • DIE HARD (1988) — (w) Roderick Thorp, Jeb Stuart, Steven E De Souza (d) John Mctiernan

SCRIPTS

  • Study the script: DIE HARD (1988) — Roderick Thorp, Jeb Stuart, Steven E De Souza

SHOT ZERO DEEP DIVES

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-86/

]]> Listen for screenwriting lessons from 2021, strategies for pitching projects, and insights on running a writers workshop

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Backmatter
  • 00:03:02 – Looking Forward - Episode Ideas
  • 00:19:40 – Looking Back - Screenwriting Lessons
  • 00:49:46 – Looking Now - Processes
  • 01:28:26 – Outro

FILMS

  • DIE HARD (1988) — (w) Roderick Thorp, Jeb Stuart, Steven E De Souza (d) John Mctiernan

SCRIPTS

  • Study the script: DIE HARD (1988) — Roderick Thorp, Jeb Stuart, Steven E De Souza

SHOT ZERO DEEP DIVES

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-86/

]]> Tue, 01 Feb 2022 19:54:37 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5387 Listen for screenwriting lessons from 2021, strategies for pitching projects, and insights on running a writers workshop

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Backmatter
  • 00:03:02 – Looking Forward - Episode Ideas
  • 00:19:40 – Looking Back - Screenwriting Lessons
  • 00:49:46 – Looking Now - Processes
  • 01:28:26 – Outro

FILMS

  • DIE HARD (1988) — (w) Roderick Thorp, Jeb Stuart, Steven E De Souza (d) John Mctiernan

SCRIPTS

  • Study the script: DIE HARD (1988) — Roderick Thorp, Jeb Stuart, Steven E De Souza

SHOT ZERO DEEP DIVES

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2022/dz-86/

]]> Screenwriting, Process, Words, Pitching, Craft Tools, Development, Collaboration, Career, Big Print Yes DZ-85: Choices & Decisions 2 - The Farewell & Wrath of Man 85 85 DZ-85: Choices & Decisions 2 - The Farewell & Wrath of Man full c07568c4-9caa-41f1-8164-df4197a8abc7 https://draft-zero.com/2021/dz-85/ Listen when you want to show a character refusing to change despite every opportunity to do so.

In our second part of our “series” on Choices & 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:

  • CHOICE: Are the options presented to the character.
  • DECISION: Is the knowing consideration of the choice and resulting action.
  • CONSEQUENCE: is the resulting outcome from the choice.

Thanks to Chris for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:01:38 – Decisions & Choices Recap
  • 00:03:41 – The Farewell
  • 00:28:58 – Nomadland
  • 00:37:39 – Wrath of Man
  • 01:36:54 – Wrap Up & Key Learnings
  • 01:45:06 – Backmatter

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE CHOICES AND DECISIONS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-85/

]]> Listen when you want to show a character refusing to change despite every opportunity to do so.

In our second part of our “series” on Choices & 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:

  • CHOICE: Are the options presented to the character.
  • DECISION: Is the knowing consideration of the choice and resulting action.
  • CONSEQUENCE: is the resulting outcome from the choice.

Thanks to Chris for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:01:38 – Decisions & Choices Recap
  • 00:03:41 – The Farewell
  • 00:28:58 – Nomadland
  • 00:37:39 – Wrath of Man
  • 01:36:54 – Wrap Up & Key Learnings
  • 01:45:06 – Backmatter

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE CHOICES AND DECISIONS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-85/

]]> Wed, 17 Nov 2021 23:17:10 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6563 Listen when you want to show a character refusing to change despite every opportunity to do so.

In our second part of our “series” on Choices & 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:

  • CHOICE: Are the options presented to the character.
  • DECISION: Is the knowing consideration of the choice and resulting action.
  • CONSEQUENCE: is the resulting outcome from the choice.

Thanks to Chris for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:01:38 – Decisions & Choices Recap
  • 00:03:41 – The Farewell
  • 00:28:58 – Nomadland
  • 00:37:39 – Wrath of Man
  • 01:36:54 – Wrap Up & Key Learnings
  • 01:45:06 – Backmatter

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE CHOICES AND DECISIONS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-85/

]]> Screenwriting, Character, Audience, Structure, Choices & Decisions, Emotional Impact, Interweaving Timelines, Character Agency, Character Arcs, Subtext Yes DZ-84: Choices & Decisions 1 - Booksmart 84 84 DZ-84: Choices & Decisions 1 - Booksmart full 029ab8c5-553e-4ec7-b803-ffb087fb989c https://draft-zero.com/2021/dz-84/ Listen how the separation of choice, decision, and consequence (for a character) creates emotional impact.

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:

  • CHOICE: Are the options presented to the character.
  • DECISION: Is the knowing consideration of the choice and resulting action.
  • CONSEQUENCE: is the resulting outcome from the choice.

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.

Thanks to Chris for editing this episodes.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:36 – Choices vs Decisions
  • 00:19:51 – Booksmart
  • 01:01:41 – Decisions & Structure
  • 01:05:50 – Mills' decision in Se7en
  • 01:07:50 – Key Learnings and Wrap Up

FILMS

SHOWS

  • FLEABAG — (w) Phoebe Waller Bridge

SCRIPTS

SHOT ZERO DEEP DIVES

EPISODES IN THE CHOICES AND DECISIONS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-84/

]]> Listen how the separation of choice, decision, and consequence (for a character) creates emotional impact.

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:

  • CHOICE: Are the options presented to the character.
  • DECISION: Is the knowing consideration of the choice and resulting action.
  • CONSEQUENCE: is the resulting outcome from the choice.

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.

Thanks to Chris for editing this episodes.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:36 – Choices vs Decisions
  • 00:19:51 – Booksmart
  • 01:01:41 – Decisions & Structure
  • 01:05:50 – Mills' decision in Se7en
  • 01:07:50 – Key Learnings and Wrap Up

FILMS

SHOWS

  • FLEABAG — (w) Phoebe Waller Bridge

SCRIPTS

SHOT ZERO DEEP DIVES

EPISODES IN THE CHOICES AND DECISIONS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-84/

]]> Sat, 30 Oct 2021 18:38:15 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 4358 Listen how the separation of choice, decision, and consequence (for a character) creates emotional impact.

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:

  • CHOICE: Are the options presented to the character.
  • DECISION: Is the knowing consideration of the choice and resulting action.
  • CONSEQUENCE: is the resulting outcome from the choice.

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.

Thanks to Chris for editing this episodes.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:36 – Choices vs Decisions
  • 00:19:51 – Booksmart
  • 01:01:41 – Decisions & Structure
  • 01:05:50 – Mills' decision in Se7en
  • 01:07:50 – Key Learnings and Wrap Up

FILMS

SHOWS

  • FLEABAG — (w) Phoebe Waller Bridge

SCRIPTS

SHOT ZERO DEEP DIVES

EPISODES IN THE CHOICES AND DECISIONS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-84/

]]> Screenwriting, Character, Audience, Scenes, Choices & Decisions, Character Motivation, Emotional Impact, Character Agency, Dramatic Irony, Character Depth, Emotional Contract Yes DZ-83: A Very Thematic Stand-up Special! 83 83 DZ-83: A Very Thematic Stand-up Special! full 9bd99450-aeea-457f-9faf-0b4a441f752e https://draft-zero.com/2021/dz-83/ Listen you want to understand how stand-up comedians grip audiences and build emotional arcs (and what narrative tools screenwriters can borrow from comedy)!

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!

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Enjoy!

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

If you introduce this idea in a harmless form, then they're willing to swallow it later. When, if you presented it raw out front, they would recoil.

— alice

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Q: What can screenwriters learn from the storytelling techniques used by stand-up comedians?
  • 00:03:25 – Alice Fraser on Comedy
  • 00:22:33 – Comedy tools to be explored
  • 00:26:21 – NANETTE by Hannah Gadsby
  • 00:48:47 – Transitions in and out of theme
  • 01:08:32 – BABY COBRA by Ali Wong
  • 01:37:57 – IT'S THE FIREWORKS TALKING by Daniel Kitson
  • 02:04:45 – Key Learnings
  • 02:14:39 – Backmatter - Adapting SAVAGE

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-83/

]]> Listen you want to understand how stand-up comedians grip audiences and build emotional arcs (and what narrative tools screenwriters can borrow from comedy)!

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!

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Enjoy!

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

If you introduce this idea in a harmless form, then they're willing to swallow it later. When, if you presented it raw out front, they would recoil.

— alice

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Q: What can screenwriters learn from the storytelling techniques used by stand-up comedians?
  • 00:03:25 – Alice Fraser on Comedy
  • 00:22:33 – Comedy tools to be explored
  • 00:26:21 – NANETTE by Hannah Gadsby
  • 00:48:47 – Transitions in and out of theme
  • 01:08:32 – BABY COBRA by Ali Wong
  • 01:37:57 – IT'S THE FIREWORKS TALKING by Daniel Kitson
  • 02:04:45 – Key Learnings
  • 02:14:39 – Backmatter - Adapting SAVAGE

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-83/

]]> Wed, 08 Sep 2021 14:25:21 +1000 Chas Fisher & Stu willis Chas Fisher & Stu willis 9097 Listen you want to understand how stand-up comedians grip audiences and build emotional arcs (and what narrative tools screenwriters can borrow from comedy)!

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!

This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.

Enjoy!

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

If you introduce this idea in a harmless form, then they're willing to swallow it later. When, if you presented it raw out front, they would recoil.

— alice

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:00 – Q: What can screenwriters learn from the storytelling techniques used by stand-up comedians?
  • 00:03:25 – Alice Fraser on Comedy
  • 00:22:33 – Comedy tools to be explored
  • 00:26:21 – NANETTE by Hannah Gadsby
  • 00:48:47 – Transitions in and out of theme
  • 01:08:32 – BABY COBRA by Ali Wong
  • 01:37:57 – IT'S THE FIREWORKS TALKING by Daniel Kitson
  • 02:04:45 – Key Learnings
  • 02:14:39 – Backmatter - Adapting SAVAGE

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-83/

]]> Screenwriting, Character, Theme, Audience, Emotional Contract, Emotional Truth, Character Authenticity, Audience Sympathy, Setups & Payoffs, Audience Complicity, Anagnorisis, Tonal Shifts, Status, Visual Language, Comedy, Character Agency, Character Introductions, Escalation Yes Chas Fisher Stuart Willis Alice Fraser DZ-82: Dramatising Given Circumstances in Watchmen 82 82 DZ-82: Dramatising Given Circumstances in Watchmen full 6ebc93e0-0412-4a20-8081-cb354424fa80 https://draft-zero.com/2021/dz-82/ Listen if you're drowning your readers in world-building and can't figure out how to make it awome.

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. 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:02 – Watching the Watchmen
  • 00:06:13 – Summaries
  • 00:17:07 – Given Circumstances
  • 00:38:39 – The Characters
  • 00:51:07 – Theme & Characters
  • 01:02:13 – Narrative Structure & Theme
  • 01:27:07 – Worldview
  • 01:33:47 – Dr Manhattan
  • 01:51:50 – Wrap Up

FILMS

SHOWS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-82/

]]> Listen if you're drowning your readers in world-building and can't figure out how to make it awome.

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. 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:02 – Watching the Watchmen
  • 00:06:13 – Summaries
  • 00:17:07 – Given Circumstances
  • 00:38:39 – The Characters
  • 00:51:07 – Theme & Characters
  • 01:02:13 – Narrative Structure & Theme
  • 01:27:07 – Worldview
  • 01:33:47 – Dr Manhattan
  • 01:51:50 – Wrap Up

FILMS

SHOWS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-82/

]]> Wed, 18 Aug 2021 17:39:04 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7571 Listen if you're drowning your readers in world-building and can't figure out how to make it awome.

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. 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:02 – Watching the Watchmen
  • 00:06:13 – Summaries
  • 00:17:07 – Given Circumstances
  • 00:38:39 – The Characters
  • 00:51:07 – Theme & Characters
  • 01:02:13 – Narrative Structure & Theme
  • 01:27:07 – Worldview
  • 01:33:47 – Dr Manhattan
  • 01:51:50 – Wrap Up

FILMS

SHOWS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-82/

]]> Screenwriting, Structure, Words, Tone, Given Circumstances, Exposition, Establishing Tone, Genre Translation, Narrative Aesthetics, World Building Yes DZ-81: Pitch Decks & Look Books - Development Tools 4 81 81 DZ-81: Pitch Decks & Look Books - Development Tools 4 full 0cd14fb5-9b5f-4156-b3f8-8063a18b8944 https://draft-zero.com/2021/dz-81/ Listen if you're preparing to pitch a project and want to understand how to create compelling visual materials

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: https://youtu.be/T5u1uzKNVQs.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

LINKS

EPISODES IN THE DEVELOPMENT TOOLS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-81/

]]> Listen if you're preparing to pitch a project and want to understand how to create compelling visual materials

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: https://youtu.be/T5u1uzKNVQs.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

LINKS

EPISODES IN THE DEVELOPMENT TOOLS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-81/

]]> Wed, 30 Jun 2021 22:45:40 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 4403 Listen if you're preparing to pitch a project and want to understand how to create compelling visual materials

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: https://youtu.be/T5u1uzKNVQs.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

LINKS

EPISODES IN THE DEVELOPMENT TOOLS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-81/

]]> Screenwriting, Process, Structure, Pitch Decks, Pitching, World Building, Collaboration Yes DZ-80: Interweaving Timelines 3 - Little Women 80 80 DZ-80: Interweaving Timelines 3 - Little Women full ee9d1639-3ce0-490a-8ed6-459909b63e69 https://draft-zero.com/2021/dz-80/ Listen to explore non-chronological structures can make work thematically resonant.

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!

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Garrett, Bjorn, Jessie, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:00:37 – ScriptUp Sponsorship
  • 00:02:00 – Little Women - 2019 vs 1994
  • 00:06:35 – 2019's Interweaving Timelines
  • 00:15:29 – Summarising the plot points
  • 00:31:39 – Initial contrasts with chronological telling
  • 00:35:32 – Laurie's Proposal
  • 00:54:10 – Amy and Laurie's courtship
  • 01:03:34 – Beth's Death
  • 01:26:44 – Book burning and ice skating
  • 01:36:51 – How the structure expresses theme
  • 01:44:06 – Key Learnings and Wrap Up
  • 01:59:02 – Backmatter

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE INTERWEAVING TIMELINES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-80/

]]> Listen to explore non-chronological structures can make work thematically resonant.

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!

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Garrett, Bjorn, Jessie, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:00:37 – ScriptUp Sponsorship
  • 00:02:00 – Little Women - 2019 vs 1994
  • 00:06:35 – 2019's Interweaving Timelines
  • 00:15:29 – Summarising the plot points
  • 00:31:39 – Initial contrasts with chronological telling
  • 00:35:32 – Laurie's Proposal
  • 00:54:10 – Amy and Laurie's courtship
  • 01:03:34 – Beth's Death
  • 01:26:44 – Book burning and ice skating
  • 01:36:51 – How the structure expresses theme
  • 01:44:06 – Key Learnings and Wrap Up
  • 01:59:02 – Backmatter

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE INTERWEAVING TIMELINES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-80/

]]> Mon, 31 May 2021 23:48:01 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7885 Listen to explore non-chronological structures can make work thematically resonant.

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!

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Garrett, Bjorn, Jessie, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:00:37 – ScriptUp Sponsorship
  • 00:02:00 – Little Women - 2019 vs 1994
  • 00:06:35 – 2019's Interweaving Timelines
  • 00:15:29 – Summarising the plot points
  • 00:31:39 – Initial contrasts with chronological telling
  • 00:35:32 – Laurie's Proposal
  • 00:54:10 – Amy and Laurie's courtship
  • 01:03:34 – Beth's Death
  • 01:26:44 – Book burning and ice skating
  • 01:36:51 – How the structure expresses theme
  • 01:44:06 – Key Learnings and Wrap Up
  • 01:59:02 – Backmatter

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE INTERWEAVING TIMELINES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-80/

]]> Screenwriting, Scenes, Structure, Interweaving Timelines, Thematic Sequences, Dramatic Irony Yes DZ-79: Interweaving Timelines 2 - The Social Network 79 79 DZ-79: Interweaving Timelines 2 - The Social Network full a6a51ff0-560b-4843-96aa-93b8d30fe9f1 https://draft-zero.com/2021/dz-79/ Listen to understand how manage stakes when you're using flashforwards.

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).

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Garrett, Bjorn, Joakim, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:48 – The Social Network
  • 00:07:36 – The flash forward structure
  • 00:18:46 – Why did we pick this film?
  • 00:29:41 – What are the stakes?
  • 00:42:45 – Time jumps & transitions
  • 00:52:59 – Audience's perception of Mark
  • 01:00:45 – Storyteller cuts
  • 01:09:20 – Sorkin vs Fincher
  • 01:16:07 – Wrap up & key learnings
  • 01:23:15 – Backmatter

FILMS

SCRIPTS

EPISODES IN THE INTERWEAVING TIMELINES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-79/

]]> Listen to understand how manage stakes when you're using flashforwards.

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).

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Garrett, Bjorn, Joakim, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:48 – The Social Network
  • 00:07:36 – The flash forward structure
  • 00:18:46 – Why did we pick this film?
  • 00:29:41 – What are the stakes?
  • 00:42:45 – Time jumps & transitions
  • 00:52:59 – Audience's perception of Mark
  • 01:00:45 – Storyteller cuts
  • 01:09:20 – Sorkin vs Fincher
  • 01:16:07 – Wrap up & key learnings
  • 01:23:15 – Backmatter

FILMS

SCRIPTS

EPISODES IN THE INTERWEAVING TIMELINES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-79/

]]> Fri, 30 Apr 2021 23:51:13 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5849 Listen to understand how manage stakes when you're using flashforwards.

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).

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Garrett, Bjorn, Joakim, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:48 – The Social Network
  • 00:07:36 – The flash forward structure
  • 00:18:46 – Why did we pick this film?
  • 00:29:41 – What are the stakes?
  • 00:42:45 – Time jumps & transitions
  • 00:52:59 – Audience's perception of Mark
  • 01:00:45 – Storyteller cuts
  • 01:09:20 – Sorkin vs Fincher
  • 01:16:07 – Wrap up & key learnings
  • 01:23:15 – Backmatter

FILMS

SCRIPTS

EPISODES IN THE INTERWEAVING TIMELINES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-79/

]]> Screenwriting, Structure, Character, Audience, Interweaving Timelines, Audience Sympathy, Character Arcs, Emotional Event, Flashforwards, Dramatic Irony, Stakes, Character Introductions, Narrative Velocity, Scene Structure Yes DZ-78: Interweaving Timelines 1 - Destroyer 78 78 DZ-78: Interweaving Timelines 1 - Destroyer full aaa029b4-0118-41e9-86ed-1e6e928d93ea https://draft-zero.com/2021/dz-78/ Listen when you're writting multiple timelines and struggling to anchor your reader to one timeline's perspective.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Garrett, Bjorn, Jack, Khrob and Sandra.

———

CHAPTERS

  • 00:00:10 – Intro
  • 00:01:46 – Interweaving Timelines?
  • 00:14:54 – Destroyer & Timelines
  • 00:35:28 – Indicating Timelines
  • 00:39:21 – Ordering the Key Events
  • 00:51:50 – Theme & Timelines
  • 01:06:44 – Questions prompted by the ending
  • 01:20:58 – Key Learnings & Wrap Up
  • 01:37:37 – Backmatter

FILMS

SCRIPTS

LINKS

EPISODES IN THE INTERWEAVING TIMELINES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-78/

]]> Listen when you're writting multiple timelines and struggling to anchor your reader to one timeline's perspective.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Garrett, Bjorn, Jack, Khrob and Sandra.

———

CHAPTERS

  • 00:00:10 – Intro
  • 00:01:46 – Interweaving Timelines?
  • 00:14:54 – Destroyer & Timelines
  • 00:35:28 – Indicating Timelines
  • 00:39:21 – Ordering the Key Events
  • 00:51:50 – Theme & Timelines
  • 01:06:44 – Questions prompted by the ending
  • 01:20:58 – Key Learnings & Wrap Up
  • 01:37:37 – Backmatter

FILMS

SCRIPTS

LINKS

EPISODES IN THE INTERWEAVING TIMELINES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-78/

]]> Thu, 01 Apr 2021 23:48:37 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6158 Listen when you're writting multiple timelines and struggling to anchor your reader to one timeline's perspective.

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.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Garrett, Bjorn, Jack, Khrob and Sandra.

———

CHAPTERS

  • 00:00:10 – Intro
  • 00:01:46 – Interweaving Timelines?
  • 00:14:54 – Destroyer & Timelines
  • 00:35:28 – Indicating Timelines
  • 00:39:21 – Ordering the Key Events
  • 00:51:50 – Theme & Timelines
  • 01:06:44 – Questions prompted by the ending
  • 01:20:58 – Key Learnings & Wrap Up
  • 01:37:37 – Backmatter

FILMS

SCRIPTS

LINKS

EPISODES IN THE INTERWEAVING TIMELINES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-78/

]]> Screenwriting, Structure, Audience, Scenes, Interweaving Timelines, Stakes, Narrative POV, Audience Questions, Dramatic Irony, Character Arcs Yes DZ-77: Backmatter - Prioritising and choosing projects 77 77 DZ-77: Backmatter - Prioritising and choosing projects full 27cea848-a4fb-428f-ac19-dcf5f3295a47 https://draft-zero.com/2021/dz-77/ Listen if you're starting a new co-writing relationship, managing multiple projects, or wondering how to prioritize your next screenplay.

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 (and Ready or Not)

BTW the system using folders is actually from Anthony Johnston.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Bjorn, Garrett, Joakim, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:02:55 – DZ update
  • 00:11:18 – Mooting future topics
  • 00:39:51 – Questions to ask of a new co-writing relationship
  • 00:49:56 – Why is pressure different to stakes and obstacles?
  • 00:55:22 – How to manage multiple projects?
  • 01:07:08 – How to pick your next project?
  • 01:19:54 – The Mandalorian Season 2

FILMS

  • READY OR NOT (2019) — (w) Guy Busick, R Christopher Murphy (d) Tyler Gillett, Matt Bettinelli Olpin

SHOWS

SCRIPTS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-77/

]]> Listen if you're starting a new co-writing relationship, managing multiple projects, or wondering how to prioritize your next screenplay.

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 (and Ready or Not)

BTW the system using folders is actually from Anthony Johnston.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Bjorn, Garrett, Joakim, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:02:55 – DZ update
  • 00:11:18 – Mooting future topics
  • 00:39:51 – Questions to ask of a new co-writing relationship
  • 00:49:56 – Why is pressure different to stakes and obstacles?
  • 00:55:22 – How to manage multiple projects?
  • 01:07:08 – How to pick your next project?
  • 01:19:54 – The Mandalorian Season 2

FILMS

  • READY OR NOT (2019) — (w) Guy Busick, R Christopher Murphy (d) Tyler Gillett, Matt Bettinelli Olpin

SHOWS

SCRIPTS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-77/

]]> Sun, 28 Feb 2021 20:32:06 +1100 Chas Fisher & Stuart Willis Chas Fisher & Stuart Willis 5801 Listen if you're starting a new co-writing relationship, managing multiple projects, or wondering how to prioritize your next screenplay.

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 (and Ready or Not)

BTW the system using folders is actually from Anthony Johnston.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Randy, Bjorn, Garrett, Joakim, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:02:55 – DZ update
  • 00:11:18 – Mooting future topics
  • 00:39:51 – Questions to ask of a new co-writing relationship
  • 00:49:56 – Why is pressure different to stakes and obstacles?
  • 00:55:22 – How to manage multiple projects?
  • 01:07:08 – How to pick your next project?
  • 01:19:54 – The Mandalorian Season 2

FILMS

  • READY OR NOT (2019) — (w) Guy Busick, R Christopher Murphy (d) Tyler Gillett, Matt Bettinelli Olpin

SHOWS

SCRIPTS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-77/

]]> Screenwriting, Process, Character, Genre, Character Arcs, Collaboration, Development, Genre Conventions, Plotting Yes DZ-76: Spotlight on Sofia Coppola 76 76 DZ-76: Spotlight on Sofia Coppola full f1f39b57-c440-4714-8768-7c7d404821c5 https://draft-zero.com/2021/dz-76/ Listen to discover how Sofia Coppola crafts character performance on the page and uses whitespace to create her distinctive cinematic voice

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 whitespace.

Thanks to Chris Walker for editing this episode, and to Carissa Lee for reading the script excerpts.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:02:12 – Sofia Coppola & Writing to Direct
  • 00:13:49 – Lost in Translation
  • 00:54:07 – The Bling Ring
  • 01:18:24 – The Beguiled
  • 01:34:53 – Wrap Up & Key Learnings
  • 01:45:28 – Backmatter: Cultural Portray in Lost in Translation

FILMS

SCRIPTS

LINKS

EPISODES IN THE FILMMAKER SPOTLIGHT SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-76/

]]> Listen to discover how Sofia Coppola crafts character performance on the page and uses whitespace to create her distinctive cinematic voice

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 whitespace.

Thanks to Chris Walker for editing this episode, and to Carissa Lee for reading the script excerpts.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:02:12 – Sofia Coppola & Writing to Direct
  • 00:13:49 – Lost in Translation
  • 00:54:07 – The Bling Ring
  • 01:18:24 – The Beguiled
  • 01:34:53 – Wrap Up & Key Learnings
  • 01:45:28 – Backmatter: Cultural Portray in Lost in Translation

FILMS

SCRIPTS

LINKS

EPISODES IN THE FILMMAKER SPOTLIGHT SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-76/

]]> Mon, 01 Feb 2021 17:55:27 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6864 Listen to discover how Sofia Coppola crafts character performance on the page and uses whitespace to create her distinctive cinematic voice

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 whitespace.

Thanks to Chris Walker for editing this episode, and to Carissa Lee for reading the script excerpts.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:02:12 – Sofia Coppola & Writing to Direct
  • 00:13:49 – Lost in Translation
  • 00:54:07 – The Bling Ring
  • 01:18:24 – The Beguiled
  • 01:34:53 – Wrap Up & Key Learnings
  • 01:45:28 – Backmatter: Cultural Portray in Lost in Translation

FILMS

SCRIPTS

LINKS

EPISODES IN THE FILMMAKER SPOTLIGHT SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2021/dz-76/

]]> Screenwriting, Words, Character, Tone, Whitespace, Writing for Actors, Establishing Tone, Dialogue, Visual Language Yes DZ-75: Fury Road & Visual Storytelling 75 75 DZ-75: Fury Road & Visual Storytelling full e5043f44-7b8f-4089-8131-5b72eb28d1e9 https://draft-zero.com/2020/dz-75/ Listen to hear how visual storytelling can carry an entire narrative with minimal dialogue.

Stu and Chas are joined by filmmaker, podcaster and writer Lia Matthew Brownn 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: https://www.youtube.com/watch?v=f8uYAbEcQeQ&feature=youtu.be

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Fury Road & Visual Storytelling
  • 00:01:07 – Why Fury Road?
  • 00:06:17 – World Building & Given Circumstances
  • 00:23:19 – World Building & Plot Points
  • 00:30:50 – Setups & Payoffs
  • 00:35:03 – Who is the Protagonist?
  • 00:35:08 – Max & Furiosa's Arc
  • 01:00:44 – Stray Observations
  • 01:05:28 – Wrap Up

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-75/

]]> Listen to hear how visual storytelling can carry an entire narrative with minimal dialogue.

Stu and Chas are joined by filmmaker, podcaster and writer Lia Matthew Brownn 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: https://www.youtube.com/watch?v=f8uYAbEcQeQ&feature=youtu.be

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Fury Road & Visual Storytelling
  • 00:01:07 – Why Fury Road?
  • 00:06:17 – World Building & Given Circumstances
  • 00:23:19 – World Building & Plot Points
  • 00:30:50 – Setups & Payoffs
  • 00:35:03 – Who is the Protagonist?
  • 00:35:08 – Max & Furiosa's Arc
  • 01:00:44 – Stray Observations
  • 01:05:28 – Wrap Up

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-75/

]]> Thu, 31 Dec 2020 13:08:47 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 4168 Listen to hear how visual storytelling can carry an entire narrative with minimal dialogue.

Stu and Chas are joined by filmmaker, podcaster and writer Lia Matthew Brownn 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: https://www.youtube.com/watch?v=f8uYAbEcQeQ&feature=youtu.be

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Fury Road & Visual Storytelling
  • 00:01:07 – Why Fury Road?
  • 00:06:17 – World Building & Given Circumstances
  • 00:23:19 – World Building & Plot Points
  • 00:30:50 – Setups & Payoffs
  • 00:35:03 – Who is the Protagonist?
  • 00:35:08 – Max & Furiosa's Arc
  • 01:00:44 – Stray Observations
  • 01:05:28 – Wrap Up

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-75/

]]> Screenwriting, Structure, Genre, Words, Setups & Payoffs, Visual Language, Dialogue, Given Circumstances, Narrative Aesthetics, World Building Yes DZ-74: Midsommar & Folk Horror 74 74 DZ-74: Midsommar & Folk Horror full db77caa0-f521-4df2-95f7-797898c0b2f4 https://draft-zero.com/2020/dz-74/ Listen if you want to understand how folk horror works as a genre and how Ari Aster uses it to explore grief and toxic relationships

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.

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Stuart, Jack, Chris, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Intro: Misommar & Folk Horror
  • 00:00:15 – Why Midsommar?
  • 00:03:54 – What makes horror "folk"?
  • 00:18:20 – The First Ritual
  • 00:32:17 – Transgressions
  • 01:07:32 – Grief & The Ending
  • 01:23:18 – The May Queen
  • 01:40:04 – Wrap Up & An Exercise

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-74/

]]> Listen if you want to understand how folk horror works as a genre and how Ari Aster uses it to explore grief and toxic relationships

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.

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Stuart, Jack, Chris, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Intro: Misommar & Folk Horror
  • 00:00:15 – Why Midsommar?
  • 00:03:54 – What makes horror "folk"?
  • 00:18:20 – The First Ritual
  • 00:32:17 – Transgressions
  • 01:07:32 – Grief & The Ending
  • 01:23:18 – The May Queen
  • 01:40:04 – Wrap Up & An Exercise

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-74/

]]> Tue, 01 Dec 2020 14:56:34 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7303 Listen if you want to understand how folk horror works as a genre and how Ari Aster uses it to explore grief and toxic relationships

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.

Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Stuart, Jack, Chris, Khrob and Sandra.

———

CHAPTERS

  • 00:00:00 – Intro: Misommar & Folk Horror
  • 00:00:15 – Why Midsommar?
  • 00:03:54 – What makes horror "folk"?
  • 00:18:20 – The First Ritual
  • 00:32:17 – Transgressions
  • 01:07:32 – Grief & The Ending
  • 01:23:18 – The May Queen
  • 01:40:04 – Wrap Up & An Exercise

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-74/

]]> Screenwriting, Character, Theme, Structure, Character Wound, Moral Ambiguity, Emotional Truth, Genre Conventions, Tension, Unfilmables, World Building, Narrative Velocity Yes DZ-73: Selling documents - Development Tools 3 73 73 DZ-73: Selling documents - Development Tools 3 full 0230d090-a0e2-4a31-bceb-6270030c11ea https://draft-zero.com/2020/dz-73/ Listen if you're preparing treatments, loglines, or outlines to pitch to producers or agencies.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jack, Chris, Khrob, Sandra and Matteo.

———

EPISODES IN THE DEVELOPMENT TOOLS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-73/

]]> Listen if you're preparing treatments, loglines, or outlines to pitch to producers or agencies.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jack, Chris, Khrob, Sandra and Matteo.

———

EPISODES IN THE DEVELOPMENT TOOLS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-73/

]]> Wed, 21 Oct 2020 21:42:49 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 2350 Listen if you're preparing treatments, loglines, or outlines to pitch to producers or agencies.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jack, Chris, Khrob, Sandra and Matteo.

———

EPISODES IN THE DEVELOPMENT TOOLS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-73/

]]> Screenwriting, Process, Loglines, Treatments, Craft Tools Yes DZ-72: Theme & The Story Synopsis - Development Tools 2 72 72 DZ-72: Theme & The Story Synopsis - Development Tools 2 full df38e7fd-a807-451a-adb0-86b674ae70d2 https://draft-zero.com/2020/dz-72/ Listen tolearn concrete tools for developing theme in the early stages of your writing.

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.

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! http://meeganmay.com

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Theme in Development
  • 00:01:54 – The Story Synopsis
  • 00:04:19 – Plot & Theme / Praxis & Mythos
  • 00:11:12 – Back to the Story Synopsis
  • 00:13:45 – Witness
  • 00:16:09 – Thematic Logline
  • 00:17:00 – Using the Thematic Logline in development
  • 00:22:26 – Witness - 1st Act in Story Synopsis
  • 00:25:46 – Witness - 2nd Act in Story Synopsis
  • 00:28:55 – Characters, Plot & Theme
  • 00:30:27 – Witness - Book drops his facadé
  • 00:33:25 – Witness - 3rd Act in Story Synopsis
  • 00:40:49 – Witness - Complete Story Synopsis
  • 00:41:51 – Using the Story Synopsis in development
  • 00:48:04 – Rewriting using the Story Synopsis
  • 00:54:53 – Wrap Up

FILMS

  • WITNESS (1985) — (w) William Kelley, Earl W Wallace, William Kelley, Earl W Wallace, Pamela Wallace (d) Peter Weir
  • LAWRENCE OF ARABIA (1962) — (w) Michael Wilson, Robert Bolt (d) David Lean
  • MACBETH (1971) — (w) Kenneth Tynan, Roman Polanski (d) Roman Polanski

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE DEVELOPMENT TOOLS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-72/

]]> Listen tolearn concrete tools for developing theme in the early stages of your writing.

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.

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! http://meeganmay.com

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Theme in Development
  • 00:01:54 – The Story Synopsis
  • 00:04:19 – Plot & Theme / Praxis & Mythos
  • 00:11:12 – Back to the Story Synopsis
  • 00:13:45 – Witness
  • 00:16:09 – Thematic Logline
  • 00:17:00 – Using the Thematic Logline in development
  • 00:22:26 – Witness - 1st Act in Story Synopsis
  • 00:25:46 – Witness - 2nd Act in Story Synopsis
  • 00:28:55 – Characters, Plot & Theme
  • 00:30:27 – Witness - Book drops his facadé
  • 00:33:25 – Witness - 3rd Act in Story Synopsis
  • 00:40:49 – Witness - Complete Story Synopsis
  • 00:41:51 – Using the Story Synopsis in development
  • 00:48:04 – Rewriting using the Story Synopsis
  • 00:54:53 – Wrap Up

FILMS

  • WITNESS (1985) — (w) William Kelley, Earl W Wallace, William Kelley, Earl W Wallace, Pamela Wallace (d) Peter Weir
  • LAWRENCE OF ARABIA (1962) — (w) Michael Wilson, Robert Bolt (d) David Lean
  • MACBETH (1971) — (w) Kenneth Tynan, Roman Polanski (d) Roman Polanski

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE DEVELOPMENT TOOLS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-72/

]]> Mon, 28 Sep 2020 17:51:21 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 3625 Listen tolearn concrete tools for developing theme in the early stages of your writing.

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.

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! http://meeganmay.com

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Theme in Development
  • 00:01:54 – The Story Synopsis
  • 00:04:19 – Plot & Theme / Praxis & Mythos
  • 00:11:12 – Back to the Story Synopsis
  • 00:13:45 – Witness
  • 00:16:09 – Thematic Logline
  • 00:17:00 – Using the Thematic Logline in development
  • 00:22:26 – Witness - 1st Act in Story Synopsis
  • 00:25:46 – Witness - 2nd Act in Story Synopsis
  • 00:28:55 – Characters, Plot & Theme
  • 00:30:27 – Witness - Book drops his facadé
  • 00:33:25 – Witness - 3rd Act in Story Synopsis
  • 00:40:49 – Witness - Complete Story Synopsis
  • 00:41:51 – Using the Story Synopsis in development
  • 00:48:04 – Rewriting using the Story Synopsis
  • 00:54:53 – Wrap Up

FILMS

  • WITNESS (1985) — (w) William Kelley, Earl W Wallace, William Kelley, Earl W Wallace, Pamela Wallace (d) Peter Weir
  • LAWRENCE OF ARABIA (1962) — (w) Michael Wilson, Robert Bolt (d) David Lean
  • MACBETH (1971) — (w) Kenneth Tynan, Roman Polanski (d) Roman Polanski

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE DEVELOPMENT TOOLS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-72/

]]> Screenwriting, Process, Theme, Character, Thematic Logline, Character Arcs, Development Yes DZ-71: Treatments & Loglines - Development Tools 1 71 71 DZ-71: Treatments & Loglines - Development Tools 1 full 183022f0-348c-471b-be20-cf366f2bf01e https://draft-zero.com/2020/dz-71/ Listen to understand why a treatment isn't something to dread, but the plot-development tool that saves you months of writing.

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 1 (this part) 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 2 (DZ-71) which delves into documents that develop your story’s theme; and then
  • Part 3 (DZ-73) where we look at how to write short documents differently when your objective isn’t story development but rather selling your idea/project.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jack, Chris, Khrob, Sandra and Matteo.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:13:32 – The writing gym
  • 00:19:32 – Animatics & Script Readings
  • 00:28:08 – Telling your story out loud
  • 00:31:07 – Why Treatments suck
  • 00:36:49 – The Premise
  • 00:44:43 – Exploring WRITTEN short docs
  • 01:04:29 – What about non-hero's journey?
  • 01:14:36 – Using short docs to keep going
  • 01:21:04 – Back to the Premise
  • 01:24:37 – Moving from Premise to Logline
  • 01:25:33 – Stay tuned for Part 2!

EPISODES IN THE DEVELOPMENT TOOLS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-71/

]]> Listen to understand why a treatment isn't something to dread, but the plot-development tool that saves you months of writing.

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 1 (this part) 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 2 (DZ-71) which delves into documents that develop your story’s theme; and then
  • Part 3 (DZ-73) where we look at how to write short documents differently when your objective isn’t story development but rather selling your idea/project.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jack, Chris, Khrob, Sandra and Matteo.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:13:32 – The writing gym
  • 00:19:32 – Animatics & Script Readings
  • 00:28:08 – Telling your story out loud
  • 00:31:07 – Why Treatments suck
  • 00:36:49 – The Premise
  • 00:44:43 – Exploring WRITTEN short docs
  • 01:04:29 – What about non-hero's journey?
  • 01:14:36 – Using short docs to keep going
  • 01:21:04 – Back to the Premise
  • 01:24:37 – Moving from Premise to Logline
  • 01:25:33 – Stay tuned for Part 2!

EPISODES IN THE DEVELOPMENT TOOLS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-71/

]]> Tue, 01 Sep 2020 11:40:07 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5206 Listen to understand why a treatment isn't something to dread, but the plot-development tool that saves you months of writing.

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 1 (this part) 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 2 (DZ-71) which delves into documents that develop your story’s theme; and then
  • Part 3 (DZ-73) where we look at how to write short documents differently when your objective isn’t story development but rather selling your idea/project.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jack, Chris, Khrob, Sandra and Matteo.

———

CHAPTERS

  • 00:00:00 – Intro
  • 00:13:32 – The writing gym
  • 00:19:32 – Animatics & Script Readings
  • 00:28:08 – Telling your story out loud
  • 00:31:07 – Why Treatments suck
  • 00:36:49 – The Premise
  • 00:44:43 – Exploring WRITTEN short docs
  • 01:04:29 – What about non-hero's journey?
  • 01:14:36 – Using short docs to keep going
  • 01:21:04 – Back to the Premise
  • 01:24:37 – Moving from Premise to Logline
  • 01:25:33 – Stay tuned for Part 2!

EPISODES IN THE DEVELOPMENT TOOLS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-71/

]]> Screenwriting, Process, Structure, Character, Plotting, Development, Craft Tools, Treatments, Loglines, Character Motivation, Pitch Decks Yes DZ-70: Joker & Melodrama 70 70 DZ-70: Joker & Melodrama full 34ad89eb-a279-44a4-8adb-90a85d53a044 https://draft-zero.com/2020/dz-70/ Listen if you're writing a character whose trauma becomes the engine of your entire narrative.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Joker & Melodrama
  • 00:01:42 – What is Melodrama?
  • 00:16:47 – Why Joker?
  • 00:23:25 – Is Joker a Melodrama?
  • 00:24:40 – Father & Son
  • 00:28:00 – Penny Fleck's confession
  • 00:41:30 – What is it like to be powerless?
  • 00:54:35 – Bathroom Dancing
  • 01:01:12 – The Joker Born
  • 01:15:04 – Arthur Stands Up
  • 01:28:42 – Listener Questions

FILMS

  • JOKER (2019) — (w) Scott Silver, Todd Phillips (d) Todd Phillips

SCRIPTS

  • Study the script: JOKER (2019) — Scott Silver, Todd Phillips

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-70/

]]> Listen if you're writing a character whose trauma becomes the engine of your entire narrative.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Joker & Melodrama
  • 00:01:42 – What is Melodrama?
  • 00:16:47 – Why Joker?
  • 00:23:25 – Is Joker a Melodrama?
  • 00:24:40 – Father & Son
  • 00:28:00 – Penny Fleck's confession
  • 00:41:30 – What is it like to be powerless?
  • 00:54:35 – Bathroom Dancing
  • 01:01:12 – The Joker Born
  • 01:15:04 – Arthur Stands Up
  • 01:28:42 – Listener Questions

FILMS

  • JOKER (2019) — (w) Scott Silver, Todd Phillips (d) Todd Phillips

SCRIPTS

  • Study the script: JOKER (2019) — Scott Silver, Todd Phillips

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-70/

]]> Thu, 23 Jul 2020 19:42:15 +1000 Chas Fisher & Stu Wilis Chas Fisher & Stu Wilis 5777 Listen if you're writing a character whose trauma becomes the engine of your entire narrative.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Joker & Melodrama
  • 00:01:42 – What is Melodrama?
  • 00:16:47 – Why Joker?
  • 00:23:25 – Is Joker a Melodrama?
  • 00:24:40 – Father & Son
  • 00:28:00 – Penny Fleck's confession
  • 00:41:30 – What is it like to be powerless?
  • 00:54:35 – Bathroom Dancing
  • 01:01:12 – The Joker Born
  • 01:15:04 – Arthur Stands Up
  • 01:28:42 – Listener Questions

FILMS

  • JOKER (2019) — (w) Scott Silver, Todd Phillips (d) Todd Phillips

SCRIPTS

  • Study the script: JOKER (2019) — Scott Silver, Todd Phillips

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-70/

]]> Screenwriting, Genre, Tone, Character, Melodrama, Genre Conventions, Emotional Contract, Character Wound Yes DZ-69: Parasite & Audience Questions 69 69 DZ-69: Parasite & Audience Questions full 06242c6e-e4d9-4ffb-85fe-4e36a24ed87b https://draft-zero.com/2020/dz-69/ Listen to understand how refusing to give your audience moral clarity can deepen their investment in character fates.

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 watch along instead of listen, you can watch on YouTube:

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Frontmatter
  • 00:01:22 – Intro: Parasite
  • 00:10:43 – Cast of Characters
  • 00:12:43 – The Establishing Sequence
  • 00:23:23 – The Kim's Infiltrate
  • 00:42:50 – The Kim's Stay at the Park House
  • 00:47:02 – The Midpoint
  • 00:53:19 – The Flood
  • 00:56:20 – The Party
  • 01:05:29 – What is the Parasite?
  • 01:10:30 – Backmatter & Listener Questioners

FILMS

  • PARASITE (2019) — (w) Bong Joon Ho, Bong Joon Ho, Han Jin Won (d) Bong Joon Ho

SCRIPTS

  • Study the script: PARASITE (2019) — Bong Joon Ho, Bong Joon Ho, Han Jin Won

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-69/

]]> Listen to understand how refusing to give your audience moral clarity can deepen their investment in character fates.

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 watch along instead of listen, you can watch on YouTube:

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Frontmatter
  • 00:01:22 – Intro: Parasite
  • 00:10:43 – Cast of Characters
  • 00:12:43 – The Establishing Sequence
  • 00:23:23 – The Kim's Infiltrate
  • 00:42:50 – The Kim's Stay at the Park House
  • 00:47:02 – The Midpoint
  • 00:53:19 – The Flood
  • 00:56:20 – The Party
  • 01:05:29 – What is the Parasite?
  • 01:10:30 – Backmatter & Listener Questioners

FILMS

  • PARASITE (2019) — (w) Bong Joon Ho, Bong Joon Ho, Han Jin Won (d) Bong Joon Ho

SCRIPTS

  • Study the script: PARASITE (2019) — Bong Joon Ho, Bong Joon Ho, Han Jin Won

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-69/

]]> Wed, 10 Jun 2020 19:07:41 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 4973 Listen to understand how refusing to give your audience moral clarity can deepen their investment in character fates.

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 watch along instead of listen, you can watch on YouTube:

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Frontmatter
  • 00:01:22 – Intro: Parasite
  • 00:10:43 – Cast of Characters
  • 00:12:43 – The Establishing Sequence
  • 00:23:23 – The Kim's Infiltrate
  • 00:42:50 – The Kim's Stay at the Park House
  • 00:47:02 – The Midpoint
  • 00:53:19 – The Flood
  • 00:56:20 – The Party
  • 01:05:29 – What is the Parasite?
  • 01:10:30 – Backmatter & Listener Questioners

FILMS

  • PARASITE (2019) — (w) Bong Joon Ho, Bong Joon Ho, Han Jin Won (d) Bong Joon Ho

SCRIPTS

  • Study the script: PARASITE (2019) — Bong Joon Ho, Bong Joon Ho, Han Jin Won

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-69/

]]> Screenwriting, Structure, Audience, Character, Audience Questions, Dramatic Questions, Plot Questions, Moral Ambiguity Yes DZ-68: Using POV to structure KNIVES OUT 68 68 DZ-68: Using POV to structure KNIVES OUT full 3b448317-b5f3-43d4-8082-4aaa0e6c4d4e https://draft-zero.com/2020/dz-68/ Listen to help you master the gap between what your audience knows and what your characters know.

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). They then answer listener questions on KNIVES OUT and much else besides live on air.

If you want to watch along instead of listen, the video of the episode can be found here:

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jesse, Jack, Chris, Khrob, Sandra, Nick and Matteo.

———

CHAPTERS

  • 00:05:19 – Summary of narrative point of view and audience expectations
  • 00:10:12 – Exploring some of Rian Johnson's word craft
  • 00:14:15 – Micro POV shifts in the interview montage
  • 00:21:16 – How POV shifts turn the film
  • 00:47:22 – When to let your foot off the plot gas
  • 00:59:46 – Backmatter / Listener Questions

FILMS

SCRIPTS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-68/

]]> Listen to help you master the gap between what your audience knows and what your characters know.

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). They then answer listener questions on KNIVES OUT and much else besides live on air.

If you want to watch along instead of listen, the video of the episode can be found here:

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jesse, Jack, Chris, Khrob, Sandra, Nick and Matteo.

———

CHAPTERS

  • 00:05:19 – Summary of narrative point of view and audience expectations
  • 00:10:12 – Exploring some of Rian Johnson's word craft
  • 00:14:15 – Micro POV shifts in the interview montage
  • 00:21:16 – How POV shifts turn the film
  • 00:47:22 – When to let your foot off the plot gas
  • 00:59:46 – Backmatter / Listener Questions

FILMS

SCRIPTS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-68/

]]> Sun, 17 May 2020 23:22:05 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 5562 Listen to help you master the gap between what your audience knows and what your characters know.

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). They then answer listener questions on KNIVES OUT and much else besides live on air.

If you want to watch along instead of listen, the video of the episode can be found here:

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jesse, Jack, Chris, Khrob, Sandra, Nick and Matteo.

———

CHAPTERS

  • 00:05:19 – Summary of narrative point of view and audience expectations
  • 00:10:12 – Exploring some of Rian Johnson's word craft
  • 00:14:15 – Micro POV shifts in the interview montage
  • 00:21:16 – How POV shifts turn the film
  • 00:47:22 – When to let your foot off the plot gas
  • 00:59:46 – Backmatter / Listener Questions

FILMS

SCRIPTS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-68/

]]> Screenwriting, Structure, Scenes, Character, Narrative POV, Sequences, Dramatic Irony, Plot Twists, Secrets and Clues, Plotting, POV Characters Yes DZ-67: Writing Passive Protagonists & Melodrama 67 67 DZ-67: Writing Passive Protagonists & Melodrama full 7a2c9f9a-1512-47ed-8dbb-f266838fd979 https://draft-zero.com/2020/dz-67/ Listen if you want to write powerful stories centred on characters without much agency.

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.

Content Warning : 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:01:25 – Intro: Melodrama & Passive Protoganists
  • 00:01:31 – What is Melodrama?
  • 00:38:06 – The Handmaid's Tale
  • 00:56:44 – Horror and Melodrama
  • 01:00:35 – Marriage Story
  • 01:15:18 – The Handmaid's Tale & Narrative Techniques
  • 01:30:37 – Game of Thrones and Endings
  • 01:33:20 – Melodrama & Endings
  • 01:39:19 – Ladies in Black
  • 02:13:47 – Stranger Things
  • 02:31:52 – The Killing
  • 02:38:23 – The Witcher
  • 02:44:16 – Wrap Up: Passive & Still Characters

FILMS

SHOWS

SCRIPTS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-67/

]]> Listen if you want to write powerful stories centred on characters without much agency.

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.

Content Warning : 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:01:25 – Intro: Melodrama & Passive Protoganists
  • 00:01:31 – What is Melodrama?
  • 00:38:06 – The Handmaid's Tale
  • 00:56:44 – Horror and Melodrama
  • 01:00:35 – Marriage Story
  • 01:15:18 – The Handmaid's Tale & Narrative Techniques
  • 01:30:37 – Game of Thrones and Endings
  • 01:33:20 – Melodrama & Endings
  • 01:39:19 – Ladies in Black
  • 02:13:47 – Stranger Things
  • 02:31:52 – The Killing
  • 02:38:23 – The Witcher
  • 02:44:16 – Wrap Up: Passive & Still Characters

FILMS

SHOWS

SCRIPTS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-67/

]]> Thu, 30 Apr 2020 19:27:55 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 10706 Listen if you want to write powerful stories centred on characters without much agency.

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.

Content Warning : 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:01:25 – Intro: Melodrama & Passive Protoganists
  • 00:01:31 – What is Melodrama?
  • 00:38:06 – The Handmaid's Tale
  • 00:56:44 – Horror and Melodrama
  • 01:00:35 – Marriage Story
  • 01:15:18 – The Handmaid's Tale & Narrative Techniques
  • 01:30:37 – Game of Thrones and Endings
  • 01:33:20 – Melodrama & Endings
  • 01:39:19 – Ladies in Black
  • 02:13:47 – Stranger Things
  • 02:31:52 – The Killing
  • 02:38:23 – The Witcher
  • 02:44:16 – Wrap Up: Passive & Still Characters

FILMS

SHOWS

SCRIPTS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-67/

]]> Screenwriting, Structure, Tone, Character, Melodrama, Character Agency, Character Questions, Genre Conventions, Endings Yes DZ LiVEsolation Annoucement 67 67 DZ LiVEsolation Annoucement full 189421ce-611c-4348-8c64-b33d1a2f5cfd https://share.transistor.fm/s/88f7f816 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 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.

]]> Tue, 07 Apr 2020 20:08:45 +1000 Chas Fisher & Stuart Willis Chas Fisher & Stuart Willis 334 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.

]]> Yes DZ-66: The Mandalorian and The Rise of Skywalker - Audience Knowledge vs Character Motivation 66 66 DZ-66: The Mandalorian and The Rise of Skywalker - Audience Knowledge vs Character Motivation full 58514c9c-218b-491a-9739-4d97670d5f19 https://draft-zero.com/2020/dz-66/ Listen to understand how fan service weaponizes external knowledge against character logic.

By Order 66: 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, Mindhunter, Jojo Rabbit, Snowtown and Zodiac.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:04:28 – Poe's Backstory
  • 00:11:38 – The Mandalorian
  • 00:23:00 – The Rise of Skywalker
  • 00:24:15 – Rey Palpatine
  • 00:38:15 – Palpatine's Plan
  • 00:46:22 – Rey Skywalker
  • 00:52:12 – Ben Solo - Depressive Demon Nightmare Boy
  • 01:07:09 – Palpatine's Return & Watchmen
  • 01:15:44 – Rose Tico
  • 01:19:11 – Fake-Out Deaths
  • 01:25:47 – The Mandalorian (Revisted)
  • 01:30:32 – Wrap Up & Key Learnings

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-66/

]]> Listen to understand how fan service weaponizes external knowledge against character logic.

By Order 66: 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, Mindhunter, Jojo Rabbit, Snowtown and Zodiac.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:04:28 – Poe's Backstory
  • 00:11:38 – The Mandalorian
  • 00:23:00 – The Rise of Skywalker
  • 00:24:15 – Rey Palpatine
  • 00:38:15 – Palpatine's Plan
  • 00:46:22 – Rey Skywalker
  • 00:52:12 – Ben Solo - Depressive Demon Nightmare Boy
  • 01:07:09 – Palpatine's Return & Watchmen
  • 01:15:44 – Rose Tico
  • 01:19:11 – Fake-Out Deaths
  • 01:25:47 – The Mandalorian (Revisted)
  • 01:30:32 – Wrap Up & Key Learnings

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-66/

]]> Tue, 17 Mar 2020 18:02:30 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6311 Listen to understand how fan service weaponizes external knowledge against character logic.

By Order 66: 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, Mindhunter, Jojo Rabbit, Snowtown and Zodiac.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:04:28 – Poe's Backstory
  • 00:11:38 – The Mandalorian
  • 00:23:00 – The Rise of Skywalker
  • 00:24:15 – Rey Palpatine
  • 00:38:15 – Palpatine's Plan
  • 00:46:22 – Rey Skywalker
  • 00:52:12 – Ben Solo - Depressive Demon Nightmare Boy
  • 01:07:09 – Palpatine's Return & Watchmen
  • 01:15:44 – Rose Tico
  • 01:19:11 – Fake-Out Deaths
  • 01:25:47 – The Mandalorian (Revisted)
  • 01:30:32 – Wrap Up & Key Learnings

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-66/

]]> Screenwriting, Character, Scenes, Genre, Character Motivation, Audience Complicity, Dramatic Irony, Character Depth, Moral Complexity, Genre Conventions, Worldview Yes DZ-65: Collaborating with a Director - The Snip 65 65 DZ-65: Collaborating with a Director - The Snip full d73ecb09-cfe1-444f-8d16-2764dd00fa2a https://draft-zero.com/2020/dz-65/ Listen if you are thinking of producing your own short film!

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.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:20 – Introduction: The Snip
  • 00:03:44 – Working With a Director
  • 00:13:16 – How did you go from pitch to script?
  • 00:22:21 – Short films and audience expectations
  • 00:26:34 – What expectations can you have of the end product?
  • 00:39:08 – How do you "direct" performance on the page?
  • 00:46:00 – How do you direct performance from a writer?
  • 00:52:21 – What are some marketing strategies for short films?
  • 00:58:16 – What is your online release strategy?

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-65/

]]> Listen if you are thinking of producing your own short film!

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.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:20 – Introduction: The Snip
  • 00:03:44 – Working With a Director
  • 00:13:16 – How did you go from pitch to script?
  • 00:22:21 – Short films and audience expectations
  • 00:26:34 – What expectations can you have of the end product?
  • 00:39:08 – How do you "direct" performance on the page?
  • 00:46:00 – How do you direct performance from a writer?
  • 00:52:21 – What are some marketing strategies for short films?
  • 00:58:16 – What is your online release strategy?

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-65/

]]> Fri, 14 Feb 2020 17:42:16 +1100 Chas Fisher & Stuart Willis Chas Fisher & Stuart Willis 3790 Listen if you are thinking of producing your own short film!

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.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:20 – Introduction: The Snip
  • 00:03:44 – Working With a Director
  • 00:13:16 – How did you go from pitch to script?
  • 00:22:21 – Short films and audience expectations
  • 00:26:34 – What expectations can you have of the end product?
  • 00:39:08 – How do you "direct" performance on the page?
  • 00:46:00 – How do you direct performance from a writer?
  • 00:52:21 – What are some marketing strategies for short films?
  • 00:58:16 – What is your online release strategy?

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-65/

]]> Screenwriting, Process, Character, Genre, Collaboration, Writing for Actors, Character Motivation, Pitch Decks, Career, Genre Conventions Yes DZ-64: Backmatter - Controlling your Work, Treatments, and Writing Styles 64 64 DZ-64: Backmatter - Controlling your Work, Treatments, and Writing Styles full 3360dade-59f6-4397-a3ac-4291cbe94181 https://draft-zero.com/2020/dz-64/ Listen to understand what you can control in your career--and what you absolutely cannot.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:05:27 – What is in your control?
  • 00:28:58 – Choosing what to develop
  • 00:33:24 – Using the Black List site
  • 00:59:47 – Treatments for development vs for pitching
  • 01:23:23 – Writing on spec vs work for hire
  • 01:37:37 – Backmatter to backmatter

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-64/

]]> Listen to understand what you can control in your career--and what you absolutely cannot.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:05:27 – What is in your control?
  • 00:28:58 – Choosing what to develop
  • 00:33:24 – Using the Black List site
  • 00:59:47 – Treatments for development vs for pitching
  • 01:23:23 – Writing on spec vs work for hire
  • 01:37:37 – Backmatter to backmatter

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-64/

]]> Thu, 30 Jan 2020 21:45:31 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6149 Listen to understand what you can control in your career--and what you absolutely cannot.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:05:27 – What is in your control?
  • 00:28:58 – Choosing what to develop
  • 00:33:24 – Using the Black List site
  • 00:59:47 – Treatments for development vs for pitching
  • 01:23:23 – Writing on spec vs work for hire
  • 01:37:37 – Backmatter to backmatter

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2020/dz-64/

]]> Screenwriting, Process, Character, Career, Development, Pitching, Treatments, Craft Tools, Writing for Actors Yes DZ-63: Tools for Better Dialogue 2 - Hook and Eye 63 63 DZ-63: Tools for Better Dialogue 2 - Hook and Eye full 3a4aabe3-fcef-4441-8582-31f9c2c21cf5 https://draft-zero.com/2019/dz-63/ Listen when you're rewriting dialogue and want to create connection between characters.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:06 – Intro: Dialogue (Part 2) - Hook and Eye
  • 00:05:52 – Status and Gender
  • 00:15:26 – Fleabag (S2E05)
  • 00:47:41 – Juno
  • 01:20:20 – Deadwood (Pilot)
  • 01:40:55 – More Dialogue Tips & Technique

FILMS

SHOWS

SCRIPTS

LINKS

EPISODES IN THE BETTER DIALOGUE SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-63/

]]> Listen when you're rewriting dialogue and want to create connection between characters.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:06 – Intro: Dialogue (Part 2) - Hook and Eye
  • 00:05:52 – Status and Gender
  • 00:15:26 – Fleabag (S2E05)
  • 00:47:41 – Juno
  • 01:20:20 – Deadwood (Pilot)
  • 01:40:55 – More Dialogue Tips & Technique

FILMS

SHOWS

SCRIPTS

LINKS

EPISODES IN THE BETTER DIALOGUE SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-63/

]]> Tue, 31 Dec 2019 16:55:12 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7105 Listen when you're rewriting dialogue and want to create connection between characters.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:06 – Intro: Dialogue (Part 2) - Hook and Eye
  • 00:05:52 – Status and Gender
  • 00:15:26 – Fleabag (S2E05)
  • 00:47:41 – Juno
  • 01:20:20 – Deadwood (Pilot)
  • 01:40:55 – More Dialogue Tips & Technique

FILMS

SHOWS

SCRIPTS

LINKS

EPISODES IN THE BETTER DIALOGUE SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-63/

]]> Screenwriting, Process, Scenes, Character, Dialogue, Scene Structure, Craft Tools, Rewriting, Status, Subtext, Audience Sympathy, Relationships, Character Authenticity Yes DZ-62: Unfilmables 3 - As Ifs & Emotional Context 62 62 DZ-62: Unfilmables 3 - As Ifs & Emotional Context full 4f6b5b0c-0e09-4e78-802d-96d8bb62ce9a https://draft-zero.com/2019/dz-62/ Listen if you want to learn how to write tone and emotional context on the page.

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 without resorting 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jesse, Daniel, Jack, Chris, Khrob, Sandra, Nick, Matteo and Carrie.

———

FILMS

LINKS

EPISODES IN THE UNFILMABLES SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-62/

]]> Listen if you want to learn how to write tone and emotional context on the page.

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 without resorting 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jesse, Daniel, Jack, Chris, Khrob, Sandra, Nick, Matteo and Carrie.

———

FILMS

LINKS

EPISODES IN THE UNFILMABLES SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-62/

]]> Mon, 02 Dec 2019 22:13:19 +1100 Chas Fisher & Stuart Willis Chas Fisher & Stuart Willis 8234 Listen if you want to learn how to write tone and emotional context on the page.

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 without resorting 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Theis, Jesse, Daniel, Jack, Chris, Khrob, Sandra, Nick, Matteo and Carrie.

———

FILMS

LINKS

EPISODES IN THE UNFILMABLES SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-62/

]]> Screenwriting, Words, Process, Character, Unfilmables, Rewriting, Writing for Actors, Visual Language, Big Print Yes DZ-61: Unfilmables 2 - Moments of Awe 61 61 DZ-61: Unfilmables 2 - Moments of Awe full 3a46646eb8704ec3bf9b5a12f6c88932 https://draft-zero.com/2019/dz-61/ Listen if you're writing a moment that feels too big for the page (but you need it on the page).

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 INVITIATION, 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.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Unfilmables & Unscriptables (Part 2)
  • 00:00:31 – Intro: Unfilmables Revisited - Moments of Awe
  • 00:11:57 – Julio - When Unfilmables Don't Work
  • 00:22:12 – You Were Never Really Here
  • 00:26:05 – You Were Never Really Here [script reading]
  • 00:29:00 – You Were Never Really Here [analysis continued]
  • 00:39:29 – Searching for Bobby Fischer
  • 00:47:09 – Searching for Bobby Fischer [script reading]
  • 00:48:15 – Searching for Bobby Fischer [analysis continued]
  • 01:04:10 – The Invitation
  • 01:12:57 – The Invitiation [script reading]
  • 01:15:52 – The Invitation [analysis continued]
  • 01:29:23 – Moonlight
  • 01:49:38 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE UNFILMABLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-61/

]]> Listen if you're writing a moment that feels too big for the page (but you need it on the page).

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 INVITIATION, 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.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Unfilmables & Unscriptables (Part 2)
  • 00:00:31 – Intro: Unfilmables Revisited - Moments of Awe
  • 00:11:57 – Julio - When Unfilmables Don't Work
  • 00:22:12 – You Were Never Really Here
  • 00:26:05 – You Were Never Really Here [script reading]
  • 00:29:00 – You Were Never Really Here [analysis continued]
  • 00:39:29 – Searching for Bobby Fischer
  • 00:47:09 – Searching for Bobby Fischer [script reading]
  • 00:48:15 – Searching for Bobby Fischer [analysis continued]
  • 01:04:10 – The Invitation
  • 01:12:57 – The Invitiation [script reading]
  • 01:15:52 – The Invitation [analysis continued]
  • 01:29:23 – Moonlight
  • 01:49:38 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE UNFILMABLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-61/

]]> Wed, 25 Sep 2019 18:16:29 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7532 Listen if you're writing a moment that feels too big for the page (but you need it on the page).

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 INVITIATION, 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.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Unfilmables & Unscriptables (Part 2)
  • 00:00:31 – Intro: Unfilmables Revisited - Moments of Awe
  • 00:11:57 – Julio - When Unfilmables Don't Work
  • 00:22:12 – You Were Never Really Here
  • 00:26:05 – You Were Never Really Here [script reading]
  • 00:29:00 – You Were Never Really Here [analysis continued]
  • 00:39:29 – Searching for Bobby Fischer
  • 00:47:09 – Searching for Bobby Fischer [script reading]
  • 00:48:15 – Searching for Bobby Fischer [analysis continued]
  • 01:04:10 – The Invitation
  • 01:12:57 – The Invitiation [script reading]
  • 01:15:52 – The Invitation [analysis continued]
  • 01:29:23 – Moonlight
  • 01:49:38 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE UNFILMABLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-61/

]]> Screenwriting, Words, Genre, Theme, Unfilmables, Visual Language, Narrative Aesthetics, Writing for Actors Yes DZ-60: Unfilmables 1 - Engaging imagination 60 60 DZ-60: Unfilmables 1 - Engaging imagination full 0e1b4443e5134c8f925ba756445439e9 https://draft-zero.com/2019/dz-60/ Listen to discover how *produced* screenplays use unfilmables to shape tone, performance, and humour on the page.

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.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Devin, Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie.

———

CHAPTERS

  • 00:00:00 – Intro: Unfilmables & Unscriptables
  • 00:11:42 – What are unfilmables?
  • 00:23:10 – Lethal Weapon
  • 00:32:40 – Your Bridesmaid is a Bitch
  • 00:40:15 – Hereditary
  • 00:53:02 – Battlestar Galactica
  • 00:55:15 – Killing Eve
  • 00:59:27 – Killing Them Softly
  • 01:04:32 – Hereditary (again)
  • 01:12:30 – Sharp Objects
  • 01:22:18 – Spartan
  • 01:30:42 – The Girl On the Train
  • 01:35:37 – Fleabag
  • 01:43:20 – The Nice Guys
  • 01:47:05 – Drive
  • 01:54:09 – Michael Clayton
  • 02:01:21 – The Tree of Life
  • 02:07:59 – Three Billboards Outside Ebbing, Missouri
  • 02:11:52 – Key Learnings & Wrap Up

FILMS

SHOWS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE UNFILMABLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-60/

]]> Listen to discover how *produced* screenplays use unfilmables to shape tone, performance, and humour on the page.

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.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Devin, Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie.

———

CHAPTERS

  • 00:00:00 – Intro: Unfilmables & Unscriptables
  • 00:11:42 – What are unfilmables?
  • 00:23:10 – Lethal Weapon
  • 00:32:40 – Your Bridesmaid is a Bitch
  • 00:40:15 – Hereditary
  • 00:53:02 – Battlestar Galactica
  • 00:55:15 – Killing Eve
  • 00:59:27 – Killing Them Softly
  • 01:04:32 – Hereditary (again)
  • 01:12:30 – Sharp Objects
  • 01:22:18 – Spartan
  • 01:30:42 – The Girl On the Train
  • 01:35:37 – Fleabag
  • 01:43:20 – The Nice Guys
  • 01:47:05 – Drive
  • 01:54:09 – Michael Clayton
  • 02:01:21 – The Tree of Life
  • 02:07:59 – Three Billboards Outside Ebbing, Missouri
  • 02:11:52 – Key Learnings & Wrap Up

FILMS

SHOWS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE UNFILMABLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-60/

]]> Wed, 07 Aug 2019 12:20:02 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 8717 Listen to discover how *produced* screenplays use unfilmables to shape tone, performance, and humour on the page.

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.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Devin, Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie.

———

CHAPTERS

  • 00:00:00 – Intro: Unfilmables & Unscriptables
  • 00:11:42 – What are unfilmables?
  • 00:23:10 – Lethal Weapon
  • 00:32:40 – Your Bridesmaid is a Bitch
  • 00:40:15 – Hereditary
  • 00:53:02 – Battlestar Galactica
  • 00:55:15 – Killing Eve
  • 00:59:27 – Killing Them Softly
  • 01:04:32 – Hereditary (again)
  • 01:12:30 – Sharp Objects
  • 01:22:18 – Spartan
  • 01:30:42 – The Girl On the Train
  • 01:35:37 – Fleabag
  • 01:43:20 – The Nice Guys
  • 01:47:05 – Drive
  • 01:54:09 – Michael Clayton
  • 02:01:21 – The Tree of Life
  • 02:07:59 – Three Billboards Outside Ebbing, Missouri
  • 02:11:52 – Key Learnings & Wrap Up

FILMS

SHOWS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE UNFILMABLES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-60/

]]> Screenwriting, Words, Tone, Process, Unfilmables, Craft Tools, Establishing Tone, Narrative Aesthetics, Big Print, Writing for Actors, Comedy, Visual Language Yes DZ-59: Avengers Endgame - Ending Character Journeys 59 59 DZ-59: Avengers Endgame - Ending Character Journeys full 2399b02e58d540e8b32742e383141360 https://draft-zero.com/2019/dz-59/ Listen if you're interested in how to dramatise character change, position your audience in relation to characters, and explore the difference between empathy and sympathy in screenwriting

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie.

———

CHAPTERS

  • 00:00:00 – Intro: Chas' Letterboxd Review
  • 00:04:28 – How Does The Snap Affect Cap & Tony?
  • 00:08:31 – How Is Tony's Journey Dramatised?
  • 00:26:57 – Workshopping A Moment When Tony Risks It All
  • 00:35:14 – Proving Tony Has Changed Since Iron Man
  • 00:48:03 – How Is Steve's Journey Dramatised?
  • 00:54:50 – What If Cap Chose To Stay In The Past?
  • 01:02:44 – Key Learnings & Wrap Up

FILMS

SCRIPTS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-59/

]]> Listen if you're interested in how to dramatise character change, position your audience in relation to characters, and explore the difference between empathy and sympathy in screenwriting

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie.

———

CHAPTERS

  • 00:00:00 – Intro: Chas' Letterboxd Review
  • 00:04:28 – How Does The Snap Affect Cap & Tony?
  • 00:08:31 – How Is Tony's Journey Dramatised?
  • 00:26:57 – Workshopping A Moment When Tony Risks It All
  • 00:35:14 – Proving Tony Has Changed Since Iron Man
  • 00:48:03 – How Is Steve's Journey Dramatised?
  • 00:54:50 – What If Cap Chose To Stay In The Past?
  • 01:02:44 – Key Learnings & Wrap Up

FILMS

SCRIPTS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-59/

]]> Mon, 01 Jul 2019 15:07:23 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 4473 Listen if you're interested in how to dramatise character change, position your audience in relation to characters, and explore the difference between empathy and sympathy in screenwriting

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie.

———

CHAPTERS

  • 00:00:00 – Intro: Chas' Letterboxd Review
  • 00:04:28 – How Does The Snap Affect Cap & Tony?
  • 00:08:31 – How Is Tony's Journey Dramatised?
  • 00:26:57 – Workshopping A Moment When Tony Risks It All
  • 00:35:14 – Proving Tony Has Changed Since Iron Man
  • 00:48:03 – How Is Steve's Journey Dramatised?
  • 00:54:50 – What If Cap Chose To Stay In The Past?
  • 01:02:44 – Key Learnings & Wrap Up

FILMS

SCRIPTS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-59/

]]> Screenwriting, Character, Audience, Genre, Character Arcs, Audience Sympathy, Emotional Contract, Audience Complicity, Anagnorisis, Climax, Setups & Payoffs Yes DZ-58: Game of Thrones - Character Exposition 58 58 DZ-58: Game of Thrones - Character Exposition full 85ce30cc0681419e88646fad91a2c341 https://draft-zero.com/2019/dz-58/ Listen to understand why what a character *doesn't* say reveals more than exposition ever could.

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 own character: How it feels to be them; how they have, or have not, changed.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:10 – Game of Thrones & Exposition
  • 00:12:54 – Jamie & Cersei in the Map Room
  • 00:28:23 – Arya & Hot Pie at the Cossroads
  • 00:39:10 – Jon & The Brotherhood at Eastwatch
  • 00:47:54 – Jon & Tyrion at Dragonstone
  • 01:01:06 – Jon, Davos & Missandei at Dragonstone
  • 01:07:05 – Arya & Sansa in the Crypt
  • 01:18:46 – Bran, Arya & Sansa in the weirwood
  • 01:27:14 – Arya & Jon in the weirwood
  • 01:33:06 – Bran & Meera at Winterfell
  • 01:37:14 – Wrap Up & Learnings
  • 01:40:13 – Education & Thwarting

SHOWS

LINKS

EPISODES IN THE EXPOSITION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-58/

]]> Listen to understand why what a character *doesn't* say reveals more than exposition ever could.

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 own character: How it feels to be them; how they have, or have not, changed.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:10 – Game of Thrones & Exposition
  • 00:12:54 – Jamie & Cersei in the Map Room
  • 00:28:23 – Arya & Hot Pie at the Cossroads
  • 00:39:10 – Jon & The Brotherhood at Eastwatch
  • 00:47:54 – Jon & Tyrion at Dragonstone
  • 01:01:06 – Jon, Davos & Missandei at Dragonstone
  • 01:07:05 – Arya & Sansa in the Crypt
  • 01:18:46 – Bran, Arya & Sansa in the weirwood
  • 01:27:14 – Arya & Jon in the weirwood
  • 01:33:06 – Bran & Meera at Winterfell
  • 01:37:14 – Wrap Up & Learnings
  • 01:40:13 – Education & Thwarting

SHOWS

LINKS

EPISODES IN THE EXPOSITION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-58/

]]> Thu, 16 May 2019 13:55:42 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6479 Listen to understand why what a character *doesn't* say reveals more than exposition ever could.

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 own character: How it feels to be them; how they have, or have not, changed.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:01:10 – Game of Thrones & Exposition
  • 00:12:54 – Jamie & Cersei in the Map Room
  • 00:28:23 – Arya & Hot Pie at the Cossroads
  • 00:39:10 – Jon & The Brotherhood at Eastwatch
  • 00:47:54 – Jon & Tyrion at Dragonstone
  • 01:01:06 – Jon, Davos & Missandei at Dragonstone
  • 01:07:05 – Arya & Sansa in the Crypt
  • 01:18:46 – Bran, Arya & Sansa in the weirwood
  • 01:27:14 – Arya & Jon in the weirwood
  • 01:33:06 – Bran & Meera at Winterfell
  • 01:37:14 – Wrap Up & Learnings
  • 01:40:13 – Education & Thwarting

SHOWS

LINKS

EPISODES IN THE EXPOSITION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-58/

]]> Screenwriting, Character, Words, Scenes, Character Authenticity, Subtext, Exposition, Dialogue, Dramatic Irony, Character Questions, Character Introductions Yes DZ-57: Backmatter - Aesthetics and Forgiveness in Writing 57 57 DZ-57: Backmatter - Aesthetics and Forgiveness in Writing full e0d83a3517304feca9916439b52a6a0b https://draft-zero.com/2019/dz-57/ Listen if you need to forgive yourself (for not writing)

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Five Years of Draft Zero
  • 00:07:30 – How Has 5 Years of DZ Changed Our Writing?
  • 00:16:38 – How We Used to Approach Writing vs Now
  • 00:27:30 – Stu on Index Cards
  • 00:32:01 – Beginner's Guide to Draft Zero
  • 00:35:25 – Purpose of Draft Zero
  • 00:42:26 – Questions You're Asking the Audience
  • 00:51:11 – This Is Water
  • 00:56:34 – Having Your Work Produced
  • 01:11:25 – Forgiving Yourself For Not Writing

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-57/

]]> Listen if you need to forgive yourself (for not writing)

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Five Years of Draft Zero
  • 00:07:30 – How Has 5 Years of DZ Changed Our Writing?
  • 00:16:38 – How We Used to Approach Writing vs Now
  • 00:27:30 – Stu on Index Cards
  • 00:32:01 – Beginner's Guide to Draft Zero
  • 00:35:25 – Purpose of Draft Zero
  • 00:42:26 – Questions You're Asking the Audience
  • 00:51:11 – This Is Water
  • 00:56:34 – Having Your Work Produced
  • 01:11:25 – Forgiving Yourself For Not Writing

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-57/

]]> Wed, 01 May 2019 22:54:02 +1000 Stu Willis & Chas Fisher Stu Willis & Chas Fisher 5341 Listen if you need to forgive yourself (for not writing)

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Five Years of Draft Zero
  • 00:07:30 – How Has 5 Years of DZ Changed Our Writing?
  • 00:16:38 – How We Used to Approach Writing vs Now
  • 00:27:30 – Stu on Index Cards
  • 00:32:01 – Beginner's Guide to Draft Zero
  • 00:35:25 – Purpose of Draft Zero
  • 00:42:26 – Questions You're Asking the Audience
  • 00:51:11 – This Is Water
  • 00:56:34 – Having Your Work Produced
  • 01:11:25 – Forgiving Yourself For Not Writing

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-57/

]]> Screenwriting, Process, Theme, Career, Narrative Aesthetics, Emotional Truth, Craft Tools, Collaboration, Rewriting Yes DZ-56: Character Motivations (Part 2) 56 56 DZ-56: Character Motivations (Part 2) full 405f0b98513e4270b3a42191d37fcad2 https://draft-zero.com/2019/dz-56/ Listen if you want to understand how character decisions can break a screenplay and how to fix them

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:10:41 – AVENGERS: INFINITY WAR
  • 00:16:58 – SOLO: A STAR WARS STORY
  • 00:34:04 – DIE HARD
  • 00:38:04 – PREDATOR 2
  • 00:53:30 – SICARIO 2: DÍA DEL SOLDADO
  • 01:35:15 – PROMETHEUS
  • 02:04:06 – WRAP UP & KEY LEARNINGS

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE CHARACTER MOTIVATION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-56/

]]> Listen if you want to understand how character decisions can break a screenplay and how to fix them

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:10:41 – AVENGERS: INFINITY WAR
  • 00:16:58 – SOLO: A STAR WARS STORY
  • 00:34:04 – DIE HARD
  • 00:38:04 – PREDATOR 2
  • 00:53:30 – SICARIO 2: DÍA DEL SOLDADO
  • 01:35:15 – PROMETHEUS
  • 02:04:06 – WRAP UP & KEY LEARNINGS

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE CHARACTER MOTIVATION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-56/

]]> Sat, 30 Mar 2019 18:26:53 +1100 Chas Fisher & Stuart Willis Chas Fisher & Stuart Willis 8172 Listen if you want to understand how character decisions can break a screenplay and how to fix them

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:10:41 – AVENGERS: INFINITY WAR
  • 00:16:58 – SOLO: A STAR WARS STORY
  • 00:34:04 – DIE HARD
  • 00:38:04 – PREDATOR 2
  • 00:53:30 – SICARIO 2: DÍA DEL SOLDADO
  • 01:35:15 – PROMETHEUS
  • 02:04:06 – WRAP UP & KEY LEARNINGS

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE CHARACTER MOTIVATION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-56/

]]> Screenwriting, Character, Process, Audience, Character Motivation, Character Agency, Craft Tools, Audience Sympathy, Internal Journey, Subtext, Scene Structure Yes DZ-55: Character Motivations 1 55 55 DZ-55: Character Motivations 1 full 03bb07ae4fbf4ce9ad4056704e8ea871 https://draft-zero.com/2019/dz-55/ Listen if you're writing a scene where your character does something 'out of character' and your readers to buy it.

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.

This episode started out as an exploration of bad character decisions; ones which are universally derided by audiences. And, sadly for us filmmakers, it is often a key structural decision being made by a character that audiences just don’t buy. However, as Stu and Chas did their homework, this episode swiftly became an exploration of character motivations (because that is really what you have to get across in order for your audience to believe a decision) and - in true DZ style - good examples of character motivations.

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 some bad examples of character motivation.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:05:00 – Craft Tools and Subjectivity [Manchester by the Sea]
  • 00:08:43 – Decision versus Motivation
  • 00:09:49 – Character Patterning [The Commuter]
  • 00:13:08 – Character Patterning [Game of Thrones]
  • 00:15:04 – Early Character Decisions [Notting Hill]
  • 00:18:54 – Early Character Decision [To All The Boys I've Loved Before]
  • 00:23:28 – Late Character Decision [Infinity War]
  • 00:37:28 – Debating the Decision [Game Night]
  • 00:52:45 – Debating the Decision [The Lobster]
  • 00:54:54 – Internally Debate the Decision [Arrival]
  • 01:00:02 – Withholding the Decision [In the Bedroom]
  • 01:06:27 – Withholding the Decision [Beirut]
  • 01:10:40 – Motivation through Backstory [Breaking Bad]
  • 01:19:47 – Motivation through Backstory [Notting Hill]
  • 01:22:15 – Motivation through Backstory [Game of Thrones]
  • 01:25:03 – World Building [The Matrix]
  • 01:29:22 – Removing Anchors [Star Wars: a New Hope]
  • 01:38:09 – Overcoming Character Wounds [Marvel First Acts]
  • 01:41:43 – Goal, Stakes, Urgency [Blockers]
  • 02:09:14 – Wrap Up, Learnings and #Backmatter
  • 02:15:19 – Backmatter

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE CHARACTER MOTIVATION SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-55/

]]> Listen if you're writing a scene where your character does something 'out of character' and your readers to buy it.

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.

This episode started out as an exploration of bad character decisions; ones which are universally derided by audiences. And, sadly for us filmmakers, it is often a key structural decision being made by a character that audiences just don’t buy. However, as Stu and Chas did their homework, this episode swiftly became an exploration of character motivations (because that is really what you have to get across in order for your audience to believe a decision) and - in true DZ style - good examples of character motivations.

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 some bad examples of character motivation.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:05:00 – Craft Tools and Subjectivity [Manchester by the Sea]
  • 00:08:43 – Decision versus Motivation
  • 00:09:49 – Character Patterning [The Commuter]
  • 00:13:08 – Character Patterning [Game of Thrones]
  • 00:15:04 – Early Character Decisions [Notting Hill]
  • 00:18:54 – Early Character Decision [To All The Boys I've Loved Before]
  • 00:23:28 – Late Character Decision [Infinity War]
  • 00:37:28 – Debating the Decision [Game Night]
  • 00:52:45 – Debating the Decision [The Lobster]
  • 00:54:54 – Internally Debate the Decision [Arrival]
  • 01:00:02 – Withholding the Decision [In the Bedroom]
  • 01:06:27 – Withholding the Decision [Beirut]
  • 01:10:40 – Motivation through Backstory [Breaking Bad]
  • 01:19:47 – Motivation through Backstory [Notting Hill]
  • 01:22:15 – Motivation through Backstory [Game of Thrones]
  • 01:25:03 – World Building [The Matrix]
  • 01:29:22 – Removing Anchors [Star Wars: a New Hope]
  • 01:38:09 – Overcoming Character Wounds [Marvel First Acts]
  • 01:41:43 – Goal, Stakes, Urgency [Blockers]
  • 02:09:14 – Wrap Up, Learnings and #Backmatter
  • 02:15:19 – Backmatter

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE CHARACTER MOTIVATION SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-55/

]]> Tue, 15 Jan 2019 21:59:18 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 8309 Listen if you're writing a scene where your character does something 'out of character' and your readers to buy it.

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.

This episode started out as an exploration of bad character decisions; ones which are universally derided by audiences. And, sadly for us filmmakers, it is often a key structural decision being made by a character that audiences just don’t buy. However, as Stu and Chas did their homework, this episode swiftly became an exploration of character motivations (because that is really what you have to get across in order for your audience to believe a decision) and - in true DZ style - good examples of character motivations.

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 some bad examples of character motivation.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Introduction
  • 00:05:00 – Craft Tools and Subjectivity [Manchester by the Sea]
  • 00:08:43 – Decision versus Motivation
  • 00:09:49 – Character Patterning [The Commuter]
  • 00:13:08 – Character Patterning [Game of Thrones]
  • 00:15:04 – Early Character Decisions [Notting Hill]
  • 00:18:54 – Early Character Decision [To All The Boys I've Loved Before]
  • 00:23:28 – Late Character Decision [Infinity War]
  • 00:37:28 – Debating the Decision [Game Night]
  • 00:52:45 – Debating the Decision [The Lobster]
  • 00:54:54 – Internally Debate the Decision [Arrival]
  • 01:00:02 – Withholding the Decision [In the Bedroom]
  • 01:06:27 – Withholding the Decision [Beirut]
  • 01:10:40 – Motivation through Backstory [Breaking Bad]
  • 01:19:47 – Motivation through Backstory [Notting Hill]
  • 01:22:15 – Motivation through Backstory [Game of Thrones]
  • 01:25:03 – World Building [The Matrix]
  • 01:29:22 – Removing Anchors [Star Wars: a New Hope]
  • 01:38:09 – Overcoming Character Wounds [Marvel First Acts]
  • 01:41:43 – Goal, Stakes, Urgency [Blockers]
  • 02:09:14 – Wrap Up, Learnings and #Backmatter
  • 02:15:19 – Backmatter

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE CHARACTER MOTIVATION SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2019/dz-55/

]]> Screenwriting, Character, Structure, Character Motivation, Character Authenticity, Choices & Decisions, Stakes, Character Agency Yes DZ-54: Thematic Sequences 54 54 DZ-54: Thematic Sequences full 73e21b25a3094334b5522d8a3797b80f https://draft-zero.com/2018/dz-54/ Listen if you want to make theme your primary driver (for a sequence)

Chas and Stu are joined, once again, by the inestimable Stephen Cleary. This episode is a spiritual sequel to our last episode with Stephen, the one 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:01:51 – Introduction: Thematic Sequences
  • 00:10:21 – What Is A Thematic Sequence?
  • 00:13:33 – Love Actually
  • 00:42:29 – The Exterminating Angel
  • 02:42:41 – Wrap Up And Key Learnings

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE SEQUENCES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-54/

]]> Listen if you want to make theme your primary driver (for a sequence)

Chas and Stu are joined, once again, by the inestimable Stephen Cleary. This episode is a spiritual sequel to our last episode with Stephen, the one 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:01:51 – Introduction: Thematic Sequences
  • 00:10:21 – What Is A Thematic Sequence?
  • 00:13:33 – Love Actually
  • 00:42:29 – The Exterminating Angel
  • 02:42:41 – Wrap Up And Key Learnings

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE SEQUENCES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-54/

]]> Wed, 10 Oct 2018 14:01:06 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 10195 Listen if you want to make theme your primary driver (for a sequence)

Chas and Stu are joined, once again, by the inestimable Stephen Cleary. This episode is a spiritual sequel to our last episode with Stephen, the one 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:01:51 – Introduction: Thematic Sequences
  • 00:10:21 – What Is A Thematic Sequence?
  • 00:13:33 – Love Actually
  • 00:42:29 – The Exterminating Angel
  • 02:42:41 – Wrap Up And Key Learnings

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE SEQUENCES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-54/

]]> Screenwriting, Theme, Structure, Scenes, Thematic Sequences, Sequences, Thematic Questions, Character Questions, Plot Questions, Emotional Truth, Dramatic Irony Yes DZ-53: Antagonists! 5 - vs Audience 53 53 DZ-53: Antagonists! 5 - vs Audience full a85e2a576e4c4613ad2eaeae41d8e39d https://draft-zero.com/2018/dz-53/ Listen to turn narrative uncertainty itself into the engine that keeps viewers compelled.

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:03:22 – Introduction: Vs Audience
  • 00:20:31 – Ocean's Eight
  • 00:46:53 – The Second
  • 01:14:06 – F For Fake
  • 01:31:46 – Sans Soleil
  • 01:48:55 – Forrest Gump
  • 02:15:12 – Wrap Up And Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-53/

]]> Listen to turn narrative uncertainty itself into the engine that keeps viewers compelled.

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:03:22 – Introduction: Vs Audience
  • 00:20:31 – Ocean's Eight
  • 00:46:53 – The Second
  • 01:14:06 – F For Fake
  • 01:31:46 – Sans Soleil
  • 01:48:55 – Forrest Gump
  • 02:15:12 – Wrap Up And Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-53/

]]> Sun, 26 Aug 2018 13:12:20 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 8769 Listen to turn narrative uncertainty itself into the engine that keeps viewers compelled.

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:03:22 – Introduction: Vs Audience
  • 00:20:31 – Ocean's Eight
  • 00:46:53 – The Second
  • 01:14:06 – F For Fake
  • 01:31:46 – Sans Soleil
  • 01:48:55 – Forrest Gump
  • 02:15:12 – Wrap Up And Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-53/

]]> Screenwriting, Character, Structure, Words, Antagonism, Audience Complicity, Fourth Wall, Unreliable Narrator, Emotional Contract, Audience Questions Yes DZ-52: Antagonists! 4 - vs Systems 52 52 DZ-52: Antagonists! 4 - vs Systems full ebae97db1add47bb94b492ae2d49d8f9 https://draft-zero.com/2018/dz-52/ Listen if you want to use how societal, governmental, or environmental forces as villains.

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, like, all the 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:06:50 – Minority Report
  • 00:36:49 – Dawn Of The Planet Of The Apes
  • 00:53:31 – Mudbound
  • 01:30:43 – The Lobster
  • 02:01:02 – Systems And Genres
  • 02:05:30 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-52/

]]> Listen if you want to use how societal, governmental, or environmental forces as villains.

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, like, all the 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:06:50 – Minority Report
  • 00:36:49 – Dawn Of The Planet Of The Apes
  • 00:53:31 – Mudbound
  • 01:30:43 – The Lobster
  • 02:01:02 – Systems And Genres
  • 02:05:30 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-52/

]]> Thu, 28 Jun 2018 21:11:17 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 8170 Listen if you want to use how societal, governmental, or environmental forces as villains.

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, like, all the 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:06:50 – Minority Report
  • 00:36:49 – Dawn Of The Planet Of The Apes
  • 00:53:31 – Mudbound
  • 01:30:43 – The Lobster
  • 02:01:02 – Systems And Genres
  • 02:05:30 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-52/

]]> Screenwriting, Structure, Character, Theme, Antagonism, Character Arcs, World Building, Genre Conventions, Stakes Yes DZ-51: Antagonists! 3 - vs Nature 51 51 DZ-51: Antagonists! 3 - vs Nature full 6a8802c07f664074bcf0563b7c5b1df5 https://draft-zero.com/2018/dz-51/ Listen to understand why pressure--not obstacles--is what transforms a protagonist when they face an unstoppable force.

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:13:54 – All Is Lost
  • 00:34:13 – The Grey
  • 01:01:05 – Contagion
  • 01:37:14 – Vs Supernatural
  • 01:40:28 – The Vvitch
  • 01:46:36 – Wrap Up And Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-51/

]]> Listen to understand why pressure--not obstacles--is what transforms a protagonist when they face an unstoppable force.

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:13:54 – All Is Lost
  • 00:34:13 – The Grey
  • 01:01:05 – Contagion
  • 01:37:14 – Vs Supernatural
  • 01:40:28 – The Vvitch
  • 01:46:36 – Wrap Up And Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-51/

]]> Thu, 31 May 2018 11:54:41 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6742 Listen to understand why pressure--not obstacles--is what transforms a protagonist when they face an unstoppable force.

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:13:54 – All Is Lost
  • 00:34:13 – The Grey
  • 01:01:05 – Contagion
  • 01:37:14 – Vs Supernatural
  • 01:40:28 – The Vvitch
  • 01:46:36 – Wrap Up And Learnings

FILMS

SCRIPTS

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-51/

]]> Screenwriting, Structure, Character, Theme, Antagonism, Stakes, Character Arcs, Genre Conventions, Narrative Velocity Yes DZ-50: Antagonists! 2 - vs Self 50 50 DZ-50: Antagonists! 2 - vs Self full 2d97306b1b4ca4f4f89ce2fc263ccd14 https://draft-zero.com/2018/dz-50/ Listen if you want to understand how protagonists can serve as their own antagonist and how antagonistic forces shape a character's journey

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:05:15 – Little Miss Sunshine
  • 00:25:10 – Shame
  • 00:53:53 – Monster
  • 01:20:10 – Wrap Up
  • 01:33:40 – Mindhunter

FILMS

SCRIPTS

EPISODES IN THE ANTAGONISTS! SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-50/

]]> Listen if you want to understand how protagonists can serve as their own antagonist and how antagonistic forces shape a character's journey

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:05:15 – Little Miss Sunshine
  • 00:25:10 – Shame
  • 00:53:53 – Monster
  • 01:20:10 – Wrap Up
  • 01:33:40 – Mindhunter

FILMS

SCRIPTS

EPISODES IN THE ANTAGONISTS! SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-50/

]]> Fri, 20 Apr 2018 01:26:06 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 6475 Listen if you want to understand how protagonists can serve as their own antagonist and how antagonistic forces shape a character's journey

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:05:15 – Little Miss Sunshine
  • 00:25:10 – Shame
  • 00:53:53 – Monster
  • 01:20:10 – Wrap Up
  • 01:33:40 – Mindhunter

FILMS

SCRIPTS

EPISODES IN THE ANTAGONISTS! SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-50/

]]> Screenwriting, Character, Structure, Antagonism, Character Flaw, Internal Journey, Character Motivation, Character Wound, Character Agency, Stakes Yes DZ-49: Antagonists! 1 - vs Humans 49 49 DZ-49: Antagonists! 1 - vs Humans full 8fbec3304cf75b396641c8b6cc4309e8 https://draft-zero.com/2018/dz-49/ 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:12:27 – Die Hard
  • 00:24:34 – Misery
  • 00:40:12 – The Dark Knight
  • 00:45:32 – Three Billboards Outside Of Ebbing, Missouri
  • 01:11:30 – LA LA Land
  • 01:14:33 – Wrap Up

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-49/

]]> 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:12:27 – Die Hard
  • 00:24:34 – Misery
  • 00:40:12 – The Dark Knight
  • 00:45:32 – Three Billboards Outside Of Ebbing, Missouri
  • 01:11:30 – LA LA Land
  • 01:14:33 – Wrap Up

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-49/

]]> Sat, 31 Mar 2018 12:09:17 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 4859 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:12:27 – Die Hard
  • 00:24:34 – Misery
  • 00:40:12 – The Dark Knight
  • 00:45:32 – Three Billboards Outside Of Ebbing, Missouri
  • 01:11:30 – LA LA Land
  • 01:14:33 – Wrap Up

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE ANTAGONISTS! SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-49/

]]> Screenwriting Yes DZ-48: One-Shot - Blade Runner 2049 - Agency vs Choice 47 47 DZ-48: One-Shot - Blade Runner 2049 - Agency vs Choice full 1ece4486ac2b7251722fc2aaa195c019 https://draft-zero.com/2018/dz-48/ Listen to discover how characters can be dramatised through binary choices (and understand the difference between choice and 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:02:29 – Blade Runner 2049
  • 00:10:33 – Wallace And Luv
  • 00:26:18 – K And His Mission
  • 00:30:19 – K And Joi
  • 00:36:00 – K's Choices And His Arc
  • 00:47:34 – Deckard And The Las Vegas Sequence
  • 00:58:26 – Luv And Joshi
  • 01:01:52 – K's Hero Choice
  • 01:04:45 – K And Luv
  • 01:10:57 – Tears In The Snow
  • 01:19:24 – Depiction Of Women And Minorities
  • 01:35:36 – Wrap Up And Key Learnings

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-48/

]]> Listen to discover how characters can be dramatised through binary choices (and understand the difference between choice and 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:02:29 – Blade Runner 2049
  • 00:10:33 – Wallace And Luv
  • 00:26:18 – K And His Mission
  • 00:30:19 – K And Joi
  • 00:36:00 – K's Choices And His Arc
  • 00:47:34 – Deckard And The Las Vegas Sequence
  • 00:58:26 – Luv And Joshi
  • 01:01:52 – K's Hero Choice
  • 01:04:45 – K And Luv
  • 01:10:57 – Tears In The Snow
  • 01:19:24 – Depiction Of Women And Minorities
  • 01:35:36 – Wrap Up And Key Learnings

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-48/

]]> Wed, 28 Feb 2018 18:03:26 +1100 Chas Fisher & Stuart Willis Chas Fisher & Stuart Willis 6814 Listen to discover how characters can be dramatised through binary choices (and understand the difference between choice and 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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:02:29 – Blade Runner 2049
  • 00:10:33 – Wallace And Luv
  • 00:26:18 – K And His Mission
  • 00:30:19 – K And Joi
  • 00:36:00 – K's Choices And His Arc
  • 00:47:34 – Deckard And The Las Vegas Sequence
  • 00:58:26 – Luv And Joshi
  • 01:01:52 – K's Hero Choice
  • 01:04:45 – K And Luv
  • 01:10:57 – Tears In The Snow
  • 01:19:24 – Depiction Of Women And Minorities
  • 01:35:36 – Wrap Up And Key Learnings

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-48/

]]> Screenwriting, Character, Theme, Character Agency, Representation and Endorsement, Choices & Decisions, Character Motivation Yes DZ-47: Backmatter - A Lost Jedi, White Knighting, and Writers-On-Set 47 47 DZ-47: Backmatter - A Lost Jedi, White Knighting, and Writers-On-Set full e8288767af2c8303f0b6a5322833ed89 https://draft-zero.com/2018/dz-47/ Listen to understand how consequences (not intentions) impact whether an audience roots for or against your protagonist.

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.

Thanks to Khrob, Joakim and Christopher for being early 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!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Joakim and Christopher.

———

CHAPTERS

  • 00:01:28 – The Last Jedi W & D Rian Johnson
  • 00:29:07 – Sexual Assault Allegations & Draft Zero Homework Policies
  • 00:52:28 – Listener Questions
  • 01:48:21 – Wrap Up

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-47/

]]> Listen to understand how consequences (not intentions) impact whether an audience roots for or against your protagonist.

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.

Thanks to Khrob, Joakim and Christopher for being early 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!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Joakim and Christopher.

———

CHAPTERS

  • 00:01:28 – The Last Jedi W & D Rian Johnson
  • 00:29:07 – Sexual Assault Allegations & Draft Zero Homework Policies
  • 00:52:28 – Listener Questions
  • 01:48:21 – Wrap Up

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-47/

]]> Thu, 11 Jan 2018 18:52:42 +1100 Chas Fisher & Stuart Willis Chas Fisher & Stuart Willis 8494 Listen to understand how consequences (not intentions) impact whether an audience roots for or against your protagonist.

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.

Thanks to Khrob, Joakim and Christopher for being early 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!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Joakim and Christopher.

———

CHAPTERS

  • 00:01:28 – The Last Jedi W & D Rian Johnson
  • 00:29:07 – Sexual Assault Allegations & Draft Zero Homework Policies
  • 00:52:28 – Listener Questions
  • 01:48:21 – Wrap Up

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2018/dz-47/

]]> Screenwriting, Theme, Character, Audience, Character Agency, Audience Sympathy, Worldview, Collaboration Yes DZ-46: Structure & Point of View 46 46 DZ-46: Structure & Point of View full d8c3830c36b3a578d637de67eabee9d0 https://share.transistor.fm/s/f2c12c15 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-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.

]]> Tue, 19 Dec 2017 14:52:40 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 8710 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.

]]> Yes DZ-46: Structure & Point of View 46 46 DZ-46: Structure & Point of View full 349da7a9e9e93cc8db4506432265be05 https://draft-zero.com/2017/dz-46/ Listen if you want to understand how narrative point of view can organise your entire story structure

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob and Joakim.

———

CHAPTERS

  • 00:06:21 – Introduction
  • 00:10:57 – Manchester By The Sea
  • 00:19:57 – Get Out
  • 00:50:15 – Dunkirk
  • 01:31:00 – The Lives of Others
  • 02:11:32 – Wrap Up

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-46/

]]> Listen if you want to understand how narrative point of view can organise your entire story structure

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob and Joakim.

———

CHAPTERS

  • 00:06:21 – Introduction
  • 00:10:57 – Manchester By The Sea
  • 00:19:57 – Get Out
  • 00:50:15 – Dunkirk
  • 01:31:00 – The Lives of Others
  • 02:11:32 – Wrap Up

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-46/

]]> Tue, 19 Dec 2017 14:52:39 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 8710 Listen if you want to understand how narrative point of view can organise your entire story structure

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 and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob and Joakim.

———

CHAPTERS

  • 00:06:21 – Introduction
  • 00:10:57 – Manchester By The Sea
  • 00:19:57 – Get Out
  • 00:50:15 – Dunkirk
  • 01:31:00 – The Lives of Others
  • 02:11:32 – Wrap Up

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-46/

]]> Screenwriting, Audience, Structure, Scenes, Narrative POV, Audience Questions, Dramatic Irony, Audience Sympathy Yes DZ-45: Arguments of the Scene 45 45 DZ-45: Arguments of the Scene full e19c9bf9b657174ccb4f9f147bbbb4b8 https://draft-zero.com/2017/dz-45/ Listen to discover how a character's worldview becomes the engine of conflict inside a single scene.

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.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob and Nick.

———

CHAPTERS

  • 00:10:36 – Finding Nemo
  • 00:17:28 – Ex Machina
  • 00:59:55 – Manchester By The Sea
  • 01:28:26 – Glow
  • 02:04:13 – Wrap Up

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-45/

]]> Listen to discover how a character's worldview becomes the engine of conflict inside a single scene.

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.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob and Nick.

———

CHAPTERS

  • 00:10:36 – Finding Nemo
  • 00:17:28 – Ex Machina
  • 00:59:55 – Manchester By The Sea
  • 01:28:26 – Glow
  • 02:04:13 – Wrap Up

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-45/

]]> Fri, 27 Oct 2017 16:15:57 +1100 Stuart Willis & Chas Fisher Stuart Willis & Chas Fisher 8467 Listen to discover how a character's worldview becomes the engine of conflict inside a single scene.

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.

Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob and Nick.

———

CHAPTERS

  • 00:10:36 – Finding Nemo
  • 00:17:28 – Ex Machina
  • 00:59:55 – Manchester By The Sea
  • 01:28:26 – Glow
  • 02:04:13 – Wrap Up

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-45/

]]> Screenwriting, Theme, Scenes, Character, Worldview, Conflict, Scene Structure, Subtext Yes DZ-44: Marvel - First Acts and Establishing Characters 44 44 DZ-44: Marvel - First Acts and Establishing Characters full 9ea5953d57a3657cbb4db4fd040ca5f9 https://draft-zero.com/2017/dz-44/ Listen if your first act exposition feels clunky--the MCU has a schema for burying backstory inside character introductions.

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 in 2017) 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.

... and stick around after the end credits, for an important announcement re: our launching of a Patreon.

Thanks to Khrob and Nick for being patrons. They're good people.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob and Nick.

———

CHAPTERS

  • 00:07:42 – IRON MAN
  • 00:39:08 – GUARDIANS OF THE GALAXY
  • 01:18:13 – DOCTOR STRANGE
  • 01:47:28 – WRAP UP
  • 01:57:08 – WHAA? PATREON?

FILMS

SCRIPTS

  • Study the script: IRON MAN (2008) — Mark Fergus, Hawk Ostby, Art Marcum, Matt Holloway

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-44/

]]> Listen if your first act exposition feels clunky--the MCU has a schema for burying backstory inside character introductions.

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 in 2017) 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.

... and stick around after the end credits, for an important announcement re: our launching of a Patreon.

Thanks to Khrob and Nick for being patrons. They're good people.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob and Nick.

———

CHAPTERS

  • 00:07:42 – IRON MAN
  • 00:39:08 – GUARDIANS OF THE GALAXY
  • 01:18:13 – DOCTOR STRANGE
  • 01:47:28 – WRAP UP
  • 01:57:08 – WHAA? PATREON?

FILMS

SCRIPTS

  • Study the script: IRON MAN (2008) — Mark Fergus, Hawk Ostby, Art Marcum, Matt Holloway

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-44/

]]> Sun, 17 Sep 2017 20:49:27 +1000 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 7649 Listen if your first act exposition feels clunky--the MCU has a schema for burying backstory inside character introductions.

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 in 2017) 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.

... and stick around after the end credits, for an important announcement re: our launching of a Patreon.

Thanks to Khrob and Nick for being patrons. They're good people.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob and Nick.

———

CHAPTERS

  • 00:07:42 – IRON MAN
  • 00:39:08 – GUARDIANS OF THE GALAXY
  • 01:18:13 – DOCTOR STRANGE
  • 01:47:28 – WRAP UP
  • 01:57:08 – WHAA? PATREON?

FILMS

SCRIPTS

  • Study the script: IRON MAN (2008) — Mark Fergus, Hawk Ostby, Art Marcum, Matt Holloway

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-44/

]]> Screenwriting, Character, Structure, Words, Act One, Character Introductions, Character Arcs, Character Flaw, Character Wound, Character Motivation, Exposition, Sequences, Secondary Characters, Genre Conventions Yes DZ-43: Driving Sequences - Character and Plot Intensity 43 43 DZ-43: Driving Sequences - Character and Plot Intensity full 03305629cbe10f8ce7218af3e20f1895 https://draft-zero.com/2017/dz-43/ Listen to understand how dramatic questions shape audience engagement and pacing through sequences.

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.

PS: Thanks to all our listeners who provided feedback on a draft edit of this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:01:38 – History & Theory Of Sequences
  • 00:13:24 – Plot-Lite Revisited
  • 00:24:01 – High Intensity Plot Sequences
  • 00:36:07 – The Bourne Identity
  • 00:54:43 – Naked
  • 01:06:35 – Road Movies (as a genre)
  • 01:13:00 – Naked
  • 01:21:31 – Plot As The Hook
  • 01:26:44 – The Kingsman
  • 01:34:52 – Character Sequences & Audience Introspection
  • 01:34:52 – The Diving Bell And The Butterfly
  • 01:55:41 – There Will Be Blood
  • 02:05:28 – Fargo
  • 02:20:12 – Children Of Men
  • 03:03:44 – Summary & Final Words

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-43/

]]> Listen to understand how dramatic questions shape audience engagement and pacing through sequences.

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.

PS: Thanks to all our listeners who provided feedback on a draft edit of this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:01:38 – History & Theory Of Sequences
  • 00:13:24 – Plot-Lite Revisited
  • 00:24:01 – High Intensity Plot Sequences
  • 00:36:07 – The Bourne Identity
  • 00:54:43 – Naked
  • 01:06:35 – Road Movies (as a genre)
  • 01:13:00 – Naked
  • 01:21:31 – Plot As The Hook
  • 01:26:44 – The Kingsman
  • 01:34:52 – Character Sequences & Audience Introspection
  • 01:34:52 – The Diving Bell And The Butterfly
  • 01:55:41 – There Will Be Blood
  • 02:05:28 – Fargo
  • 02:20:12 – Children Of Men
  • 03:03:44 – Summary & Final Words

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-43/

]]> Sat, 08 Jul 2017 12:42:19 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 11779 Listen to understand how dramatic questions shape audience engagement and pacing through sequences.

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.

PS: Thanks to all our listeners who provided feedback on a draft edit of this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:01:38 – History & Theory Of Sequences
  • 00:13:24 – Plot-Lite Revisited
  • 00:24:01 – High Intensity Plot Sequences
  • 00:36:07 – The Bourne Identity
  • 00:54:43 – Naked
  • 01:06:35 – Road Movies (as a genre)
  • 01:13:00 – Naked
  • 01:21:31 – Plot As The Hook
  • 01:26:44 – The Kingsman
  • 01:34:52 – Character Sequences & Audience Introspection
  • 01:34:52 – The Diving Bell And The Butterfly
  • 01:55:41 – There Will Be Blood
  • 02:05:28 – Fargo
  • 02:20:12 – Children Of Men
  • 03:03:44 – Summary & Final Words

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-43/

]]> Screenwriting, Structure, Character, Scenes, Sequences, Dramatic Questions, Character Questions, Plot Questions, Character Agency, Scene Structure Yes DZ-42: One-Shot - Character Worldview & Macro POV in SPLT 42 42 DZ-42: One-Shot - Character Worldview & Macro POV in SPLT full 3b78212b6c9aafb19fdf469beb5ca911 https://draft-zero.com/2017/dz-42/ Listen when you're writing a twist and need to earn it through point-of-view rather than surprise alone.

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.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:06:36 – Worldview
  • 00:35:35 – Macro Pov And Narrative
  • 01:03:26 – Flashbacks
  • 01:12:34 – Tactics
  • 01:15:35 – Contained Spaces
  • 01:19:32 – Character Individuation
  • 01:33:00 – Twist Endings
  • 01:50:41 – Episode Wrap

FILMS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-42/

]]> Listen when you're writing a twist and need to earn it through point-of-view rather than surprise alone.

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.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:06:36 – Worldview
  • 00:35:35 – Macro Pov And Narrative
  • 01:03:26 – Flashbacks
  • 01:12:34 – Tactics
  • 01:15:35 – Contained Spaces
  • 01:19:32 – Character Individuation
  • 01:33:00 – Twist Endings
  • 01:50:41 – Episode Wrap

FILMS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-42/

]]> Thu, 27 Apr 2017 07:54:09 +1000 Chas Fisher & Stuart Willis Chas Fisher & Stuart Willis 6769 Listen when you're writing a twist and need to earn it through point-of-view rather than surprise alone.

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.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:06:36 – Worldview
  • 00:35:35 – Macro Pov And Narrative
  • 01:03:26 – Flashbacks
  • 01:12:34 – Tactics
  • 01:15:35 – Contained Spaces
  • 01:19:32 – Character Individuation
  • 01:33:00 – Twist Endings
  • 01:50:41 – Episode Wrap

FILMS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-42/

]]> Screenwriting, Theme, Structure, Scenes, Narrative POV, Worldview, Dramatic Irony, Contained Thriller, Character Agency, Plot Twists, Secrets and Clues, Tactics, Flashbacks Yes DZ-41: Theme and Worldview 41 41 DZ-41: Theme and Worldview full 6ad2185b502b1dc596446d716824bfee https://draft-zero.com/2017/dz-41/ Listen if theme feels abstract - we talk how how to make it visible through what characters believe.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:24:33 – HOUSE OF CARDS
  • 00:42:23 – CRAZY EX GIRLFRIEND
  • 01:07:27 – TRUE DETECTIVE
  • 01:52:46 – TRANSPARENT
  • 02:01:05 – WRAP UP MATERIAL
  • 02:21:29 – BACKMATTER

SHOWS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-41/

]]> Listen if theme feels abstract - we talk how how to make it visible through what characters believe.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:24:33 – HOUSE OF CARDS
  • 00:42:23 – CRAZY EX GIRLFRIEND
  • 01:07:27 – TRUE DETECTIVE
  • 01:52:46 – TRANSPARENT
  • 02:01:05 – WRAP UP MATERIAL
  • 02:21:29 – BACKMATTER

SHOWS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-41/

]]> Fri, 24 Mar 2017 19:29:50 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 9160 Listen if theme feels abstract - we talk how how to make it visible through what characters believe.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:24:33 – HOUSE OF CARDS
  • 00:42:23 – CRAZY EX GIRLFRIEND
  • 01:07:27 – TRUE DETECTIVE
  • 01:52:46 – TRANSPARENT
  • 02:01:05 – WRAP UP MATERIAL
  • 02:21:29 – BACKMATTER

SHOWS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-41/

]]> Screenwriting, Theme, Structure, Process, Worldview, Openings, Endings, Thematic Logline Yes DZ-40: Tactics and Scenes 40 40 DZ-40: Tactics and Scenes full abde7e92057934326cb8030b4a117487 https://draft-zero.com/2017/dz-40/ Listen to learn how a character's tactics reveal who they are under pressure--and how their changing tactics reveals their growth.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:08:08 – ROADRUNNER
  • 00:16:15 – ZODIAC
  • 00:36:53 – TRAINING DAY
  • 00:46:22 – HELL OR HIGH WATER
  • 01:21:34 – SILENCE OF THE LAMBS
  • 01:43:23 – WINTER'S BONE

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-40/

]]> Listen to learn how a character's tactics reveal who they are under pressure--and how their changing tactics reveals their growth.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:08:08 – ROADRUNNER
  • 00:16:15 – ZODIAC
  • 00:36:53 – TRAINING DAY
  • 00:46:22 – HELL OR HIGH WATER
  • 01:21:34 – SILENCE OF THE LAMBS
  • 01:43:23 – WINTER'S BONE

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-40/

]]> Sat, 04 Feb 2017 15:26:39 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 8151 Listen to learn how a character's tactics reveal who they are under pressure--and how their changing tactics reveals their growth.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:08:08 – ROADRUNNER
  • 00:16:15 – ZODIAC
  • 00:36:53 – TRAINING DAY
  • 00:46:22 – HELL OR HIGH WATER
  • 01:21:34 – SILENCE OF THE LAMBS
  • 01:43:23 – WINTER'S BONE

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-40/

]]> Screenwriting, Character, Scenes, Tactics, Character Motivation, Game of the Scene, Scene Structure, Character Arcs, Subtext, Character Authenticity, Character Agency Yes DZ-39: Backmatter - Hitting LA, Receiving Feedback, and a Roguish One 39 39 DZ-39: Backmatter - Hitting LA, Receiving Feedback, and a Roguish One full 2866deb9123b1740cd08290e2ed3ecc3 https://draft-zero.com/2017/dz-39/ Listen if you're about to network at a festival and have no idea what writers actually do with their time there.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-39/

]]> Listen if you're about to network at a festival and have no idea what writers actually do with their time there.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-39/

]]> Sun, 15 Jan 2017 15:08:41 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 5381 Listen if you're about to network at a festival and have no idea what writers actually do with their time there.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2017/dz-39/

]]> Screenwriting, Process, Character, Words, Career, Collaboration, Character Agency, Exposition Yes DZ-38: Excelling at Exposition (Part 2) 38 38 DZ-38: Excelling at Exposition (Part 2) full f4ec5caa8897b9232bdd6e9e27614a25 https://draft-zero.com/2016/dz-38/ Listen to learn how to use exposition as dramatic revelation rather than mere information delivery.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

EPISODES IN THE EXPOSITION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-38/

]]> Listen to learn how to use exposition as dramatic revelation rather than mere information delivery.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

EPISODES IN THE EXPOSITION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-38/

]]> Tue, 06 Dec 2016 13:59:04 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6768 Listen to learn how to use exposition as dramatic revelation rather than mere information delivery.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

EPISODES IN THE EXPOSITION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-38/

]]> Screenwriting, Words, Structure, Scenes, Exposition, Dramatic Irony, Setups & Payoffs, Given Circumstances, Dialogue, Emotional Event, Secrets and Clues Yes DZ-37: Excelling at Exposition (Part 1) 37 37 DZ-37: Excelling at Exposition (Part 1) full 5bcaa86f0ef2cdeccfc39081f6d85e69 https://draft-zero.com/2016/dz-37/ Listen if your exposition scenes feel like information dumps disguised as dialogue.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE EXPOSITION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-37/

]]> Listen if your exposition scenes feel like information dumps disguised as dialogue.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE EXPOSITION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-37/

]]> Wed, 23 Nov 2016 14:55:20 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6397 Listen if your exposition scenes feel like information dumps disguised as dialogue.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE EXPOSITION SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-37/

]]> Screenwriting, Words, Scenes, Character, Exposition, Scene Structure, Character Motivation, Dialogue, World Building, Narrative Velocity Yes DZ-36: Backmatter - Time Risk and Fixing Movies 36 36 DZ-36: Backmatter - Time Risk and Fixing Movies full da39b993ff6e9b15bf4e130d7efe4718 https://draft-zero.com/2016/dz-36/ Listen if you're juggling multiple projects and can't figure out which one deserves your attention right now.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-36/

]]> Listen if you're juggling multiple projects and can't figure out which one deserves your attention right now.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-36/

]]> Sun, 30 Oct 2016 18:17:12 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 4046 Listen if you're juggling multiple projects and can't figure out which one deserves your attention right now.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-36/

]]> Screenwriting, Process, Structure, Theme, Career, Development, Plotting, Establishing Tone Yes DZ-35: Driving Characters or Character Driven? 35 35 DZ-35: Driving Characters or Character Driven? full 4e8679a2bc9702308be87de460a60615 https://draft-zero.com/2016/dz-35/ Listen if you're writing a character study and unsure how to build momentum without external conflict.

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 idea of the 'Running Condition', Character Choice, SceneWork and the myriad other techniques the filmmakers use to keep us interested.

PS: Note that all these films are writer/directors. Hmm. PPS: There is no backmatter this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-35/

]]> Listen if you're writing a character study and unsure how to build momentum without external conflict.

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 idea of the 'Running Condition', Character Choice, SceneWork and the myriad other techniques the filmmakers use to keep us interested.

PS: Note that all these films are writer/directors. Hmm. PPS: There is no backmatter this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-35/

]]> Thu, 06 Oct 2016 19:01:10 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 4850 Listen if you're writing a character study and unsure how to build momentum without external conflict.

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 idea of the 'Running Condition', Character Choice, SceneWork and the myriad other techniques the filmmakers use to keep us interested.

PS: Note that all these films are writer/directors. Hmm. PPS: There is no backmatter this episode.

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

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FILMS

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LINKS

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More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-35/

]]> Screenwriting, Character, Structure, Scenes, Character Agency, Scene Structure, Stakes, Character Depth, Narrative Velocity, Character Motivation, Tension Yes DZ-34: Game of Choices - Decision Making and Character Implications 34 34 DZ-34: Game of Choices - Decision Making and Character Implications full 41bbbd94376646373338f19a52719cf4 https://draft-zero.com/2016/dz-34/ 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.

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

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Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

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SHOWS

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More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-34/

]]> 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

SHOWS

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More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-34/

]]> Sun, 14 Aug 2016 20:24:31 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 5185 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

SHOWS

LINKS

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———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-34/

]]> Screenwriting, Character, Structure, Audience, POV Characters, Character Agency, Narrative POV, Choices & Decisions, Audience Sympathy, Dramatic Irony Yes DZ-33: Protagonist vs Hero - Dawn of Character Function 33 33 DZ-33: Protagonist vs Hero - Dawn of Character Function full ba18396bb85e0f7303c42b74f421b32a https://draft-zero.com/2016/dz-33/ Listen to see how splitting character functions across your cast sharpens what your story actually means.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-33/

]]> Listen to see how splitting character functions across your cast sharpens what your story actually means.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-33/

]]> Fri, 15 Jul 2016 20:46:25 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 7100 Listen to see how splitting character functions across your cast sharpens what your story actually means.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-33/

]]> Screenwriting, Character, Theme, Process, Character Function, Character Arcs, Character Agency, Character Motivation, Craft Tools, Audience Sympathy Yes DZ-32: High-Tension Sequences 32 32 DZ-32: High-Tension Sequences full ba86e691d39186743569c32e9b3240da https://draft-zero.com/2016/dz-32/ Listen if you want to evoke fear and tension using only the written word (without relying on camera, lighting, music, or sound_

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-32/

]]> Listen if you want to evoke fear and tension using only the written word (without relying on camera, lighting, music, or sound_

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-32/

]]> Sun, 12 Jun 2016 15:05:48 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 8593 Listen if you want to evoke fear and tension using only the written word (without relying on camera, lighting, music, or sound_

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-32/

]]> Screenwriting, Scenes, Audience, Structure, Tension, Dramatic Irony, Narrative POV, Craft Tools, Whitespace, Status, Scene Structure Yes DZ-31: Tools for Better Dialogue 1 31 31 DZ-31: Tools for Better Dialogue 1 full a42ee787be58f3d7c560d58560bbd07d https://draft-zero.com/2016/dz-31/ Listen if your want your dialogue to individualizes characters, reveal characterization, and shift status!

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

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RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-31/

]]> Listen if your want your dialogue to individualizes characters, reveal characterization, and shift status!

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-31/

]]> Sun, 10 Apr 2016 12:25:00 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 7506 Listen if your want your dialogue to individualizes characters, reveal characterization, and shift status!

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-31/

]]> Screenwriting, Character, Words, Scenes, Dialogue, Character Authenticity, Status, Subtext, Tactics, Character Depth, Narrative Aesthetics Yes DZ-30: Oscars revisited - Spotlight and Carol 30 30 DZ-30: Oscars revisited - Spotlight and Carol full 4fa58cf688eac9f693901ed58483e03c https://draft-zero.com/2016/dz-30/ Listen to learn how catharsis, world-building, mid-points, and status transactions elevate great writing

In this episode 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 (which has possibly replaced Star Wars as the de facto reference point for anything.)

And so this slightly meandering episodes revisits the excellent execution of catharsis, world-building, mid-points, dramatic point of view, status transactions and more.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

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EPISODES IN THE OSCARS SERIES

RELATED EPISODES

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More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-30/

]]> Listen to learn how catharsis, world-building, mid-points, and status transactions elevate great writing

In this episode 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 (which has possibly replaced Star Wars as the de facto reference point for anything.)

And so this slightly meandering episodes revisits the excellent execution of catharsis, world-building, mid-points, dramatic point of view, status transactions and more.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

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EPISODES IN THE OSCARS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-30/

]]> Sun, 28 Feb 2016 14:34:15 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6216 Listen to learn how catharsis, world-building, mid-points, and status transactions elevate great writing

In this episode 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 (which has possibly replaced Star Wars as the de facto reference point for anything.)

And so this slightly meandering episodes revisits the excellent execution of catharsis, world-building, mid-points, dramatic point of view, status transactions and more.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

EPISODES IN THE OSCARS SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-30/

]]> Screenwriting, Structure, Audience, Theme, Catharsis, Narrative POV, Emotional Truth, World Building, Midpoints, Status, Character Authenticity Yes DZ-29: Showdowns & Scene Structure 29 29 DZ-29: Showdowns & Scene Structure full 115cbab2e3396a3599ed7c33ec0f4b45 https://draft-zero.com/2016/dz-29/ Listen to discover how fight scenes can be great inspiration for writing any kind of showdown (verbal or otherwise)

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!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

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LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-29/

]]> Listen to discover how fight scenes can be great inspiration for writing any kind of showdown (verbal or otherwise)

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!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-29/

]]> Mon, 25 Jan 2016 17:28:20 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6089 Listen to discover how fight scenes can be great inspiration for writing any kind of showdown (verbal or otherwise)

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!

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

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Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

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RELATED EPISODES

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More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2016/dz-29/

]]> Screenwriting, Scenes, Structure, Character, Scene Structure, Showdowns, Escalation, Tactics Yes DZ-28: Containing Your Script 28 28 DZ-28: Containing Your Script full 2c54d473c9f3370b79dc9d0f7afc7f9d https://draft-zero.com/2015/dz-28/ Listen if you're writing a contained thriller, drama, or any story limited to a single location

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.

BACKMATTER

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-28/

]]> Listen if you're writing a contained thriller, drama, or any story limited to a single location

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.

BACKMATTER

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-28/

]]> Mon, 21 Dec 2015 17:53:44 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6935 Listen if you're writing a contained thriller, drama, or any story limited to a single location

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.

BACKMATTER

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-28/

]]> Screenwriting, Genre, Audience, Scenes, Contained Thriller, Tension, Scene Structure, Genre Conventions Yes DZ-27: Competing views on Screenplay Competitions 27 27 DZ-27: Competing views on Screenplay Competitions full 5b9207a0450bd8871b961b02a49a9f84 https://draft-zero.com/2015/dz-27/ Listen if you're considering entering a screenplay competition and want to hear from writers and industry professionals about whether it's a worthwhile investment!

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-27/

]]> Listen if you're considering entering a screenplay competition and want to hear from writers and industry professionals about whether it's a worthwhile investment!

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-27/

]]> Sun, 15 Nov 2015 21:38:22 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6132 Listen if you're considering entering a screenplay competition and want to hear from writers and industry professionals about whether it's a worthwhile investment!

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-27/

]]> Screenwriting, Process, Genre, Theme, Career, Development, Pitching, Emotional Contract, Representation and Endorsement, Stakes Yes DZ-26: Horror and Collaboration- Wolf Creek 2 26 26 DZ-26: Horror and Collaboration- Wolf Creek 2 full 1cb7734a526fdcf95505dadbc02d6efc https://draft-zero.com/2015/dz-26/ Listen if you're co-writing and need to figure out where your voice ends and your collaborator's begins.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-26/

]]> Listen if you're co-writing and need to figure out where your voice ends and your collaborator's begins.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-26/

]]> Sat, 31 Oct 2015 13:54:48 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6514 Listen if you're co-writing and need to figure out where your voice ends and your collaborator's begins.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-26/

]]> Screenwriting, Process, Genre, Character, Collaboration, Genre Conventions, Character Agency, Stakes, Writing for Actors Yes DZ-25: Coincidences, Contrivances & Giant Eagles 25 25 DZ-25: Coincidences, Contrivances & Giant Eagles full e6134a15b3ceb7246a38bf8a7e6987d3 https://draft-zero.com/2015/dz-25/ Listen when you need to know which coincidences earn trust and which ones feel like cheating.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-25/

]]> Listen when you need to know which coincidences earn trust and which ones feel like cheating.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-25/

]]> Tue, 15 Sep 2015 12:57:27 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6028 Listen when you need to know which coincidences earn trust and which ones feel like cheating.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-25/

]]> Screenwriting, Structure, Genre, Theme, Coincidences, Emotional Contract, Setups & Payoffs, Genre Conventions, Narrative Aesthetics, Plotting, Audience Complicity Yes DZ-24: Forging story rules in TV pilots 24 24 DZ-24: Forging story rules in TV pilots full f86ffe4cf40def70a3d01d892ec9f9ba https://draft-zero.com/2015/dz-24/ Listen if you wanna know great television pilots establish the dramatic, literary, and cinematic rules that sustain their entire run.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

SHOWS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-24/

]]> Listen if you wanna know great television pilots establish the dramatic, literary, and cinematic rules that sustain their entire run.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

SHOWS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-24/

]]> Mon, 03 Aug 2015 16:43:16 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 7537 Listen if you wanna know great television pilots establish the dramatic, literary, and cinematic rules that sustain their entire run.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

SHOWS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-24/

]]> Screenwriting, Structure, Genre, Theme, Climax, Genre Conventions, Stakes, Openings, Act One, World Building, Character Agency Yes DZ-23: LIVE - Starting A Career In Film And Television 23 23 DZ-23: LIVE - Starting A Career In Film And Television full 4b792563c33d65941f9c27c2bdfd16c3 https://draft-zero.com/2015/dz-23/ Listen if you're an emerging filmmaker looking to break into the industry

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-23/

]]> Listen if you're an emerging filmmaker looking to break into the industry

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-23/

]]> Mon, 06 Jul 2015 14:10:30 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6360 Listen if you're an emerging filmmaker looking to break into the industry

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-23/

]]> Screenwriting, Process, Career, Collaboration, Development Yes DZ-22: Romantic Comedy, Actually 22 22 DZ-22: Romantic Comedy, Actually full 796fee6006d65c6e909252203b105c63 https://draft-zero.com/2015/dz-22/ Listen if you're writing a romcom and want to understand what makes this gentre tick.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-22/

]]> Listen if you're writing a romcom and want to understand what makes this gentre tick.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-22/

]]> Thu, 11 Jun 2015 14:34:01 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6023 Listen if you're writing a romcom and want to understand what makes this gentre tick.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-22/

]]> Screenwriting, Genre, Character, Structure, Genre Conventions, Character Motivation, Emotional Contract, Genre Shift, Setups & Payoffs, Theme Yes DZ-21: Scene Transitions and the Hook 21 21 DZ-21: Scene Transitions and the Hook full d8394c51a891179726e2e82c3696d1e9 https://draft-zero.com/2015/dz-21/ Listen to understand how transitions compress time, enhance thematic connections, unify story threads, and orient your reader

*

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!

BACKMATTER LINKS

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-21/

]]> Listen to understand how transitions compress time, enhance thematic connections, unify story threads, and orient your reader

*

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!

BACKMATTER LINKS

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-21/

]]> Thu, 07 May 2015 23:01:52 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6058 Listen to understand how transitions compress time, enhance thematic connections, unify story threads, and orient your reader

*

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!

BACKMATTER LINKS

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-21/

]]> Screenwriting, Process, Scenes, Theme, Scene Transitions, Setups & Payoffs, Craft Tools, Visual Language, Formatting, Rewriting Yes DZ-20: Writing Strong Secondary Characters - Trinity, Bechdel and a Bamboo Killer 20 20 DZ-20: Writing Strong Secondary Characters - Trinity, Bechdel and a Bamboo Killer full 58f46f07e2c83228d2d8f7611b7367cb https://draft-zero.com/2015/dz-20/ Listen when you're writing secondary female characters and need them to have more depth.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-20/

]]> Listen when you're writing secondary female characters and need them to have more depth.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-20/

]]> Thu, 02 Apr 2015 19:36:23 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 4684 Listen when you're writing secondary female characters and need them to have more depth.

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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-20/

]]> Screenwriting, Character, Words, Theme, Character Agency, Character Function, Character Depth, Secondary Characters, Dialogue, Representation and Endorsement, Genre Conventions, Relationships Yes DZ-19: Car-Crash Characters 19 19 DZ-19: Car-Crash Characters full b323067975ebbfbe9e9c5d0111c3b1bb https://draft-zero.com/2015/dz-19/ Listen when you're writing a protagonist who does terrible things but you need the audience to keep watching.

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 asshole 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-19/

]]> Listen when you're writing a protagonist who does terrible things but you need the audience to keep watching.

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 asshole 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-19/

]]> Mon, 02 Mar 2015 12:46:56 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 7179 Listen when you're writing a protagonist who does terrible things but you need the audience to keep watching.

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 asshole 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.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-19/

]]> Screenwriting, Character, Audience, Process, Antiheroes, Audience Sympathy, Craft Tools, Character Depth, Moral Ambiguity, Character Motivation Yes DZ-18: Michael Bay - F*ing the Frame and P*ing the Page 18 18 DZ-18: Michael Bay - F*ing the Frame and P*ing the Page full fb529b82aead592ca19572927b50ad7a https://draft-zero.com/2015/dz-18/ Listen to understand how one of the world's highest-grossing directors structures story, makes great villians, controls information flow, and makes visual decisions on the page

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 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.

Oh, and if you have 7 seconds to spare, click here to go to our 2-question Draft Zero listener survey!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

  • THE ROCK (1996) — (w) Douglas S Cook, David Weisberg, Mark Rosner, Jonathan Hensleigh (d) Michael Bay
  • THE ISLAND (2005) — (w) Caspian Tredwell Owen, Alex Kurtzman, Roberto Orci, Caspian Tredwell Owen (d) Michael Bay
  • PAIN & GAIN (2013) — (w) Christopher Markus, Stephen Mcfeely (d) Michael Bay

SCRIPTS

  • Study the script: THE ROCK (1996) — Douglas S Cook, David Weisberg, Mark Rosner, Jonathan Hensleigh

LINKS

EPISODES IN THE FILMMAKER SPOTLIGHT SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-18/

]]> Listen to understand how one of the world's highest-grossing directors structures story, makes great villians, controls information flow, and makes visual decisions on the page

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 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.

Oh, and if you have 7 seconds to spare, click here to go to our 2-question Draft Zero listener survey!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

  • THE ROCK (1996) — (w) Douglas S Cook, David Weisberg, Mark Rosner, Jonathan Hensleigh (d) Michael Bay
  • THE ISLAND (2005) — (w) Caspian Tredwell Owen, Alex Kurtzman, Roberto Orci, Caspian Tredwell Owen (d) Michael Bay
  • PAIN & GAIN (2013) — (w) Christopher Markus, Stephen Mcfeely (d) Michael Bay

SCRIPTS

  • Study the script: THE ROCK (1996) — Douglas S Cook, David Weisberg, Mark Rosner, Jonathan Hensleigh

LINKS

EPISODES IN THE FILMMAKER SPOTLIGHT SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-18/

]]> Thu, 22 Jan 2015 18:43:10 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 4024 Listen to understand how one of the world's highest-grossing directors structures story, makes great villians, controls information flow, and makes visual decisions on the page

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 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.

Oh, and if you have 7 seconds to spare, click here to go to our 2-question Draft Zero listener survey!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

  • THE ROCK (1996) — (w) Douglas S Cook, David Weisberg, Mark Rosner, Jonathan Hensleigh (d) Michael Bay
  • THE ISLAND (2005) — (w) Caspian Tredwell Owen, Alex Kurtzman, Roberto Orci, Caspian Tredwell Owen (d) Michael Bay
  • PAIN & GAIN (2013) — (w) Christopher Markus, Stephen Mcfeely (d) Michael Bay

SCRIPTS

  • Study the script: THE ROCK (1996) — Douglas S Cook, David Weisberg, Mark Rosner, Jonathan Hensleigh

LINKS

EPISODES IN THE FILMMAKER SPOTLIGHT SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-18/

]]> Screenwriting, Genre, Character, Process, Character Function, Visual Language, Genre Conventions, Craft Tools, Secrets and Clues Yes DZ-17: Where's my gold-plated ensuite? 17 17 DZ-17: Where's my gold-plated ensuite? full f03c93ee47892980ae392b6095f16fa4 https://draft-zero.com/2015/dz-17/ Listen when you're deciding between shorts, features, and web content--and need to know which format actually builds a sustainable creative practice.

It's our Holiday Special! In this episode (recorded December 2014), Chas and Stu break all the rules. No homework. No pages. No empirical analysis. They reluctantly but boldly reflect over the first year of Draft Zero and how it has influenced their 'careers' (such as they are). They also engage in a heated debate on whether a short film, a micro-budget feature or web-based content is the best way to go in terms of pushing a filmmaking career forward.

As the 2014 "season" comes to a close, Chas and Stu hold two polls for the listeners:

  • Should Chas and Stu spruik a favourite crowd-funding campaign run by listeners each episode?
  • Should Chas and Stu stick to the rules or occasionally set format aside to talk about their personal approaches to career and craft?

Click here to go to our 2-question / 7-second Draft Zero listener survey!

May 2015 be great for all our listeners and may Chas and Stu finally open a door to find a gold-plated ensuite.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-17/

]]> Listen when you're deciding between shorts, features, and web content--and need to know which format actually builds a sustainable creative practice.

It's our Holiday Special! In this episode (recorded December 2014), Chas and Stu break all the rules. No homework. No pages. No empirical analysis. They reluctantly but boldly reflect over the first year of Draft Zero and how it has influenced their 'careers' (such as they are). They also engage in a heated debate on whether a short film, a micro-budget feature or web-based content is the best way to go in terms of pushing a filmmaking career forward.

As the 2014 "season" comes to a close, Chas and Stu hold two polls for the listeners:

  • Should Chas and Stu spruik a favourite crowd-funding campaign run by listeners each episode?
  • Should Chas and Stu stick to the rules or occasionally set format aside to talk about their personal approaches to career and craft?

Click here to go to our 2-question / 7-second Draft Zero listener survey!

May 2015 be great for all our listeners and may Chas and Stu finally open a door to find a gold-plated ensuite.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-17/

]]> Tue, 06 Jan 2015 22:20:13 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 4470 Listen when you're deciding between shorts, features, and web content--and need to know which format actually builds a sustainable creative practice.

It's our Holiday Special! In this episode (recorded December 2014), Chas and Stu break all the rules. No homework. No pages. No empirical analysis. They reluctantly but boldly reflect over the first year of Draft Zero and how it has influenced their 'careers' (such as they are). They also engage in a heated debate on whether a short film, a micro-budget feature or web-based content is the best way to go in terms of pushing a filmmaking career forward.

As the 2014 "season" comes to a close, Chas and Stu hold two polls for the listeners:

  • Should Chas and Stu spruik a favourite crowd-funding campaign run by listeners each episode?
  • Should Chas and Stu stick to the rules or occasionally set format aside to talk about their personal approaches to career and craft?

Click here to go to our 2-question / 7-second Draft Zero listener survey!

May 2015 be great for all our listeners and may Chas and Stu finally open a door to find a gold-plated ensuite.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

LINKS

EPISODES IN THE BACKMATTER SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2015/dz-17/

]]> Screenwriting, Process, Theme, Genre, Career, Emotional Truth, Development, Collaboration, Craft Tools, Genre Conventions Yes DZ-16: Masters of Time and Whitespace 16 16 DZ-16: Masters of Time and Whitespace full 43016103d5a62e677a298500228873c4 https://draft-zero.com/2014/dz-16/ Listen if you want your screenplay to feel cinematic before a director ever reads it.

Chas and Stu are joined by Khrob Edmonds - an award-winning filmmaker - to discuss manipulation of time...

... on the page!

Cinema is a time-based art, and one of the primary tools in film editing is manipulation of time. A closer look at sequences in the scripts of PULP FICTION, THE BOURNE IDENTITY, THE BOURNE ULTIMATUM, WOMAN IN BLACK, RAIDERS OF THE LOST ARK, UP, WHIPLASH, and THE UNTOUCHABLES reveals how master screenwriters use the same time-controlling techniques on the page. The closer a writer can recreate cinema's use of time on the page, the more of an "I'm watching a movie" feeling you can generate for the reader. Or, as Chas puts it, writing like you'd edit. We discuss use of white space, super-present tense, decompression & compression, Soviet Montage Theory, the Kuleshov effect and just a tiny amount of grammar.

NB: Stu refers to '-ing' words as 'present participles', John August (cited below) refers to 'present progressive'. Turns out there's a subtle difference between the two! Grammar esoterica FTW. See: What Is the Difference between Present Participle and Present Progressive -> http://grammar.about.com/od/basicsentencegrammar/f/progpartdiff.htm.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on ...

]]> Listen if you want your screenplay to feel cinematic before a director ever reads it.

Chas and Stu are joined by Khrob Edmonds - an award-winning filmmaker - to discuss manipulation of time...

... on the page!

Cinema is a time-based art, and one of the primary tools in film editing is manipulation of time. A closer look at sequences in the scripts of PULP FICTION, THE BOURNE IDENTITY, THE BOURNE ULTIMATUM, WOMAN IN BLACK, RAIDERS OF THE LOST ARK, UP, WHIPLASH, and THE UNTOUCHABLES reveals how master screenwriters use the same time-controlling techniques on the page. The closer a writer can recreate cinema's use of time on the page, the more of an "I'm watching a movie" feeling you can generate for the reader. Or, as Chas puts it, writing like you'd edit. We discuss use of white space, super-present tense, decompression & compression, Soviet Montage Theory, the Kuleshov effect and just a tiny amount of grammar.

NB: Stu refers to '-ing' words as 'present participles', John August (cited below) refers to 'present progressive'. Turns out there's a subtle difference between the two! Grammar esoterica FTW. See: What Is the Difference between Present Participle and Present Progressive -> http://grammar.about.com/od/basicsentencegrammar/f/progpartdiff.htm.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on ...

]]> Tue, 16 Dec 2014 19:05:51 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 6567 Listen if you want your screenplay to feel cinematic before a director ever reads it.

Chas and Stu are joined by Khrob Edmonds - an award-winning filmmaker - to discuss manipulation of time...

... on the page!

Cinema is a time-based art, and one of the primary tools in film editing is manipulation of time. A closer look at sequences in the scripts of PULP FICTION, THE BOURNE IDENTITY, THE BOURNE ULTIMATUM, WOMAN IN BLACK, RAIDERS OF THE LOST ARK, UP, WHIPLASH, and THE UNTOUCHABLES reveals how master screenwriters use the same time-controlling techniques on the page. The closer a writer can recreate cinema's use of time on the page, the more of an "I'm watching a movie" feeling you can generate for the reader. Or, as Chas puts it, writing like you'd edit. We discuss use of white space, super-present tense, decompression & compression, Soviet Montage Theory, the Kuleshov effect and just a tiny amount of grammar.

NB: Stu refers to '-ing' words as 'present participles', John August (cited below) refers to 'present progressive'. Turns out there's a subtle difference between the two! Grammar esoterica FTW. See: What Is the Difference between Present Participle and Present Progressive -> http://grammar.about.com/od/basicsentencegrammar/f/progpartdiff.htm.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on ...

]]> Screenwriting, Words, Genre, Process, Whitespace, Visual Language, Craft Tools, Sequences, Formatting, Scene Structure Yes DZ-15: World Building Rules, Okay? 15 15 DZ-15: World Building Rules, Okay? full d263dd8d41e6fe6a46efb16d9451ddf3 https://draft-zero.com/2014/dz-15/ Listen when your opening pages feel like exposition dumps (which is bad, okay?)

*

In our most epic/longest episode yet, Chas and Stu tackle world building in films. Specifically, how the rules make something a world and not just a setting. Starting with world-centric genres like sci-fi and fantasy, we also cover horror, crime drama and - er - "other". We discuss a variety of techniques for setting up the rules of the world, including cold opens, voiceover, title cards and outsider characters! We've limited ourselves to the opening 3-5 pages... mostly... because (so the theory goes) they're the pages that teach the audience how to read/watch your story/film.

Like with the character introductions episode, we cover a lot of scripts. In no particular order... [deep breath]... THE MATRIX, THE MATRIX RELOADED, MATRIX REVOLUTIONS, INCEPTION, GRAVITY, MINORITY REPORT, MOON, LOOPER, ELYSIUM, JURASSIC PARK, HOW TO TRAIN YOUR DRAGON, HARRY POTTER AND THE SORCERER'S STONE, MADAGASCAR, FELLOWSHIP OF THE RING, PAN'S LABYRINTH, SNOW WHITE AND THE HUNTSMAN, NIGHT WATCH, VAN HELSING, THE ONE I LOVE, 28 WEEKS LATER, WORLD WAR Z, DAWN OF THE DEAD, 30 DAYS OF NIGHT, ZOMBIELAND, WOMAN IN BLACK, BRICK, ANIMAL KINGDOM, DIE HARD WITH A VENGEANCE, THE UNTOUCHABLES, GOODFELLAS, SHORT TERM 12, SILVER LININGS PLAYBOOK, TINKER TAILOR SOLDIER SPY, MOONRISE KINGDOM, THE ROYAL TENENBAUMS, and FOUR WEDDINGS AND A FUNERAL.

Damn that was a lot! And we've probably missed some, too. So have a listen and please let us know!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-15/

]]> Listen when your opening pages feel like exposition dumps (which is bad, okay?)

*

In our most epic/longest episode yet, Chas and Stu tackle world building in films. Specifically, how the rules make something a world and not just a setting. Starting with world-centric genres like sci-fi and fantasy, we also cover horror, crime drama and - er - "other". We discuss a variety of techniques for setting up the rules of the world, including cold opens, voiceover, title cards and outsider characters! We've limited ourselves to the opening 3-5 pages... mostly... because (so the theory goes) they're the pages that teach the audience how to read/watch your story/film.

Like with the character introductions episode, we cover a lot of scripts. In no particular order... [deep breath]... THE MATRIX, THE MATRIX RELOADED, MATRIX REVOLUTIONS, INCEPTION, GRAVITY, MINORITY REPORT, MOON, LOOPER, ELYSIUM, JURASSIC PARK, HOW TO TRAIN YOUR DRAGON, HARRY POTTER AND THE SORCERER'S STONE, MADAGASCAR, FELLOWSHIP OF THE RING, PAN'S LABYRINTH, SNOW WHITE AND THE HUNTSMAN, NIGHT WATCH, VAN HELSING, THE ONE I LOVE, 28 WEEKS LATER, WORLD WAR Z, DAWN OF THE DEAD, 30 DAYS OF NIGHT, ZOMBIELAND, WOMAN IN BLACK, BRICK, ANIMAL KINGDOM, DIE HARD WITH A VENGEANCE, THE UNTOUCHABLES, GOODFELLAS, SHORT TERM 12, SILVER LININGS PLAYBOOK, TINKER TAILOR SOLDIER SPY, MOONRISE KINGDOM, THE ROYAL TENENBAUMS, and FOUR WEDDINGS AND A FUNERAL.

Damn that was a lot! And we've probably missed some, too. So have a listen and please let us know!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-15/

]]> Tue, 04 Nov 2014 22:09:18 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 7214 Listen when your opening pages feel like exposition dumps (which is bad, okay?)

*

In our most epic/longest episode yet, Chas and Stu tackle world building in films. Specifically, how the rules make something a world and not just a setting. Starting with world-centric genres like sci-fi and fantasy, we also cover horror, crime drama and - er - "other". We discuss a variety of techniques for setting up the rules of the world, including cold opens, voiceover, title cards and outsider characters! We've limited ourselves to the opening 3-5 pages... mostly... because (so the theory goes) they're the pages that teach the audience how to read/watch your story/film.

Like with the character introductions episode, we cover a lot of scripts. In no particular order... [deep breath]... THE MATRIX, THE MATRIX RELOADED, MATRIX REVOLUTIONS, INCEPTION, GRAVITY, MINORITY REPORT, MOON, LOOPER, ELYSIUM, JURASSIC PARK, HOW TO TRAIN YOUR DRAGON, HARRY POTTER AND THE SORCERER'S STONE, MADAGASCAR, FELLOWSHIP OF THE RING, PAN'S LABYRINTH, SNOW WHITE AND THE HUNTSMAN, NIGHT WATCH, VAN HELSING, THE ONE I LOVE, 28 WEEKS LATER, WORLD WAR Z, DAWN OF THE DEAD, 30 DAYS OF NIGHT, ZOMBIELAND, WOMAN IN BLACK, BRICK, ANIMAL KINGDOM, DIE HARD WITH A VENGEANCE, THE UNTOUCHABLES, GOODFELLAS, SHORT TERM 12, SILVER LININGS PLAYBOOK, TINKER TAILOR SOLDIER SPY, MOONRISE KINGDOM, THE ROYAL TENENBAUMS, and FOUR WEDDINGS AND A FUNERAL.

Damn that was a lot! And we've probably missed some, too. So have a listen and please let us know!

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-15/

]]> Screenwriting, Structure, Words, Tone, World Building, Cold Open, Openings, Establishing Tone, Exposition, Voiceover, Genre Conventions, Character Introductions Yes DZ-14: Writing For Actors with Succession's Sarah Snook 14 14 DZ-14: Writing For Actors with Succession's Sarah Snook full 134665472f4eba2d53fba3bd6abfaa59 https://draft-zero.com/2014/dz-14/ Listen to understand how writers can craft more compelling material for actors (and how they approach scripts)

In this episode, Chas and Stu are joined by a very special guest, SARAH SNOOK - star of Succession, Predestination, Jessabelle, and Oddball, amongst many others - to discuss ACTING and it's relationship with WRITING.

We focus our analysis on two scenes from AUGUST: OSAGE COUNTY, a screenplay that started life as a Pulitzer Prize winning play, and whose writer - Tracy Letts - is a successful actor in his own right. But, as usual, we ice-skate between a whole range of topics, including what attracts actors to a script, writing realistic characters, how actors analyse scenes, character spines & objectives, and the importance of hugs.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-14/

]]> Listen to understand how writers can craft more compelling material for actors (and how they approach scripts)

In this episode, Chas and Stu are joined by a very special guest, SARAH SNOOK - star of Succession, Predestination, Jessabelle, and Oddball, amongst many others - to discuss ACTING and it's relationship with WRITING.

We focus our analysis on two scenes from AUGUST: OSAGE COUNTY, a screenplay that started life as a Pulitzer Prize winning play, and whose writer - Tracy Letts - is a successful actor in his own right. But, as usual, we ice-skate between a whole range of topics, including what attracts actors to a script, writing realistic characters, how actors analyse scenes, character spines & objectives, and the importance of hugs.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-14/

]]> Wed, 22 Oct 2014 16:00:20 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 4598 Listen to understand how writers can craft more compelling material for actors (and how they approach scripts)

In this episode, Chas and Stu are joined by a very special guest, SARAH SNOOK - star of Succession, Predestination, Jessabelle, and Oddball, amongst many others - to discuss ACTING and it's relationship with WRITING.

We focus our analysis on two scenes from AUGUST: OSAGE COUNTY, a screenplay that started life as a Pulitzer Prize winning play, and whose writer - Tracy Letts - is a successful actor in his own right. But, as usual, we ice-skate between a whole range of topics, including what attracts actors to a script, writing realistic characters, how actors analyse scenes, character spines & objectives, and the importance of hugs.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-14/

]]> Screenwriting, Character, Scenes, Words, Writing for Actors, Character Motivation, Character Authenticity, Subtext, Scene Structure, Dialogue, Character Depth Yes DZ-13: True That - Tips from Tarantino 13 13 DZ-13: True That - Tips from Tarantino full 1e59cb7d7c9bb4bc97085c247bfd6af3 https://draft-zero.com/2014/dz-13/ Listen to steal Tarantino's technique for planting details that detonate as payoffs three scenes later.

Chapter 1: Of Milk and Men

Tarantino is widely heralded as one of the great writer/directors. Yet new writers are advised to avoid emulating Tarantino because his voice is so strong. Only Tarantino can get away with being Tarantino. Or so the theory goes.

But if Tarantino is that good, why shouldn't we look under the hood and analyse his screenwriting? You don't have to want to emulate his voice to want to understand why his craft is so good.

Chapter 2: The Bloodied Purpose

To that bloodied end, Chas and Stu look at three scripts from distinct phases of QT's career: TRUE ROMANCE, KILL BILL (Volume 1), and INGLOURIOUS BASTERDS. Stu and Chas break down QT's use of structure, detail and - in particular - dramatic irony in an attempt to understand how Tarantino's films are just that good.

Chapter 3: Epilogue, or, Links To Things We Talk About

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

EPISODES IN THE FILMMAKER SPOTLIGHT SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-13/

]]> Listen to steal Tarantino's technique for planting details that detonate as payoffs three scenes later.

Chapter 1: Of Milk and Men

Tarantino is widely heralded as one of the great writer/directors. Yet new writers are advised to avoid emulating Tarantino because his voice is so strong. Only Tarantino can get away with being Tarantino. Or so the theory goes.

But if Tarantino is that good, why shouldn't we look under the hood and analyse his screenwriting? You don't have to want to emulate his voice to want to understand why his craft is so good.

Chapter 2: The Bloodied Purpose

To that bloodied end, Chas and Stu look at three scripts from distinct phases of QT's career: TRUE ROMANCE, KILL BILL (Volume 1), and INGLOURIOUS BASTERDS. Stu and Chas break down QT's use of structure, detail and - in particular - dramatic irony in an attempt to understand how Tarantino's films are just that good.

Chapter 3: Epilogue, or, Links To Things We Talk About

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

EPISODES IN THE FILMMAKER SPOTLIGHT SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-13/

]]> Sun, 05 Oct 2014 16:33:02 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 5113 Listen to steal Tarantino's technique for planting details that detonate as payoffs three scenes later.

Chapter 1: Of Milk and Men

Tarantino is widely heralded as one of the great writer/directors. Yet new writers are advised to avoid emulating Tarantino because his voice is so strong. Only Tarantino can get away with being Tarantino. Or so the theory goes.

But if Tarantino is that good, why shouldn't we look under the hood and analyse his screenwriting? You don't have to want to emulate his voice to want to understand why his craft is so good.

Chapter 2: The Bloodied Purpose

To that bloodied end, Chas and Stu look at three scripts from distinct phases of QT's career: TRUE ROMANCE, KILL BILL (Volume 1), and INGLOURIOUS BASTERDS. Stu and Chas break down QT's use of structure, detail and - in particular - dramatic irony in an attempt to understand how Tarantino's films are just that good.

Chapter 3: Epilogue, or, Links To Things We Talk About

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

EPISODES IN THE FILMMAKER SPOTLIGHT SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-13/

]]> Screenwriting, Scenes, Character, Structure, Dramatic Irony, Character Motivation, Scene Structure, Subtext, Setups & Payoffs Yes DZ-12: Craft, Career and Coffins 12 12 DZ-12: Craft, Career and Coffins full 0d641641c092440013c1a5d2abd2d312 https://draft-zero.com/2014/dz-12/ Listen if you're navigating multiple creative disciplines and wondering how to build a sustainable career across them.

Well, half of us is... Chas (sans Stu) is joined by a very special guest - Natasha Pincus. As a screenwriter, Tash's feature CLIVE was on the 2012 Black List. As a director, her music video for Goyte's Someone I Used To Know was nominated for an MTV Music Video Award. And at the time of this recording, her debut feature as a screenwriter FELL was weeks away from opening night.

In other words, Tash has great experience behind the keyboard, behind the camera, and - as it turns out - in front of the camera. Experience that she is only happy to share with Chas as they discuss career, craft and process.

Stu wasn't around to bring up STAR WARS but he feels that linking to The Star Wars I Used To Know parody video will suffice.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

  • FELL (2014) — (w) Natasha Pincus (d) Kasimir Burgess

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-12/

]]> Listen if you're navigating multiple creative disciplines and wondering how to build a sustainable career across them.

Well, half of us is... Chas (sans Stu) is joined by a very special guest - Natasha Pincus. As a screenwriter, Tash's feature CLIVE was on the 2012 Black List. As a director, her music video for Goyte's Someone I Used To Know was nominated for an MTV Music Video Award. And at the time of this recording, her debut feature as a screenwriter FELL was weeks away from opening night.

In other words, Tash has great experience behind the keyboard, behind the camera, and - as it turns out - in front of the camera. Experience that she is only happy to share with Chas as they discuss career, craft and process.

Stu wasn't around to bring up STAR WARS but he feels that linking to The Star Wars I Used To Know parody video will suffice.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

  • FELL (2014) — (w) Natasha Pincus (d) Kasimir Burgess

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-12/

]]> Tue, 16 Sep 2014 16:57:02 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 3719 Listen if you're navigating multiple creative disciplines and wondering how to build a sustainable career across them.

Well, half of us is... Chas (sans Stu) is joined by a very special guest - Natasha Pincus. As a screenwriter, Tash's feature CLIVE was on the 2012 Black List. As a director, her music video for Goyte's Someone I Used To Know was nominated for an MTV Music Video Award. And at the time of this recording, her debut feature as a screenwriter FELL was weeks away from opening night.

In other words, Tash has great experience behind the keyboard, behind the camera, and - as it turns out - in front of the camera. Experience that she is only happy to share with Chas as they discuss career, craft and process.

Stu wasn't around to bring up STAR WARS but he feels that linking to The Star Wars I Used To Know parody video will suffice.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

  • FELL (2014) — (w) Natasha Pincus (d) Kasimir Burgess

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-12/

]]> Screenwriting, Process, Character, Genre, Career, Collaboration, Craft Tools, Writing for Actors, Development, Visual Language Yes DZ-11: Adventure for the MacGuffin! 11 11 DZ-11: Adventure for the MacGuffin! full 0117bac73c0b9d07bf5974db70f99bed https://draft-zero.com/2014/dz-11/ Listen to discover why the MacGuffin's emotional weight--not its function--determines whether your audience cares enough to follow the entire adventure.

Stu and Chas are joined by a special guest - Scriptmag contributor Brad Johnson - to discuss how the choice of the MacGuffin can impact on the quality of an action/adventure film. To test this thesis, our heroes compare the auspicious originals of two iconic franchise with their, um, less-than-auspicious 4th instalments (in other words we compare RAIDERS OF THE LOST ARK with KINGDOM OF THE CRYSTAL SKULL and THE CURSE OF THE BLACK PEARL with ON STRANGER TIDES) as well as look at two recent & original entries into the genre, namely NATIONAL TREASURE and PRINCE OF PERSIA.

Our heroes uncover how key the relationship between the protagonist and the MacGuffin is and how this can impact on writing in any genre, not just action/adventure. Suprisingly, Brad brings up STAR WARS before Stu does...

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Adventure for the MacGuffin!
  • 00:01:27 – What is a MacGuffin?
  • 00:06:14 – Raiders of the Lost Ark
  • 00:11:59 – Indiana Jones & The Kingdom of the Cystal Skull
  • 00:26:38 – Pirates of the Carribean: Curse of the Black Pearl
  • 00:41:24 – Pirates of the Carribean: On Stranger Tides
  • 00:55:00 – National Treasure
  • 01:17:00 – Princes of Persa: The Sands of Time
  • 01:37:00 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-11/

]]> Listen to discover why the MacGuffin's emotional weight--not its function--determines whether your audience cares enough to follow the entire adventure.

Stu and Chas are joined by a special guest - Scriptmag contributor Brad Johnson - to discuss how the choice of the MacGuffin can impact on the quality of an action/adventure film. To test this thesis, our heroes compare the auspicious originals of two iconic franchise with their, um, less-than-auspicious 4th instalments (in other words we compare RAIDERS OF THE LOST ARK with KINGDOM OF THE CRYSTAL SKULL and THE CURSE OF THE BLACK PEARL with ON STRANGER TIDES) as well as look at two recent & original entries into the genre, namely NATIONAL TREASURE and PRINCE OF PERSIA.

Our heroes uncover how key the relationship between the protagonist and the MacGuffin is and how this can impact on writing in any genre, not just action/adventure. Suprisingly, Brad brings up STAR WARS before Stu does...

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Adventure for the MacGuffin!
  • 00:01:27 – What is a MacGuffin?
  • 00:06:14 – Raiders of the Lost Ark
  • 00:11:59 – Indiana Jones & The Kingdom of the Cystal Skull
  • 00:26:38 – Pirates of the Carribean: Curse of the Black Pearl
  • 00:41:24 – Pirates of the Carribean: On Stranger Tides
  • 00:55:00 – National Treasure
  • 01:17:00 – Princes of Persa: The Sands of Time
  • 01:37:00 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-11/

]]> Thu, 31 Jul 2014 12:00:00 +1000 Chas Fisher & Stuart Willis Chas Fisher & Stuart Willis 6547 Listen to discover why the MacGuffin's emotional weight--not its function--determines whether your audience cares enough to follow the entire adventure.

Stu and Chas are joined by a special guest - Scriptmag contributor Brad Johnson - to discuss how the choice of the MacGuffin can impact on the quality of an action/adventure film. To test this thesis, our heroes compare the auspicious originals of two iconic franchise with their, um, less-than-auspicious 4th instalments (in other words we compare RAIDERS OF THE LOST ARK with KINGDOM OF THE CRYSTAL SKULL and THE CURSE OF THE BLACK PEARL with ON STRANGER TIDES) as well as look at two recent & original entries into the genre, namely NATIONAL TREASURE and PRINCE OF PERSIA.

Our heroes uncover how key the relationship between the protagonist and the MacGuffin is and how this can impact on writing in any genre, not just action/adventure. Suprisingly, Brad brings up STAR WARS before Stu does...

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

CHAPTERS

  • 00:00:00 – Intro: Adventure for the MacGuffin!
  • 00:01:27 – What is a MacGuffin?
  • 00:06:14 – Raiders of the Lost Ark
  • 00:11:59 – Indiana Jones & The Kingdom of the Cystal Skull
  • 00:26:38 – Pirates of the Carribean: Curse of the Black Pearl
  • 00:41:24 – Pirates of the Carribean: On Stranger Tides
  • 00:55:00 – National Treasure
  • 01:17:00 – Princes of Persa: The Sands of Time
  • 01:37:00 – Wrap Up & Key Learnings

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-11/

]]> Screenwriting, Character, Structure, Theme, Character Motivation, Character Agency, Emotional Truth, Setups & Payoffs, Talismans, Stakes, Character Depth, Relationships, Genre Conventions Yes DZ-10: Midpoint Reversals and The Ride 10 10 DZ-10: Midpoint Reversals and The Ride full 9208e5693ab3ed016fc7445d642d28f0 https://draft-zero.com/2014/dz-10/ Listen when your second act sags and you need a structural jolt to accelerate audience engagement.

Stu and Chas embark on the first of a series of explorations into the dreaded Second Act. Their first stop is midpoint reversals or shifts, a plot point bang in the middle of ACT II that changes the protagonist's goal, raises the stakes and potentially leaves your audience leaning forward and asking "How the hell is this going to end?".

To get to the bottom of what makes a good midpoint shift (and whether your story needs one or not), Stu and Chas ride through DEATH AT A FUNERAL, PRISONERS, SHORT TERM 12, ALIEN, ALIENS and UP. We also drift across FULL METAL JACKET, PHILOMENA, HOW I LIVE NOW, ELYSIUM, DIE HARD and STAR WARS. Of course. Stu couldn't resist. It's not even funny anymore, is it?

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-10/

]]> Listen when your second act sags and you need a structural jolt to accelerate audience engagement.

Stu and Chas embark on the first of a series of explorations into the dreaded Second Act. Their first stop is midpoint reversals or shifts, a plot point bang in the middle of ACT II that changes the protagonist's goal, raises the stakes and potentially leaves your audience leaning forward and asking "How the hell is this going to end?".

To get to the bottom of what makes a good midpoint shift (and whether your story needs one or not), Stu and Chas ride through DEATH AT A FUNERAL, PRISONERS, SHORT TERM 12, ALIEN, ALIENS and UP. We also drift across FULL METAL JACKET, PHILOMENA, HOW I LIVE NOW, ELYSIUM, DIE HARD and STAR WARS. Of course. Stu couldn't resist. It's not even funny anymore, is it?

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-10/

]]> Tue, 08 Jul 2014 14:18:03 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 4798 Listen when your second act sags and you need a structural jolt to accelerate audience engagement.

Stu and Chas embark on the first of a series of explorations into the dreaded Second Act. Their first stop is midpoint reversals or shifts, a plot point bang in the middle of ACT II that changes the protagonist's goal, raises the stakes and potentially leaves your audience leaning forward and asking "How the hell is this going to end?".

To get to the bottom of what makes a good midpoint shift (and whether your story needs one or not), Stu and Chas ride through DEATH AT A FUNERAL, PRISONERS, SHORT TERM 12, ALIEN, ALIENS and UP. We also drift across FULL METAL JACKET, PHILOMENA, HOW I LIVE NOW, ELYSIUM, DIE HARD and STAR WARS. Of course. Stu couldn't resist. It's not even funny anymore, is it?

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-10/

]]> Screenwriting, Structure, Character, Scenes, Midpoints, Act Two, Stakes, Plot Questions, Character Motivation, Narrative Velocity, Dramatic Irony Yes DZ-09: Characterising Introductions 9 9 DZ-09: Characterising Introductions full 41ffd8e0dcf29e26da977c6915ef7d05 https://draft-zero.com/2014/dz-09/ Listen if you want your character introductions to pop!

Stu and Chas argue about different techniques for introducing characters and whether character descriptions are even necessary. This is important for writers, as we only have words to compensate for the whole range of cinematic expression. And so Chas and Stu explore techniques like introducing characters through action, having other people discuss the character first, ensuring the introduction represents the character's goal/flaw/theme, and many more.

The scripts Stu and Chas tackle are... [takes a deep breath]... PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL, BLADE, THE DARK KNIGHT, the BREAKING BAD pilot, GIRL WITH THE DRAGON TATTOO, BLADE RUNNER, CHILDREN OF MEN, THE WRESTLER, THE SIXTH SENSE, MISS CONGENIALITY, LOCK STOCK & TWO SMOKING BARRELS, AMELIE, THE WOLF OF WALL STREET, FIGHT CLUB, ROCKY, JAWS, CABIN IN THE WOODS, and (mutters under breath) STAR WARS.

Is that it? Probably missed some. Bugger. Oh well. Have a listen and let us know.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-09/

]]> Listen if you want your character introductions to pop!

Stu and Chas argue about different techniques for introducing characters and whether character descriptions are even necessary. This is important for writers, as we only have words to compensate for the whole range of cinematic expression. And so Chas and Stu explore techniques like introducing characters through action, having other people discuss the character first, ensuring the introduction represents the character's goal/flaw/theme, and many more.

The scripts Stu and Chas tackle are... [takes a deep breath]... PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL, BLADE, THE DARK KNIGHT, the BREAKING BAD pilot, GIRL WITH THE DRAGON TATTOO, BLADE RUNNER, CHILDREN OF MEN, THE WRESTLER, THE SIXTH SENSE, MISS CONGENIALITY, LOCK STOCK & TWO SMOKING BARRELS, AMELIE, THE WOLF OF WALL STREET, FIGHT CLUB, ROCKY, JAWS, CABIN IN THE WOODS, and (mutters under breath) STAR WARS.

Is that it? Probably missed some. Bugger. Oh well. Have a listen and let us know.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-09/

]]> Mon, 23 Jun 2014 19:46:00 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 4972 Listen if you want your character introductions to pop!

Stu and Chas argue about different techniques for introducing characters and whether character descriptions are even necessary. This is important for writers, as we only have words to compensate for the whole range of cinematic expression. And so Chas and Stu explore techniques like introducing characters through action, having other people discuss the character first, ensuring the introduction represents the character's goal/flaw/theme, and many more.

The scripts Stu and Chas tackle are... [takes a deep breath]... PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL, BLADE, THE DARK KNIGHT, the BREAKING BAD pilot, GIRL WITH THE DRAGON TATTOO, BLADE RUNNER, CHILDREN OF MEN, THE WRESTLER, THE SIXTH SENSE, MISS CONGENIALITY, LOCK STOCK & TWO SMOKING BARRELS, AMELIE, THE WOLF OF WALL STREET, FIGHT CLUB, ROCKY, JAWS, CABIN IN THE WOODS, and (mutters under breath) STAR WARS.

Is that it? Probably missed some. Bugger. Oh well. Have a listen and let us know.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-09/

]]> Screenwriting, Character, Character Introductions Yes DZ-08: Status Transactions 8 8 DZ-08: Status Transactions full f27457e303217cbd6cf34f77b5156142 https://draft-zero.com/2014/dz-08/ Listen to make your character relatinships more dynamic.

Stu and Chas explore an idea they both came across studying theatre: status and by extension (or juxtaposition) power. Is a story where a character changes status or experiences loss (or gains) in power more compelling?

In order to explore this source of drama, Stu and Chas limit themselves to scenes where the status or power of a character shifts without the writer resorting to violence or revelation or plot.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-08/

]]> Listen to make your character relatinships more dynamic.

Stu and Chas explore an idea they both came across studying theatre: status and by extension (or juxtaposition) power. Is a story where a character changes status or experiences loss (or gains) in power more compelling?

In order to explore this source of drama, Stu and Chas limit themselves to scenes where the status or power of a character shifts without the writer resorting to violence or revelation or plot.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-08/

]]> Tue, 10 Jun 2014 22:47:09 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 5579 Listen to make your character relatinships more dynamic.

Stu and Chas explore an idea they both came across studying theatre: status and by extension (or juxtaposition) power. Is a story where a character changes status or experiences loss (or gains) in power more compelling?

In order to explore this source of drama, Stu and Chas limit themselves to scenes where the status or power of a character shifts without the writer resorting to violence or revelation or plot.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-08/

]]> Screenwriting, Character, Scenes, Status, Scene Structure, Tactics, Relationships, Subtext, Character Depth Yes DZ-07: On Rewriting - How much Bull is left in the Hustle? 7 7 DZ-07: On Rewriting - How much Bull is left in the Hustle? full 2d5e6f535820cd17e50e6934fdd74809 https://draft-zero.com/2014/dz-07/ Listen to learn how impactful rewriting can be.

Stu and Chas look at AMERICAN BULLSHIT (the 2010 Black List spec script by Eric Warren Singer) and the film it became… AMERICAN HUSTLE (co-written and directed by David O'Russell), which garnered 10 Oscar nominations in 2014.

With both Singer and O'Russell credited on HUSTLE, Stu and Chas explore what O'Russell changed and what stayed the same from BULLSHIT. By comparing the spec with the eventual on-screen product, Stu and Chas gain valuable insights into the re-writing process: character, theme, voice over, back story and more.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-07/

]]> Listen to learn how impactful rewriting can be.

Stu and Chas look at AMERICAN BULLSHIT (the 2010 Black List spec script by Eric Warren Singer) and the film it became… AMERICAN HUSTLE (co-written and directed by David O'Russell), which garnered 10 Oscar nominations in 2014.

With both Singer and O'Russell credited on HUSTLE, Stu and Chas explore what O'Russell changed and what stayed the same from BULLSHIT. By comparing the spec with the eventual on-screen product, Stu and Chas gain valuable insights into the re-writing process: character, theme, voice over, back story and more.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-07/

]]> Mon, 26 May 2014 09:45:51 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 3332 Listen to learn how impactful rewriting can be.

Stu and Chas look at AMERICAN BULLSHIT (the 2010 Black List spec script by Eric Warren Singer) and the film it became… AMERICAN HUSTLE (co-written and directed by David O'Russell), which garnered 10 Oscar nominations in 2014.

With both Singer and O'Russell credited on HUSTLE, Stu and Chas explore what O'Russell changed and what stayed the same from BULLSHIT. By comparing the spec with the eventual on-screen product, Stu and Chas gain valuable insights into the re-writing process: character, theme, voice over, back story and more.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-07/

]]> Screenwriting, Process, Character, Theme, Rewriting, Collaboration, Character Arcs, Voiceover, Worldview, Character Authenticity Yes DZ-06: Key Scenes and Unlocking the Story 6 6 DZ-06: Key Scenes and Unlocking the Story full 9684f39df5b23e4cccb93a197a0ef702 https://draft-zero.com/2014/dz-06/ Listen if you want to understand how a single key scene between protagonist and antagonist can unlock the entire structure of your story!

Can one scene be the key to unlocking the whole story?

Stu and Chas are joined once again by the inestimable Stephen Cleary to explore his idea of 'key scenes'. Scenes like the diner scene in HEAT. Or the boardroom showdown in MARGIN CALL. These scenes are not only key to a film, they can also be key to developing a story. Why? Stephen's observation is that if you put your protagonist and antagonist in a scene together for a period of time and they will instinctively play out the beats of your whole story... if you have the characters figured out.

An interesting theory and one we put to the test. In addition to HEAT and MARGIN CALL, we look at scenes and sequences from THE GODFATHER, NOTTING HILL, THE DARK KNIGHT, THE RAID 2: BERANDAL and Stu avoids mentioning STAR WARS by working in EMPIRE STRIKES BACK instead.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-06/

]]> Listen if you want to understand how a single key scene between protagonist and antagonist can unlock the entire structure of your story!

Can one scene be the key to unlocking the whole story?

Stu and Chas are joined once again by the inestimable Stephen Cleary to explore his idea of 'key scenes'. Scenes like the diner scene in HEAT. Or the boardroom showdown in MARGIN CALL. These scenes are not only key to a film, they can also be key to developing a story. Why? Stephen's observation is that if you put your protagonist and antagonist in a scene together for a period of time and they will instinctively play out the beats of your whole story... if you have the characters figured out.

An interesting theory and one we put to the test. In addition to HEAT and MARGIN CALL, we look at scenes and sequences from THE GODFATHER, NOTTING HILL, THE DARK KNIGHT, THE RAID 2: BERANDAL and Stu avoids mentioning STAR WARS by working in EMPIRE STRIKES BACK instead.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-06/

]]> Mon, 12 May 2014 09:23:53 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 4723 Listen if you want to understand how a single key scene between protagonist and antagonist can unlock the entire structure of your story!

Can one scene be the key to unlocking the whole story?

Stu and Chas are joined once again by the inestimable Stephen Cleary to explore his idea of 'key scenes'. Scenes like the diner scene in HEAT. Or the boardroom showdown in MARGIN CALL. These scenes are not only key to a film, they can also be key to developing a story. Why? Stephen's observation is that if you put your protagonist and antagonist in a scene together for a period of time and they will instinctively play out the beats of your whole story... if you have the characters figured out.

An interesting theory and one we put to the test. In addition to HEAT and MARGIN CALL, we look at scenes and sequences from THE GODFATHER, NOTTING HILL, THE DARK KNIGHT, THE RAID 2: BERANDAL and Stu avoids mentioning STAR WARS by working in EMPIRE STRIKES BACK instead.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-06/

]]> Screenwriting, Scenes, Structure, Character, Key Scenes, Character Motivation, Antagonism, Scene Structure, Dramatic Irony, Setups & Payoffs, Plotting, Showdowns Yes DZ-05: Shifting audience point of view and heightened emotions 5 5 DZ-05: Shifting audience point of view and heightened emotions full 4198c310d5abd2f737ccbca4af425e86 https://draft-zero.com/2014/dz-05/ Listen to learn about the most powerful tool in screenwriting: narrative POV.

Stu and Chas delve into audience point of view - not character point of view! Does your audience know more, less or the same as your characters? And does changing this within a scene trigger or heighten the desired emotional response?

To test this theory, we look to the genre that changes the audience's point of view the most: thrillers. So we analyse scenes and sequences from THE BOURNE SUPREMACY, ZERO DARK THIRTY and ARGO. As usual though, we can't help ourselves and also consider scenes from GROUNDHOG DAY, PHILOMENA and - of course - Stu refers to STAR WARS.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-05/

]]> Listen to learn about the most powerful tool in screenwriting: narrative POV.

Stu and Chas delve into audience point of view - not character point of view! Does your audience know more, less or the same as your characters? And does changing this within a scene trigger or heighten the desired emotional response?

To test this theory, we look to the genre that changes the audience's point of view the most: thrillers. So we analyse scenes and sequences from THE BOURNE SUPREMACY, ZERO DARK THIRTY and ARGO. As usual though, we can't help ourselves and also consider scenes from GROUNDHOG DAY, PHILOMENA and - of course - Stu refers to STAR WARS.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-05/

]]> Sun, 27 Apr 2014 15:59:03 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 5357 Listen to learn about the most powerful tool in screenwriting: narrative POV.

Stu and Chas delve into audience point of view - not character point of view! Does your audience know more, less or the same as your characters? And does changing this within a scene trigger or heighten the desired emotional response?

To test this theory, we look to the genre that changes the audience's point of view the most: thrillers. So we analyse scenes and sequences from THE BOURNE SUPREMACY, ZERO DARK THIRTY and ARGO. As usual though, we can't help ourselves and also consider scenes from GROUNDHOG DAY, PHILOMENA and - of course - Stu refers to STAR WARS.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-05/

]]> Screenwriting, Audience, Scenes, Structure, Narrative POV, Audience Questions, Dramatic Irony, Tension, Genre Conventions, Scene Structure Yes DZ-04: Catharsis and the Post-Coital Cigarette 4 4 DZ-04: Catharsis and the Post-Coital Cigarette full 947c4a683ce3932afba39f83285f2c55 https://draft-zero.com/2014/dz-04/ Listen if you want to make you endings great!

Stu and Chas are joined by their first guest – illustrious script developer and producer Stephen Cleary – to explore how certain films can trigger an outpouring of emotion from the audience. Turns out that Aristotle may have figured it out a few thousand years ago and called it Catharsis.

To examine how Catharsis can be triggered by a sequence of fixed beats, Stu, Chas and Stephen zone in on the last few pages of FIELD OF DREAMS, TOY STORY 3 and SE7EN. And Stu brings up FROZEN. Again.

Thanks to Noisepig Productions for location recording and producing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-04/

]]> Listen if you want to make you endings great!

Stu and Chas are joined by their first guest – illustrious script developer and producer Stephen Cleary – to explore how certain films can trigger an outpouring of emotion from the audience. Turns out that Aristotle may have figured it out a few thousand years ago and called it Catharsis.

To examine how Catharsis can be triggered by a sequence of fixed beats, Stu, Chas and Stephen zone in on the last few pages of FIELD OF DREAMS, TOY STORY 3 and SE7EN. And Stu brings up FROZEN. Again.

Thanks to Noisepig Productions for location recording and producing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-04/

]]> Mon, 14 Apr 2014 09:34:37 +1000 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 5127 Listen if you want to make you endings great!

Stu and Chas are joined by their first guest – illustrious script developer and producer Stephen Cleary – to explore how certain films can trigger an outpouring of emotion from the audience. Turns out that Aristotle may have figured it out a few thousand years ago and called it Catharsis.

To examine how Catharsis can be triggered by a sequence of fixed beats, Stu, Chas and Stephen zone in on the last few pages of FIELD OF DREAMS, TOY STORY 3 and SE7EN. And Stu brings up FROZEN. Again.

Thanks to Noisepig Productions for location recording and producing this episode.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-04/

]]> Screenwriting, Audience, Structure, Catharsis, Endings, Anagnorisis, Climax Yes DZ-03: Making Unlikeable Protagonists Compelling 3 3 DZ-03: Making Unlikeable Protagonists Compelling full 241bfd01fede3299690d9bc1609e61a4 https://draft-zero.com/2014/dz-03/ Listen if you want to understand how filmmakers make audiences care about deeply flawed protagonists

Stu and Chas delve into unlikable protagonists in comedy. How do filmmakers keep us watching characters who should alienate us? To answer this question, Stu and Chas look at the first 20 pages of HOT FUZZ, AS GOOD AS IT GETS and - of course - GROUNDHOG DAY.

PS: In ANCHORMAN (which we also talk about)... um... they renamed the character of Alicia Corningstone to Veronica Corningstone (Christina Applegate) in the shooting script. We keep on referring to her as Alicia as that is what she is referred to in the screenplay. Wups.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-03/

]]> Listen if you want to understand how filmmakers make audiences care about deeply flawed protagonists

Stu and Chas delve into unlikable protagonists in comedy. How do filmmakers keep us watching characters who should alienate us? To answer this question, Stu and Chas look at the first 20 pages of HOT FUZZ, AS GOOD AS IT GETS and - of course - GROUNDHOG DAY.

PS: In ANCHORMAN (which we also talk about)... um... they renamed the character of Alicia Corningstone to Veronica Corningstone (Christina Applegate) in the shooting script. We keep on referring to her as Alicia as that is what she is referred to in the screenplay. Wups.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-03/

]]> Mon, 31 Mar 2014 10:50:44 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 4810 Listen if you want to understand how filmmakers make audiences care about deeply flawed protagonists

Stu and Chas delve into unlikable protagonists in comedy. How do filmmakers keep us watching characters who should alienate us? To answer this question, Stu and Chas look at the first 20 pages of HOT FUZZ, AS GOOD AS IT GETS and - of course - GROUNDHOG DAY.

PS: In ANCHORMAN (which we also talk about)... um... they renamed the character of Alicia Corningstone to Veronica Corningstone (Christina Applegate) in the shooting script. We keep on referring to her as Alicia as that is what she is referred to in the screenplay. Wups.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

SCRIPTS

LINKS

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-03/

]]> Screenwriting, Character, Audience, Genre, Antiheroes, Audience Sympathy, Character Agency, Character Arcs, Emotional Contract, Character Depth, Comedy Yes DZ-02: Do the Screenplay Gurus score big at the Box Office? 2 2 DZ-02: Do the Screenplay Gurus score big at the Box Office? full 96b3cf611e2090a25575d0b764c5e78d https://draft-zero.com/2014/dz-02/ Listen to see how GRAVITY and FROZEN use completely different structural blueprints.

After analysing awards-nominated screenplays, Stu and Chas turn to the original screenplays that struck it biggest at the box office in 2013: GRAVITY and FROZEN. Do bigger films stick more closely to the archetypal story structures espoused by Vogler and Snyder?

We start discussing GRAVITY at around 7'33" and FROZEN at 54'40", though discussion does skip back-and-forth at times.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

  • GRAVITY (2013) — (w) Alfonso Cuaron, Jonas Cuaron (d) Alfonso Cuaron
  • FROZEN (2013) — (w) Jennifer Lee, Chris Buck, Jennifer Lee, Shane Morris (d) Chris Buck, Jennifer Lee

SCRIPTS

  • Study the script: GRAVITY (2013) — Alfonso Cuaron, Jonas Cuaron
  • Study the script: FROZEN (2013) — Jennifer Lee, Chris Buck, Jennifer Lee, Shane Morris

LINKS

EPISODES IN THE SCREENPLAY GURUS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-02/

]]> Listen to see how GRAVITY and FROZEN use completely different structural blueprints.

After analysing awards-nominated screenplays, Stu and Chas turn to the original screenplays that struck it biggest at the box office in 2013: GRAVITY and FROZEN. Do bigger films stick more closely to the archetypal story structures espoused by Vogler and Snyder?

We start discussing GRAVITY at around 7'33" and FROZEN at 54'40", though discussion does skip back-and-forth at times.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

  • GRAVITY (2013) — (w) Alfonso Cuaron, Jonas Cuaron (d) Alfonso Cuaron
  • FROZEN (2013) — (w) Jennifer Lee, Chris Buck, Jennifer Lee, Shane Morris (d) Chris Buck, Jennifer Lee

SCRIPTS

  • Study the script: GRAVITY (2013) — Alfonso Cuaron, Jonas Cuaron
  • Study the script: FROZEN (2013) — Jennifer Lee, Chris Buck, Jennifer Lee, Shane Morris

LINKS

EPISODES IN THE SCREENPLAY GURUS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-02/

]]> Mon, 17 Mar 2014 01:38:54 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 5582 Listen to see how GRAVITY and FROZEN use completely different structural blueprints.

After analysing awards-nominated screenplays, Stu and Chas turn to the original screenplays that struck it biggest at the box office in 2013: GRAVITY and FROZEN. Do bigger films stick more closely to the archetypal story structures espoused by Vogler and Snyder?

We start discussing GRAVITY at around 7'33" and FROZEN at 54'40", though discussion does skip back-and-forth at times.

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

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

———

FILMS

  • GRAVITY (2013) — (w) Alfonso Cuaron, Jonas Cuaron (d) Alfonso Cuaron
  • FROZEN (2013) — (w) Jennifer Lee, Chris Buck, Jennifer Lee, Shane Morris (d) Chris Buck, Jennifer Lee

SCRIPTS

  • Study the script: GRAVITY (2013) — Alfonso Cuaron, Jonas Cuaron
  • Study the script: FROZEN (2013) — Jennifer Lee, Chris Buck, Jennifer Lee, Shane Morris

LINKS

EPISODES IN THE SCREENPLAY GURUS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-02/

]]> Screenwriting, Structure, Genre, Genre Conventions, Plotting, Stakes, Sequences Yes DZ-01: Do Screenplay Gurus win you Oscars? 1 1 DZ-01: Do Screenplay Gurus win you Oscars? full 88277dc0ba63cb746fa6ebee314cbdbe https://draft-zero.com/2014/dz-01/ Listen if you want to know whether Blake Snyder, Michael Hauge and Christopher Vogler's structural theories actually apply to Academy Award-nominated screenplays

In this, our debut episode of Draft Zero, Stu and Chas analyse two screenplays nominated for Academy Awards in 2014 – PHILOMENA and DALLAS BUYERS CLUB – to see whether they follow the structural theories espoused by Blake Snyder, Michael Hauge and Christopher Vogler. We discuss character dynamics, structural challenges, and the complexities of narrative.

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

They aren't the Bible. They aren't the holy grail of screenwriting. You need to do more than read these books to become a screenwriter.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:05 – Welcome to Draft Zero
  • 00:02:23 – Exploring the Gurus of Screenwriting
  • 00:03:22 – The Structure Debate Begins
  • 00:04:18 – Analyzing Award-Winning Screenplays
  • 00:06:30 – Focus on Philomena and Dallas Buyers Club
  • 00:09:29 – Insights from Blake Snyder
  • 00:15:10 – Theme and Character Journeys
  • 00:16:48 – The Catalyst and Dual Protagonists
  • 00:25:22 – All Is Lost and Dark Nights
  • 00:30:31 – Haig's Six Stages of Film
  • 00:46:47 – Reflecting on Structure and Creativity
  • 00:49:42 – New Opportunities and Situations
  • 00:51:43 – Exploring the Hero's Journey
  • 00:58:19 – Shifting Focus to Dallas Buyers Club
  • 01:01:41 – Introduction to Dallas Buyers Club
  • 01:03:37 – Themes of Mortality and Redemption
  • 01:11:49 – The B Story: Battle for Ron's Soul
  • 01:21:48 – Thrilling Elements in Biopics
  • 01:28:49 – The Fight Against Big Pharma
  • 01:32:51 – Lessons from Philomena and Dallas Buyers Club

FILMS

SCRIPTS

LINKS

EPISODES IN THE SCREENPLAY GURUS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-01/

]]> Listen if you want to know whether Blake Snyder, Michael Hauge and Christopher Vogler's structural theories actually apply to Academy Award-nominated screenplays

In this, our debut episode of Draft Zero, Stu and Chas analyse two screenplays nominated for Academy Awards in 2014 – PHILOMENA and DALLAS BUYERS CLUB – to see whether they follow the structural theories espoused by Blake Snyder, Michael Hauge and Christopher Vogler. We discuss character dynamics, structural challenges, and the complexities of narrative.

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

They aren't the Bible. They aren't the holy grail of screenwriting. You need to do more than read these books to become a screenwriter.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:05 – Welcome to Draft Zero
  • 00:02:23 – Exploring the Gurus of Screenwriting
  • 00:03:22 – The Structure Debate Begins
  • 00:04:18 – Analyzing Award-Winning Screenplays
  • 00:06:30 – Focus on Philomena and Dallas Buyers Club
  • 00:09:29 – Insights from Blake Snyder
  • 00:15:10 – Theme and Character Journeys
  • 00:16:48 – The Catalyst and Dual Protagonists
  • 00:25:22 – All Is Lost and Dark Nights
  • 00:30:31 – Haig's Six Stages of Film
  • 00:46:47 – Reflecting on Structure and Creativity
  • 00:49:42 – New Opportunities and Situations
  • 00:51:43 – Exploring the Hero's Journey
  • 00:58:19 – Shifting Focus to Dallas Buyers Club
  • 01:01:41 – Introduction to Dallas Buyers Club
  • 01:03:37 – Themes of Mortality and Redemption
  • 01:11:49 – The B Story: Battle for Ron's Soul
  • 01:21:48 – Thrilling Elements in Biopics
  • 01:28:49 – The Fight Against Big Pharma
  • 01:32:51 – Lessons from Philomena and Dallas Buyers Club

FILMS

SCRIPTS

LINKS

EPISODES IN THE SCREENPLAY GURUS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-01/

]]> Sat, 01 Mar 2014 20:19:52 +1100 Chas Fisher and Stuart Willis Chas Fisher and Stuart Willis 5834 Listen if you want to know whether Blake Snyder, Michael Hauge and Christopher Vogler's structural theories actually apply to Academy Award-nominated screenplays

In this, our debut episode of Draft Zero, Stu and Chas analyse two screenplays nominated for Academy Awards in 2014 – PHILOMENA and DALLAS BUYERS CLUB – to see whether they follow the structural theories espoused by Blake Snyder, Michael Hauge and Christopher Vogler. We discuss character dynamics, structural challenges, and the complexities of narrative.

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

They aren't the Bible. They aren't the holy grail of screenwriting. You need to do more than read these books to become a screenwriter.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:05 – Welcome to Draft Zero
  • 00:02:23 – Exploring the Gurus of Screenwriting
  • 00:03:22 – The Structure Debate Begins
  • 00:04:18 – Analyzing Award-Winning Screenplays
  • 00:06:30 – Focus on Philomena and Dallas Buyers Club
  • 00:09:29 – Insights from Blake Snyder
  • 00:15:10 – Theme and Character Journeys
  • 00:16:48 – The Catalyst and Dual Protagonists
  • 00:25:22 – All Is Lost and Dark Nights
  • 00:30:31 – Haig's Six Stages of Film
  • 00:46:47 – Reflecting on Structure and Creativity
  • 00:49:42 – New Opportunities and Situations
  • 00:51:43 – Exploring the Hero's Journey
  • 00:58:19 – Shifting Focus to Dallas Buyers Club
  • 01:01:41 – Introduction to Dallas Buyers Club
  • 01:03:37 – Themes of Mortality and Redemption
  • 01:11:49 – The B Story: Battle for Ron's Soul
  • 01:21:48 – Thrilling Elements in Biopics
  • 01:28:49 – The Fight Against Big Pharma
  • 01:32:51 – Lessons from Philomena and Dallas Buyers Club

FILMS

SCRIPTS

LINKS

EPISODES IN THE SCREENPLAY GURUS SERIES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-01/

]]> Screenwriting, Structure, Character, Genre, Plotting, Act Two, Escalation, Character Arcs, Genre Conventions, Character Motivation, Unfilmables Yes Chas Fisher Stuart Willis DZ-00: Welcome to Draft Zero 1 1 DZ-00: Welcome to Draft Zero full e9b04f5c9cfa481f88a3c54fe93ff224 https://draft-zero.com/2014/dz-00/ Listen if you're new to the podcast and want to understand our philosophy on screenwriting craft!

Welcome to Draft Zero. A message from 2019 to those starting with our first episodes dating from 2014. We’ve learned a lot in five years. So where do you begin?

Since launching our podcast, we’ve embarked on an ambitious mission: to enhance our writing skills by dissecting the very elements we grapple with in our own projects. From thematic structure to character development, we study successful films and scripts to glean insights that not only improve our own craft but also enable us to share valuable resources with our listeners.

Basically we do our homework and share it with you: leaving you with (hopefully!) golden nuggets.

Attention first-time listeners! We’d like to highlight that our episodes are not necessarily linear, nor do they follow a strict curriculum of lessons. Instead, we jump from topic to topic, tackling micro-elements such as inducing catharsis in scenes or mastering pacing through white space on the page. We understand that this might not suit everyone; thus, we encourage new writers to explore our website and the “Beginner’s Guide to Draft Zero,” where we’ve categorized our episodes into manageable themes like character work, scene development, and thematic exploration.

Remember, this podcast isn’t about following a structured course; it’s about opening up the conversation around screenwriting. Whether you are an aspiring writer or someone who enjoys dissecting media narratives, we do our best to provide insights. We’re constantly learning ourselves and sharing what we’ve discovered. The ultimate goal is to foster growth, creativity, and community within the field of filmmaking.

Many thanks to all our patrons but particularly to Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie. They’re good humans.

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

We're trying to do your homework for you.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:10 – Introduction to Draft Zero
  • 00:01:14 – Improving Our Writing Craft
  • 00:04:18 – Resources for Beginning Writers
  • 00:06:03 – Learning Through Experience
  • 00:07:39 – The Importance of Getting Started
  • 00:08:40 – Closing Thoughts for Listeners

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-00/

]]> Listen if you're new to the podcast and want to understand our philosophy on screenwriting craft!

Welcome to Draft Zero. A message from 2019 to those starting with our first episodes dating from 2014. We’ve learned a lot in five years. So where do you begin?

Since launching our podcast, we’ve embarked on an ambitious mission: to enhance our writing skills by dissecting the very elements we grapple with in our own projects. From thematic structure to character development, we study successful films and scripts to glean insights that not only improve our own craft but also enable us to share valuable resources with our listeners.

Basically we do our homework and share it with you: leaving you with (hopefully!) golden nuggets.

Attention first-time listeners! We’d like to highlight that our episodes are not necessarily linear, nor do they follow a strict curriculum of lessons. Instead, we jump from topic to topic, tackling micro-elements such as inducing catharsis in scenes or mastering pacing through white space on the page. We understand that this might not suit everyone; thus, we encourage new writers to explore our website and the “Beginner’s Guide to Draft Zero,” where we’ve categorized our episodes into manageable themes like character work, scene development, and thematic exploration.

Remember, this podcast isn’t about following a structured course; it’s about opening up the conversation around screenwriting. Whether you are an aspiring writer or someone who enjoys dissecting media narratives, we do our best to provide insights. We’re constantly learning ourselves and sharing what we’ve discovered. The ultimate goal is to foster growth, creativity, and community within the field of filmmaking.

Many thanks to all our patrons but particularly to Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie. They’re good humans.

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

We're trying to do your homework for you.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:10 – Introduction to Draft Zero
  • 00:01:14 – Improving Our Writing Craft
  • 00:04:18 – Resources for Beginning Writers
  • 00:06:03 – Learning Through Experience
  • 00:07:39 – The Importance of Getting Started
  • 00:08:40 – Closing Thoughts for Listeners

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-00/

]]> Sat, 01 Feb 2014 12:00:00 +1100 Chas Fisher & Stu Willis Chas Fisher & Stu Willis 556 Listen if you're new to the podcast and want to understand our philosophy on screenwriting craft!

Welcome to Draft Zero. A message from 2019 to those starting with our first episodes dating from 2014. We’ve learned a lot in five years. So where do you begin?

Since launching our podcast, we’ve embarked on an ambitious mission: to enhance our writing skills by dissecting the very elements we grapple with in our own projects. From thematic structure to character development, we study successful films and scripts to glean insights that not only improve our own craft but also enable us to share valuable resources with our listeners.

Basically we do our homework and share it with you: leaving you with (hopefully!) golden nuggets.

Attention first-time listeners! We’d like to highlight that our episodes are not necessarily linear, nor do they follow a strict curriculum of lessons. Instead, we jump from topic to topic, tackling micro-elements such as inducing catharsis in scenes or mastering pacing through white space on the page. We understand that this might not suit everyone; thus, we encourage new writers to explore our website and the “Beginner’s Guide to Draft Zero,” where we’ve categorized our episodes into manageable themes like character work, scene development, and thematic exploration.

Remember, this podcast isn’t about following a structured course; it’s about opening up the conversation around screenwriting. Whether you are an aspiring writer or someone who enjoys dissecting media narratives, we do our best to provide insights. We’re constantly learning ourselves and sharing what we’ve discovered. The ultimate goal is to foster growth, creativity, and community within the field of filmmaking.

Many thanks to all our patrons but particularly to Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie. They’re good humans.

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

We're trying to do your homework for you.

— chas

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

CHAPTERS

  • 00:00:10 – Introduction to Draft Zero
  • 00:01:14 – Improving Our Writing Craft
  • 00:04:18 – Resources for Beginning Writers
  • 00:06:03 – Learning Through Experience
  • 00:07:39 – The Importance of Getting Started
  • 00:08:40 – Closing Thoughts for Listeners

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2014/dz-00/

]]> Screenwriting, Process, Character, Theme, Rewriting, Narrative Aesthetics, Craft Tools, Development, Whitespace, Catharsis, Character Agency, Tactics, Genre Conventions Yes