What can we learn by analysing how ‘oners’ are written on the page? Chas, Stu and Mel reunite to talk about writing the *feel* of camerawork in screenplays. We use “oners” — a long-playing continuous take — as a lens to talk about how some writers have “directed” from the page. We talk immediacy, camera positions, handovers, and anchoring action and more. We breakdown the famous Copacabana shot from GOODFELLAS, the awe-inspiring chase sequence from THE ADVENTURES OF TINTIN, and the heart pounding ‘Zed attack’ from CHILDREN OF MEN. We also briefly discuss THE BOURNE IDENTITY, HEREDITARY, THE BEAR, ALL THE PRESIDENTS MEN and TOUCH OF EVIL. And we do this breakdown by closely reading the actual words on the page. So thanks to Meegan May (of Starship Q Star) for performing the big print / action lines. Script Pages available on our Patreon. Thanks to Chris Walker for editing this episode. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. CHAPTERS  00:00:13 - Cold Open 00:00:23 - ScriptUp Sponsorship 00:00:33 - New Chapter 00:01:58 - Intro: Camerwork on the page 00:09:50 - Contrary Examples: The Bourne Identity and Hereditary 00:13:15 - Narrative Purpose and Oners 00:16:30 - Goodfellas (intro) 00:16:57 - Goodfellas (excerpt) 00:18:22 - Goodfellas (discussion) 00:32:48 - The Adventures of Tintin (intro) 00:34:14 - The Adventures of Tintin (excerpt) 00:37:23 - The Adventures of Tintin (discussion) 00:49:34 - Children of Men (intro) 00:53:38 - Children of Men (excerpt) 01:00:32 - Children of Men (discussion) 01:12:24 - Key Learnings and Wrap Up  SCENE EXCERPTS via  Patreon: https://www.patreon.com/posts/dz-101-script-85503252 DZ Instagram: https://www.instagram.com/draft_zero/ SZ Instagram: https://www.instagram.com/_shotzero/ DZ Twitter: https://twitter.com/draft_zero SZ Twitter: https://twitter.com/_shotzero  LINKS  WATCH: Goodfellas, The “Copacabana” shot - https://youtube.com/watch?v=OJEEVtqXdK8 WATCH: The Adventures of TinTin, “Get that bird!” - https://youtube.com/watch?v=ryB-3BRdd64 WATCH: Children of Men, “Zed’s attack” - https://youtube.com/watch?v=YMM8XrZe1R8 WATCH: The Bourne Identity, “Escaping The American Embassy” - https://youtube.com/watch?v=tqsUt9n13Gg WATCH: All The President’s Men, “The Dahlberg Scene” - https://www.youtube.com/watch?v=Qeemjaosp-E WATCH: Every Frame A Painting - The Spielberg Oner: https://www.youtube.com/watch?v=8q4X2vDRfR LISTEN: Starship Q Star: https://starshipqstar.com  LINKS  WATCH: Goodfellas, The“Copacabana” shot - https://youtube.com/watch?v=OJEEVtqXdK8 WATCH: The Adventures of TinTin, “Get that bird!” - https://youtube.com/watch?v=ryB-3BRdd64 WATCH: Children of Men, “Zed’s attack” - https://youtube.com/watch?v=YMM8XrZe1R8 WATCH: The Bourne Identity, “Escaping The American Embassy” - https://youtube.com/watch?v=tqsUt9n13Gg WATCH: All The President’s Men, “The Dahlberg Scene” - https://www.youtube.com/watch?v=Qeemjaosp-E WATCH: Every Frame A Painting - The Spielberg Oner: https://www.youtube.com/watch?v=8q4X2vDRfR LISTEN: Starship Q Star: https://starshipqstar.com  RELATED EPISODES  DZ-60: Unfilmables and Unscriptables (Part 1) - Engaging imagination DZ-61: Unfilmables and Unscriptables (Part 2) - Moments of Awe DZ-62: Unfilmables 3 – As Ifs &amp; Emotional context DZ-16: Masters of Time and Whitespace  This episode brought to you by (drum roll):  ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off  And how can we forget our awesome Patreons, especially Lily,  Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

What can we learn by analysing how ‘oners’ are written on the page? Chas, Stu and Mel reunite to talk about writing the *feel* of camerawork in screenplays. We use “oners” — a long-playing continuous take — as a lens to talk about how some writers have “directed” from the page. We talk immediacy, camera positions, handovers, and anchoring action and more. We breakdown the famous Copacabana shot from GOODFELLAS, the awe-inspiring chase sequence from THE ADVENTURES OF TINTIN, and the heart pounding ‘Zed attack’ from CHILDREN OF MEN. We also briefly discuss THE BOURNE IDENTITY, HEREDITARY, THE BEAR, ALL THE PRESIDENTS MEN and TOUCH OF EVIL. And we do this breakdown by closely reading the actual words on the page. So thanks to Meegan May (of Starship Q Star) for performing the big print / action lines. Script Pages available on our Patreon. Thanks to Chris Walker for editing this episode. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. CHAPTERS <ul> <li>00:00:13 - Cold Open</li> <li>00:00:23 - ScriptUp Sponsorship</li> <li>00:00:33 - New Chapter</li> <li>00:01:58 - Intro: Camerwork on the page</li> <li>00:09:50 - Contrary Examples: The Bourne Identity and Hereditary</li> <li>00:13:15 - Narrative Purpose and Oners</li> <li>00:16:30 - Goodfellas (intro)</li> <li>00:16:57 - Goodfellas (excerpt)</li> <li>00:18:22 - Goodfellas (discussion)</li> <li>00:32:48 - The Adventures of Tintin (intro)</li> <li>00:34:14 - The Adventures of Tintin (excerpt)</li> <li>00:37:23 - The Adventures of Tintin (discussion)</li> <li>00:49:34 - Children of Men (intro)</li> <li>00:53:38 - Children of Men (excerpt)</li> <li>01:00:32 - Children of Men (discussion)</li> <li>01:12:24 - Key Learnings and Wrap Up</li> </ul> SCENE EXCERPTS via <ul> <li>Patreon: <a href="https://www.patreon.com/posts/dz-99-scene-82312058" rel="nofollow" target="_blank">https://www.patreon.com/posts/dz-101-script-85503252</a></li> <li>DZ Instagram: <a href="https://www.instagram.com/draft_zero/" rel="nofollow" target="_blank">https://www.instagram.com/draft_zero/</a></li> <li>SZ Instagram: <a href="https://www.instagram.com/_shotzero/" rel="nofollow" target="_blank">https://www.instagram.com/_shotzero/</a></li> <li>DZ Twitter: <a href="https://twitter.com/draft_zero" rel="nofollow" target="_blank">https://twitter.com/draft_zero</a></li> <li>SZ Twitter: <a href="https://twitter.com/_shotzero" rel="nofollow" target="_blank">https://twitter.com/_shotzero</a></li> </ul> LINKS <ul> <li>WATCH: Goodfellas, The “Copacabana” shot - <a href="https://youtube.com/watch?v=OJEEVtqXdK8" rel="nofollow" target="_blank">https://youtube.com/watch?v=OJEEVtqXdK8</a></li> <li>WATCH: The Adventures of TinTin, “Get that bird!” - <a href="https://youtube.com/watch?v=ryB-3BRdd64" rel="nofollow" target="_blank">https://youtube.com/watch?v=ryB-3BRdd64</a></li> <li>WATCH: Children of Men, “Zed’s attack” - <a href="https://youtube.com/watch?v=YMM8XrZe1R8" rel="nofollow" target="_blank">https://youtube.com/watch?v=YMM8XrZe1R8</a></li> <li>WATCH: The Bourne Identity, “Escaping The American Embassy” - <a href="https://youtube.com/watch?v=tqsUt9n13Gg" rel="nofollow" target="_blank">https://youtube.com/watch?v=tqsUt9n13Gg</a></li> <li>WATCH: All The President’s Men, “The Dahlberg Scene” - <a href="https://www.youtube.com/watch?v=Qeemjaosp-E" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=Qeemjaosp-E</a></li> <li>WATCH: Every Frame A Painting - The Spielberg Oner: <a href="https://www.youtube.com/watch?v=8q4X2vDRfR" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=8q4X2vDRfR</a></li> <li>LISTEN: Starship Q Star: <a href="https://starshipqstar.com/" rel="nofollow" target="_blank">https://starshipqstar.com</a></li> </ul> LINKS <ul> <li>WATCH: Goodfellas, The“Copacabana” shot - <a href="https://youtube.com/watch?v=OJEEVtqXdK8" rel="nofollow" target="_blank">https://youtube.com/watch?v=OJEEVtqXdK8</a></li> <li>WATCH: The Adventures of TinTin, “Get that bird!” - <a href="https://youtube.com/watch?v=ryB-3BRdd64" rel="nofollow" target="_blank">https://youtube.com/watch?v=ryB-3BRdd64</a></li> <li>WATCH: Children of Men, “Zed’s attack” - <a href="https://youtube.com/watch?v=YMM8XrZe1R8" rel="nofollow" target="_blank">https://youtube.com/watch?v=YMM8XrZe1R8</a></li> <li>WATCH: The Bourne Identity, “Escaping The American Embassy” - <a href="https://youtube.com/watch?v=tqsUt9n13Gg" rel="nofollow" target="_blank">https://youtube.com/watch?v=tqsUt9n13Gg</a></li> <li>WATCH: All The President’s Men, “The Dahlberg Scene” - <a href="https://www.youtube.com/watch?v=Qeemjaosp-E" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=Qeemjaosp-E</a></li> <li>WATCH: Every Frame A Painting - The Spielberg Oner: <a href="https://www.youtube.com/watch?v=8q4X2vDRfR" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=8q4X2vDRfR</a></li> <li>LISTEN: Starship Q Star: <a href="https://starshipqstar.com/" rel="nofollow" target="_blank">https://starshipqstar.com</a></li> </ul> RELATED EPISODES <ul> <li><a href="http://draft-zero.com/2019/dz-60/" rel="nofollow" target="_blank">DZ-60: Unfilmables and Unscriptables (Part 1) - Engaging imagination</a></li> <li><a href="http://draft-zero.com/2019/dz-61/" rel="nofollow" target="_blank">DZ-61: Unfilmables and Unscriptables (Part 2) - Moments of Awe</a></li> <li><a href="http://draft-zero.com/2019/dz-62/" rel="nofollow" target="_blank">DZ-62: Unfilmables 3 – As Ifs &amp; Emotional context</a></li> <li><a href="http://DZ-16%20Masters%20of%20Time%20and%20Whitespace" rel="nofollow" target="_blank">DZ-16: Masters of Time and Whitespace</a></li> </ul> This episode brought to you by (drum roll): <ul> <li>ScriptUp: <a href="https://www.scriptupstudio.com/" rel="nofollow" target="_blank">https://www.scriptupstudio.com</a> – use promo code DZ10 to get 10% off</li> </ul> And how can we forget our awesome <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">Patreons</a>, especially Lily,  Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob. Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a> or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-101 Creating Immediacy & Anchoring Action on the Page

What scene work tools can be learned from martial arts? In this slightly unusual episode of Draft Zero (but also incredibly on brand), Stu and philosopher swordsperson Damon Young discuss how the lessons they have learned from martial arts can be applied to scenes. In particular, they discuss how approaching an opponent in a sword fight can be analogous to how characters approach conflict, such as: the distance between the characters, who chooses to engage first, how to feint, how to lure an attack by leaving yourself vulnerable, etc.  They reference classic conflicts such as Clarice interviewing Dr. Lecter in SILENCE OF THE LAMBS, when Miranda puts down Andrea in THE DEVIL WEARS PRADA, and the final showdown between Obi-Wan and Darth Maul in the animated series THE CLONE WARS.  You can find Damon Young here:  Website:  https://www.damonyoung.com.au/ Instagram:  https://www.instagram.com/damonayoung/ Mastodon:  https://mas.to/@damonyoung  As always: SPOILERS ABOUND. RELATED EPISODES  DZ-29: Showdowns &amp; Scene Structure: draft-zero.com/2016/dz-29/ DZ-84: Choices &amp; Decisions 1: http://draft-zero.com/2021/dz-84/  DZ-84: Choices &amp; Decisions 2: http://draft-zero.com/2021/dz-85/   This episode is brought to you by our awesome Patreons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

What scene work tools can be learned from martial arts? In this slightly unusual episode of Draft Zero (but also incredibly on brand), Stu and philosopher swordsperson Damon Young discuss how the lessons they have learned from martial arts can be applied to scenes. In particular, they discuss how approaching an opponent in a sword fight can be analogous to how characters approach conflict, such as: the distance between the characters, who chooses to engage first, how to feint, how to lure an attack by leaving yourself vulnerable, etc.  They reference classic conflicts such as Clarice interviewing Dr. Lecter in SILENCE OF THE LAMBS, when Miranda puts down Andrea in THE DEVIL WEARS PRADA, and the final showdown between Obi-Wan and Darth Maul in the animated series THE CLONE WARS.  You can find Damon Young here: <ul> <li>Website: <a href="https://aus01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.damonyoung.com.au%2F&amp;data=05%7C01%7C%7Cdc4a1bc1c8ef45c2c57708db5e4f4afa%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C638207466909196590%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&amp;sdata=H13m8yi9EfGeNN3ojDzNCYmyZ%2F3S3SeeY1Onbnez3xU%3D&amp;reserved=0" rel="nofollow" target="_blank"> https://www.damonyoung.com.au/</a></li> <li>Instagram: <a href="https://aus01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.instagram.com%2Fdamonayoung%2F&amp;data=05%7C01%7C%7Cdc4a1bc1c8ef45c2c57708db5e4f4afa%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C638207466909196590%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&amp;sdata=G5YSKXPZt5dHG2A1F77Qq9W3fpDkojYP7GnQi8GeBrQ%3D&amp;reserved=0" rel="nofollow" target="_blank"> https://www.instagram.com/damonayoung/</a></li> <li>Mastodon: <a href="https://aus01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmas.to%2F%40damonyoung&amp;data=05%7C01%7C%7Cdc4a1bc1c8ef45c2c57708db5e4f4afa%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C638207466909196590%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&amp;sdata=64N1PYwHl%2FOvwRgOJRL6vYOSFb3KgiHLY8ghdTjvG8I%3D&amp;reserved=0" rel="nofollow" target="_blank"> https://mas.to/@damonyoung</a></li> </ul> As always: SPOILERS ABOUND. RELATED EPISODES <ul> <li>DZ-29: Showdowns &amp; Scene Structure: <a href="https://draft-zero.com/2018/dz-54/" rel="nofollow" target="_blank">draft-zero.com/2016/dz-29/</a></li> <li>DZ-84: Choices &amp; Decisions 1: <a href="http://draft-zero.com/2021/dz-84/" rel="nofollow" target="_blank">http://draft-zero.com/2021/dz-84/</a> </li> <li>DZ-84: Choices &amp; Decisions 2: <a href="http://draft-zero.com/2021/dz-85/" rel="nofollow" target="_blank">http://draft-zero.com/2021/dz-85/</a> </li> </ul> This episode is brought to you by our awesome <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">Patreons</a>, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob. Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a> or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-100: Scenes through Swords

How do audience questions shape scenes? nspired by our earlier episodes on sequences, Chas and Stu narrow their focus to look at the atomic unit of screen storytelling: the scene. In particular, we breakdown how question and answers prompted in the audience structure individual scenes. We talk plot, character, and theme questions (and their hybrids) by analysing scenes from LOKI, THE LAST CRUSADE, THE BOURNE SUPREMACY, QUEEN AND SLIM,  and DO THE RIGHT THING. We also briefly discuss SUCCESSION, DUNGEONS &amp; DRAGONS: HONOUR AMONG THIEVES, and ANDOR. As always: SPOILERS ABOUND CHAPTERS  00:00:00 - Cold Open 00:01:56 - Intro: Scene Questions 00:16:30 - Loki 00:23:24 - The Last Crusade 00:33:03 - The Bourne Supremacy 00:45:50 - Queen and Slim 01:03:03 - Do The Right Thing 01:15:03 - Key Learnings &amp; Wrap Up 01:33:02 - Many thanks to our Patreons  SCENE EXCERPTS via:  Patreon: https://www.patreon.com/posts/dz-99-scene-82312058 Instagram: https://www.instagram.com/draft_zero/ Twitter: https://twitter.com/draft_zero  RELATED EPISODES  DZ-54: Thematic Sequences: https://draft-zero.com/2018/dz-54/ DZ-43: Driving Sequences – Character and Plot Intensity: https://draft-zero.com/2017/dz-43/ DZ-45: Arguments of the Scene: https://draft-zero.com/2017/dz-45/  This episode brought to you by (drum roll):  ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off  And how can we forget our awesome Patreons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

How do audience questions shape scenes? nspired by our earlier episodes on sequences, Chas and Stu narrow their focus to look at the atomic unit of screen storytelling: the scene. In particular, we breakdown how question and answers prompted in the audience structure individual scenes. We talk plot, character, and theme questions (and their hybrids) by analysing scenes from LOKI, THE LAST CRUSADE, THE BOURNE SUPREMACY, QUEEN AND SLIM,  and DO THE RIGHT THING. We also briefly discuss SUCCESSION, DUNGEONS &amp; DRAGONS: HONOUR AMONG THIEVES, and ANDOR. As always: SPOILERS ABOUND CHAPTERS <ul> <li>00:00:00 - Cold Open</li> <li>00:01:56 - Intro: Scene Questions</li> <li>00:16:30 - Loki</li> <li>00:23:24 - The Last Crusade</li> <li>00:33:03 - The Bourne Supremacy</li> <li>00:45:50 - Queen and Slim</li> <li>01:03:03 - Do The Right Thing</li> <li>01:15:03 - Key Learnings &amp; Wrap Up</li> <li>01:33:02 - Many thanks to our Patreons</li> </ul> SCENE EXCERPTS via: <ul> <li>Patreon: <a href="https://www.patreon.com/posts/dz-99-scene-82312058" rel="nofollow" target="_blank">https://www.patreon.com/posts/dz-99-scene-82312058</a></li> <li>Instagram: <a href="https://www.instagram.com/draft_zero/" rel="nofollow" target="_blank">https://www.instagram.com/draft_zero/</a></li> <li>Twitter: <a href="https://twitter.com/draft_zero" rel="nofollow" target="_blank">https://twitter.com/draft_zero</a></li> </ul> RELATED EPISODES <ul> <li>DZ-54: Thematic Sequences: <a href="https://draft-zero.com/2018/dz-54/" rel="nofollow" target="_blank">https://draft-zero.com/2018/dz-54/</a></li> <li>DZ-43: Driving Sequences – Character and Plot Intensity: <a href="https://draft-zero.com/2017/dz-43/" rel="nofollow" target="_blank">https://draft-zero.com/2017/dz-43/</a></li> <li>DZ-45: Arguments of the Scene: <a href="https://draft-zero.com/2017/dz-45/" rel="nofollow" target="_blank">https://draft-zero.com/2017/dz-45/</a></li> </ul> This episode brought to you by (drum roll): <ul> <li>ScriptUp: <a href="https://www.scriptupstudio.com/" rel="nofollow" target="_blank">https://www.scriptupstudio.com</a> – use promo code DZ10 to get 10% off</li> </ul> And how can we forget our awesome <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">Patreons</a>, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob. Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a> or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-99: Scene Questions

What effect does adding a ton of characters have on your story? In Part 3 (the final part? Ha!) of our exploration into ensemble stories, Stu, Chas &amp; Mel examine films whose genres do not conventionally require a ton of character or that use those ensembles in unconventional ways - in particular, adding whole storylines that are separate from the main 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. As always: SPOILERS ABOUND Thanks to Chris Walker for editing this episode. CHAPTERS  00:00:00 - Cold Open 00:01:35 - Intro: Character Function 00:08:43 - The Woman King 00:50:00 - Riders of Justice 01:20:36 - Nope 01:47:00 - Key Learnings &amp; Wrap Up 01:59:06 - Many thanks to our Patreons  RELATED EPISODES  DZ-96: Ensembles 1 – What do we mean by an ensemble? DZ-97: Ensembles 2 – Servicing Characters  EPISODE LINKS  Mel Killingsworth on  The Möbius Strip Storytelling of NOPE Mel Killingsworth on Riders of Justice: Tidings of Trauma and Joy  This episode brought to you by (drum roll):  ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!  And how can we forget our awesome Patreons, especially Alexandre, Casimir, Eduardo, Thomas, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

What effect does adding a ton of characters have on your story? In Part 3 (the final part? Ha!) of our exploration into ensemble stories, Stu, Chas &amp; Mel examine films whose genres do not conventionally require a ton of character or that use those ensembles in unconventional ways - in particular, adding whole storylines that are separate from the main 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. As always: SPOILERS ABOUND Thanks to Chris Walker for editing this episode. CHAPTERS <ul> <li>00:00:00 - Cold Open</li> <li>00:01:35 - Intro: Character Function</li> <li>00:08:43 - The Woman King</li> <li>00:50:00 - Riders of Justice</li> <li>01:20:36 - Nope</li> <li>01:47:00 - Key Learnings &amp; Wrap Up</li> <li>01:59:06 - Many thanks to our Patreons</li> </ul> RELATED EPISODES <ul> <li><a href="http://draft-zero.com/2023/dz-96/" rel="nofollow" target="_blank">DZ-96: Ensembles 1 – What do we mean by an ensemble?</a></li> <li><a href="http://draft-zero.com/2023/dz-97/" rel="nofollow" target="_blank">DZ-97: Ensembles 2 – Servicing Characters</a></li> </ul> EPISODE LINKS <ul> <li>Mel Killingsworth on <a href="https://www.clapperltd.co.uk/home/the-moebius-strip-storytelling-of-nope" rel="nofollow" target="_blank"> The Möbius Strip Storytelling of NOPE</a></li> <li>Mel Killingsworth on <a href="https://www.brightwalldarkroom.com/2022/01/20/riders-of-justice/" rel="nofollow" target="_blank">Riders of Justice: Tidings of Trauma and Joy</a></li> </ul> This episode brought to you by (drum roll): <ul> <li>ScriptUp: <a href="https://www.scriptupstudio.com/" rel="nofollow" target="_blank">https://www.scriptupstudio.com</a> – use promo code DZ10 to get 10% off; and</li> <li>ArcStudio: go to <a href="https://www.arcstudiopro.com/draftzero" rel="nofollow" target="_blank">https://www.arcstudiopro.com/draftzero</a> for $30 off a pro subscription!</li> </ul> And how can we forget our awesome <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">Patreons</a>, especially Alexandre, Casimir, Eduardo, Thomas, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob. You rule! Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a> or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-98: Ensembles 3 - Character Function & Theme

How do you give your audience access to a lot of characters? In Part 2 of our exploration into ensemble stories, Stu, Chas and Mel examine films whose plot and genre require a lot of characters. Thus we tackle a team sports film (PITCH PERFECT), a murder mystery (GLASS ONION), a slasher (SCREAM 2022) and a family holiday flick (THE FAMILY STONE). By looking at these films, we discover tools for writers to service characters and give them more dimension. These tools include: shifting group dynamics; the spectrum of private to public behaviour; breaking POV, and quintessential group introductions. As always: SPOILERS ABOUND Thanks to Chris Walker for editing this episode. CHAPTERS  00:00:00 - Cold Open 00:01:46 - Intro: Servicing Characters 00:14:40 - Pitch Perfect 00:37:54 - Glass Onion 01:09:20 - Scream 5 01:32:17 - The Family Stone 02:13:22 - Key Learnings &amp; Wrap Up  RELATED EPISODES  DZ-96: Ensembles 1 - What do we mean by an ensemble? DZ-43: Driving Sequences – Character and Plot Intensity DZ-09: Characterising Introductions  This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget our awesome Patreons? Especially Casimir, Eduardo, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

How do you give your audience access to a lot of characters? In Part 2 of our exploration into ensemble stories, Stu, Chas and Mel examine films whose plot and genre require a lot of characters. Thus we tackle a team sports film (PITCH PERFECT), a murder mystery (GLASS ONION), a slasher (SCREAM 2022) and a family holiday flick (THE FAMILY STONE). By looking at these films, we discover tools for writers to service characters and give them more dimension. These tools include: shifting group dynamics; the spectrum of private to public behaviour; breaking POV, and quintessential group introductions. As always: SPOILERS ABOUND Thanks to Chris Walker for editing this episode. CHAPTERS <ul> <li>00:00:00 - Cold Open</li> <li>00:01:46 - Intro: Servicing Characters</li> <li>00:14:40 - Pitch Perfect</li> <li>00:37:54 - Glass Onion</li> <li>01:09:20 - Scream 5</li> <li>01:32:17 - The Family Stone</li> <li>02:13:22 - Key Learnings &amp; Wrap Up</li> </ul> RELATED EPISODES <ul> <li><a href="http://draft-zero.com/2023/dz-96/" rel="nofollow" target="_blank">DZ-96: Ensembles 1 - What do we mean by an ensemble?</a></li> <li><a href="http://draft-zero.com/2017/dz-43/" rel="nofollow" target="_blank">DZ-43: Driving Sequences – Character and Plot Intensity</a></li> <li><a href="http://draft-zero.com/2014/dz-09/" rel="nofollow" target="_blank">DZ-09: Characterising Introductions</a></li> </ul> This episode brought to you by (drum roll): ScriptUp: <a href="https://www.scriptupstudio.com/" rel="nofollow" target="_blank">https://www.scriptupstudio.com</a> – use promo code DZ10 to get 10% off; and ArcStudio: go to <a href="https://www.arcstudiopro.com/draftzero" rel="nofollow" target="_blank">https://www.arcstudiopro.com/draftzero</a> for $30 off a pro subscription! And how can we forget our awesome <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">Patreons</a>? Especially Casimir, Eduardo, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a> or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-97: Ensembles 2 - Servicing Characters

DZ-96: Ensembles 1 - What do we mean by an ensemble? How can the same story feel different when you have more characters? In the first part of our series on ensembles, Chas, Stu and Mel start by laying the groundwork for our future episodes. And we begin by asking the seemingly innocuous question: ‘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. We also talk through our lens for breaking down group dynamics: collaborative vs competitive vs combative. As always: SPOILERS ABOUND Thanks to Chris Walker for editing this episode. &lt;3 Chris! 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 &amp; Hopeful Learnings 01:15:15 - Patreon Thanks    This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a subscription! And how can we forget our awesome Patreons?, Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

DZ-96: Ensembles 1 - What do we mean by an ensemble? How can the same story feel different when you have more characters? In the first part of our series on ensembles, Chas, Stu and Mel start by laying the groundwork for our future episodes. And we begin by asking the seemingly innocuous question: ‘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. We also talk through our lens for breaking down group dynamics: collaborative vs competitive vs combative. As always: SPOILERS ABOUND Thanks to Chris Walker for editing this episode. &lt;3 Chris! CHAPTERS <ul> <li>00:00:00 - Intro</li> <li>00:04:17 - What is an ensemble?</li> <li>00:26:51 - Taxonomy of Ensembles</li> <li>00:47:25 - ArcStudio Sponsorship</li> <li>00:48:32 - Group Dynamics</li> <li>01:08:39 - Wrap Up &amp; Hopeful Learnings</li> <li>01:15:15 - Patreon Thanks</li> </ul> This episode brought to you by (drum roll): ScriptUp: <a href="https://www.scriptupstudio.com/" rel="nofollow" target="_blank">https://www.scriptupstudio.com</a> – use promo code DZ10 to get 10% off; and ArcStudio: go to <a href="https://www.arcstudiopro.com/draftzero" rel="nofollow" target="_blank">https://www.arcstudiopro.com/draftzero</a> for $30 off a subscription! And how can we forget our awesome <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">Patreons</a>?, Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a> or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-96: Ensembles 1 - What do we mean by an ensemble?

How do you maintain hope in the face of, er, screenwriting? Time for our annual backmatter episode, where we drop any ruse of any objectivity, and fully embrace our subjective opinions! In this episode we discuss: potential topics for 2023; the ostensible shortening of first acts; balancing new projects vs current projects; how to maintain hope in the face of an industry as fickle as ours; and end with a discussion of Andor vs Obi-Wan. Yup, Star Wars is the new Die Hard. Get over it. SPOILERS ABOUND for Andor and Obi-Wan. FYI we recorded this episode with both of us in the same room (for a more casual atmosphere )but that means there’s more technical gremlins like crosstalk. Our apologies in advance! Thanks to Chris Walker for editing this episode. &lt;3 Chris! 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 &amp; Wrap Up 01:16:06 - Many thanks  LINKS  LISTEN: Starship Q Star - https://starshipqstar.com/links  And how can we forget our awesome Patreons? Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

How do you maintain hope in the face of, er, screenwriting? Time for our annual backmatter episode, where we drop any ruse of any objectivity, and fully embrace our subjective opinions! In this episode we discuss: potential topics for 2023; the ostensible shortening of first acts; balancing new projects vs current projects; how to maintain hope in the face of an industry as fickle as ours; and end with a discussion of Andor vs Obi-Wan. Yup, Star Wars is the new Die Hard. Get over it. SPOILERS ABOUND for Andor and Obi-Wan. FYI we recorded this episode with both of us in the same room (for a more casual atmosphere )but that means there’s more technical gremlins like crosstalk. Our apologies in advance! Thanks to Chris Walker for editing this episode. &lt;3 Chris! CHAPTERS <ul> <li>00:00:00 - Intro: Backmatter</li> <li>00:02:44 - Housekeeping</li> <li>00:05:49 - Future Episode Ideas</li> <li>00:25:52 - Are first acts getting shorter?</li> <li>00:40:16 - New projects vs current projects</li> <li>00:48:59 - Maintaining Hope or Avoiding Despair</li> <li>00:54:21 - The Big Lessons of 2022</li> <li>00:55:19 - Andor vs Keobi</li> <li>01:14:37 - Key Lessons &amp; Wrap Up</li> <li>01:16:06 - Many thanks</li> </ul> LINKS <ul> <li>LISTEN: Starship Q Star - <a href="https://starshipqstar.com/links" rel="nofollow" target="_blank">https://starshipqstar.com/links</a></li> </ul> And how can we forget our awesome <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">Patreons</a>? Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a> or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-95: Backmatter - Building and Maintenance

How can you use physical objects to track character change… wordlessly? In part two of our two-part series on TALISMANS, we break down the beats used to turn objects (in a broad sense) into talismans; how talismans can track character journeys and transitions; and how they can be used to create powerful moments without words. While Part 1 looked a range of talismans in a bunch of different movies, in this episode we deep dive into just three examples. We look at how 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. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Thanks to Chris Walker for editing this episode. CHAPTERS  00:00:00 - Intro 00:01:15 - Talismans (Part 1) Followup 00:08:37 - Forging a Talisman (The Beats) 00:23:22 - Thor: Love and Thunder 00:59:52 - Portrait of a Lady on Fire 01:32:39 - In the Mood for Love 01:59:39 - Key Learnings &amp; Wrap Up 02:06:10 - Thanks to our Patreons  LINKS  Scott Myers / Go Into The Story: Talismans - https://medium.com/go-into-the-story/talismans-bcbf0a04d45d Scott Myers / Go Into The Story:  Story Talismans - https://gointothestory.blcklst.com/story-talismans-89b91523e71d  RELATED EPISODES  DZ-93: Talismans (Part 1) - http://draft-zero.com/2022/dz-93/ DZ-92: Insightful recognition in powerful endings - http://draft-zero.com/2022/dz-92/  This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off And how can we forget our awesome Patreons? Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

How can you use physical objects to track character change… wordlessly? In part two of our two-part series on TALISMANS, we break down the beats used to turn objects (in a broad sense) into talismans; how talismans can track character journeys and transitions; and how they can be used to create powerful moments without words. While Part 1 looked a range of talismans in a bunch of different movies, in this episode we deep dive into just three examples. We look at how 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. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Thanks to Chris Walker for editing this episode. CHAPTERS <ul> <li>00:00:00 - Intro</li> <li>00:01:15 - Talismans (Part 1) Followup</li> <li>00:08:37 - Forging a Talisman (The Beats)</li> <li>00:23:22 - Thor: Love and Thunder</li> <li>00:59:52 - Portrait of a Lady on Fire</li> <li>01:32:39 - In the Mood for Love</li> <li>01:59:39 - Key Learnings &amp; Wrap Up</li> <li>02:06:10 - Thanks to our Patreons</li> </ul> LINKS <ul> <li>Scott Myers / Go Into The Story: Talismans - <a href="https://medium.com/go-into-the-story/talismans-bcbf0a04d45d" rel="nofollow" target="_blank">https://medium.com/go-into-the-story/talismans-bcbf0a04d45d</a></li> <li>Scott Myers / Go Into The Story:  Story Talismans - <a href="https://gointothestory.blcklst.com/story-talismans-89b91523e71d" rel="nofollow" target="_blank">https://gointothestory.blcklst.com/story-talismans-89b91523e71d</a></li> </ul> RELATED EPISODES <ul> <li>DZ-93: Talismans (Part 1) - <a href="http://draft-zero.com/2022/dz-93/" rel="nofollow" target="_blank">http://draft-zero.com/2022/dz-93/</a></li> <li>DZ-92: Insightful recognition in powerful endings - <a href="http://draft-zero.com/2022/dz-92/" rel="nofollow" target="_blank">http://draft-zero.com/2022/dz-92/</a></li> </ul> This episode brought to you by (drum roll): ScriptUp: <a href="https://www.scriptupstudio.com/" rel="nofollow" target="_blank">https://www.scriptupstudio.com</a> – use promo code DZ10 to get 10% off And how can we forget our awesome <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">Patreons</a>? Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a> or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-94: Talismans (Part 2)

How can you use physical objects to reveal inner 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. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Thanks to Chas Fisher &amp; Chris Walker for editing this episode. 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 &amp; Tools 01:10:02 - Vehicles 01:12:03 - Letters &amp; Journals 01:14:19 - Andor (Spoilers) 01:16:20 - Talismans and Rituals 01:24:14 - Wrap Up &amp; Key Learnings  LINKS  Scott Myers / Go Into The Story: Talismans - https://medium.com/go-into-the-story/talismans-bcbf0a04d45d Scott Myers / Go Into The Story:  Story Talismans - https://gointothestory.blcklst.com/story-talismans-89b91523e71d  RELATED EPISODES  DZ-11: Adventure for the MacGuffin! - http://draft-zero.com/2014/dz-11/ DZ-87: Keeping Genre fresh - http://draft-zero.com/2022/dz-87/  This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a subscription! And how can we forget our awesome Patreons?, Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

How can you use physical objects to reveal inner 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. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Thanks to Chas Fisher &amp; Chris Walker for editing this episode. CHAPTERS <ul> <li>00:00:00 - Intro</li> <li>00:03:15 - Talismans in our own lives</li> <li>00:08:41 - Scott Myer's definition of Talismans</li> <li>00:18:58 - What are not Talismans?</li> <li>00:21:48 - Wardrobe</li> <li>00:28:26 - Talismans vs Characters</li> <li>00:43:18 - Talismans vs MacGuffins</li> <li>00:49:33 - Photos</li> <li>00:53:53 - Jewellery</li> <li>01:02:22 - Weapons &amp; Tools</li> <li>01:10:02 - Vehicles</li> <li>01:12:03 - Letters &amp; Journals</li> <li>01:14:19 - Andor (Spoilers)</li> <li>01:16:20 - Talismans and Rituals</li> <li>01:24:14 - Wrap Up &amp; Key Learnings</li> </ul> LINKS <ul> <li>Scott Myers / Go Into The Story: Talismans - <a href="https://medium.com/go-into-the-story/talismans-bcbf0a04d45d" rel="nofollow" target="_blank">https://medium.com/go-into-the-story/talismans-bcbf0a04d45d</a></li> <li>Scott Myers / Go Into The Story:  Story Talismans - <a href="https://gointothestory.blcklst.com/story-talismans-89b91523e71d" rel="nofollow" target="_blank">https://gointothestory.blcklst.com/story-talismans-89b91523e71d</a></li> </ul> RELATED EPISODES <ul> <li>DZ-11: Adventure for the MacGuffin! - <a href="http://draft-zero.com/2014/dz-11/" rel="nofollow" target="_blank">http://draft-zero.com/2014/dz-11/</a></li> <li>DZ-87: Keeping Genre fresh - <a href="http://draft-zero.com/2022/dz-87/" rel="nofollow" target="_blank">http://draft-zero.com/2022/dz-87/</a></li> </ul> This episode brought to you by (drum roll): ScriptUp: <a href="https://www.scriptupstudio.com/" rel="nofollow" target="_blank">https://www.scriptupstudio.com</a> – use promo code DZ10 to get 10% off; and ArcStudio: go to <a href="https://www.arcstudiopro.com/draftzero" rel="nofollow" target="_blank">https://www.arcstudiopro.com/draftzero</a> for $30 off a subscription! And how can we forget our awesome <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">Patreons</a>?, Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a> or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-93: Talismans (Part 1)

How can endings prompt an audience to reflect on your story? Stu &amp; 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. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Thanks to Chris Walker for editing this episode. CHAPTERS  00:00:00 - Intro 00:00:48 - 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 &amp; Key Learnings 01:24:26 - Thanks patreons!  LINKS   HULK PRESENTS THE MYTH OF THE THREE ACT STRUCTURE  Lindsay Doran on the psychology of story-telling  RELATED EPISODES  DZ-04: Catharsis and the Post-Coital Cigarette  This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a subscription! And how can we forget our awesome Patreons?, Especially Malay, Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

How can endings prompt an audience to reflect on your story? Stu &amp; 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. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Thanks to Chris Walker for editing this episode. CHAPTERS <ul> <li>00:00:00 - Intro</li> <li>00:00:48 - Insightful recognition in endings</li> <li>00:03:39 - What the hell is “anagnorisis”?</li> <li>00:12:04 - LA LA LAND</li> <li>00:30:45 - INCEPTION</li> <li>00:35:14 - NO COUNTRY FOR OLD MEN</li> <li>01:00:04 - TURNING RED</li> <li>01:18:18 - Wrap up &amp; Key Learnings</li> <li>01:24:26 - Thanks patreons!</li> </ul> LINKS <ul> <li><a href="https://filmcrithulk.wordpress.com/2011/07/07/hulk-presents-the-myth-of-3-act-structure/" rel="nofollow" target="_blank"> HULK PRESENTS THE MYTH OF THE THREE ACT STRUCTURE</a></li> <li><a href="https://gointothestory.blcklst.com/first-hand-reports-lindsay-doran-on-the-psychology-of-story-telling-edf125ef2f64" rel="nofollow" target="_blank"> Lindsay Doran on the psychology of story-telling</a></li> </ul> RELATED EPISODES <ul> <li><a href="https://draft-zero.com/2014/dz-04/" rel="nofollow" target="_blank">DZ-04: Catharsis and the Post-Coital Cigarette</a></li> </ul> This episode brought to you by (drum roll): ScriptUp: <a href="https://www.scriptupstudio.com/" rel="nofollow" target="_blank">https://www.scriptupstudio.com</a> – use promo code DZ10 to get 10% off; and ArcStudio: go to <a href="https://www.arcstudiopro.com/draftzero" rel="nofollow" target="_blank">https://www.arcstudiopro.com/draftzero</a> for $30 off a subscription! And how can we forget our awesome <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">Patreons</a>?, Especially Malay, Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a> or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-92: Insightful recognition in powerful endings

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.

Talk way to fast.  I’ve never heard people talk this fast.  It’s like fast forwarded or something.  Crazy annoying.

Talking too fast

Fantastic podcast for the casuals and professionals.

Insightful and accessible

Draft Zero: a screenwriting podcast

How does dialogue serve to reveal character? Chas &amp; 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 &amp; 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. EPISODE LINKS  Stephen Cleary's Website: http://www.stephenclearyfilm.com Inglorious Bastards - "Strudel" ANALYSE THIS screenplay by Peter Tolan and Harold Ramis and Kenneth Lonergan  YouTube: Analyze This - "Anxiety Disorder"   YouTube: Remains of the Day - "Book" NOTTING HILL by Richard Curtis  YouTube: Notting Hill - "Just A Girl"   THE AVENGERS by Joss Whedon   YouTube: The Avengers - "We're a Timebomb"   Goodreads: Directing Actors by Judith Weston iView: Please Like Me  Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero  We are @chasffisher and @stuwillis on twitter. Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like listeners.

How does dialogue serve to reveal character? Chas &amp; 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 &amp; 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. EPISODE LINKS <ul> <li>Stephen Cleary's <a href="http://www.stephenclearyfilm.com" rel="noopener nofollow" target="_blank">Website</a>: <a href="http://www.stephenclearyfilm.com" rel="noopener nofollow" target="_blank">http://www.stephenclearyfilm.com</a></li> <li><a href="https://www.youtube.com/watch?v=Sn35dWgffTk&amp;nohtml5=False" rel="noopener nofollow" target="_blank">Inglorious Bastards - "Strudel"</a></li> <li><a href="http://www.screenplaydb.com/film/scripts/Analyze_This.pdf" rel="noopener nofollow" target="_blank">ANALYSE THIS</a> screenplay by Peter Tolan and Harold Ramis and Kenneth Lonergan <ul> <li>YouTube: <a href="https://www.youtube.com/watch?v=enmxcvdYEGc" rel="noopener nofollow" target="_blank">Analyze This - "Anxiety Disorder"</a></li> </ul> </li> <li>YouTube: <a href="https://www.youtube.com/watch?v=eV5FdpvNMQE" rel="noopener nofollow" target="_blank">Remains of the Day - "Book"</a></li> <li><a href="http://www.thescriptsource.net/Scripts/NottingHill.pdf" rel="noopener nofollow" target="_blank">NOTTING HILL</a> by Richard Curtis <ul> <li>YouTube: <a href="https://www.youtube.com/watch?v=Eit31oT-bDw" rel="noopener nofollow" target="_blank">Notting Hill - "Just A Girl"</a></li> </ul> </li> <li><a href="http://www.imsdb.com/scripts/Avengers,-The-(2012).html" rel="noopener nofollow" target="_blank">THE AVENGERS</a> by Joss Whedon <ul> <li> YouTube: <a href="https://www.youtube.com/watch?v=O7cF6vMfhR4&amp;list=WL&amp;index=81" rel="noopener nofollow" target="_blank">The Avengers - "We're a Timebomb</a>"</li> </ul> </li> <li>Goodreads: <a href="http://www.goodreads.com/book/show/254807.Directing_Actors" rel="noopener nofollow" target="_blank">Directing Actors by Judith Weston</a></li> <li>iView: <a href="http://www.abc.net.au/tv/programs/please-like-me/" rel="noopener nofollow" target="_blank">Please Like Me</a></li> </ul> Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>, via our <a href="http://draft-zero.com/feedback/" rel="noopener nofollow" target="_blank">web form</a> or twitter <a href="https://twitter.com/draft_zero" rel="noopener nofollow" target="_blank">@draft_zero</a>  We are <a href="http://www.twitter.com/chasffisher" rel="noopener nofollow" target="_blank">@chasffisher </a>and <a href="http://www.twitter.com/stuwillis" rel="noopener nofollow" target="_blank">@stuwillis </a>on twitter. Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating or subscribing to us on iTunes!</a> or sharing us on the Social Medias! We like listeners.

DZ-31: Tools for Better Dialogue 1

How can your first act effectively establish your character journey? 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) 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. SPOILERS ABOUND!! ... and stick around after the end credits, for an important announcement re: our launching of a Patreon. Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. EPISODE LINKS  DRAFT ZERO - Related Episodes  DZ-09: Characterising Introductions DZ-11: Clash of the MacGuffins! DZ-15: World Building Rules, Okay?   IRON MAN w: Mark Fergus &amp; Hawk Ostby and Art Marcum &amp; Matt Holloway [@ 7m 42s]  YouTube: Full Intro Scene - AC/DC YouTube: Tony wins an award Find it on JustWatch   GUARDIANS OF THE GALAXY w: James Gunn and Nicole Perlman [@ 39m 08s]  YouTube: A Bunch of "A" Holes YouTube: Bunch of Jackass's Standing In a Circle Find it on JustWatch   DOCTOR STRANGE w: Jon Spaihts and Scott Derrickson &amp; C. Robert Cargill [@ 1hr 18m 13s]  YouTube: Ultimate Operation Scene YouTube: Heal the Body Find it on JustWatch   WRAP UP [@ 1hr 47m 28s]  DZ-43: Driving Sequences – Character and Plot Intensity   WHAA? PATREON? [@1hr 57m 08s]  /r/screenwriting  Support us on Patreon    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 Nick for being patrons. They're good people.

How can your first act effectively establish your character journey? 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) 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. SPOILERS ABOUND!! ... and stick around after the end credits, for an important announcement re: our launching of a Patreon. Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. EPISODE LINKS <ul> <li>DRAFT ZERO - Related Episodes <ul> <li><a href="http://draft-zero.com/2014/dz-09/" rel="noopener nofollow" target="_blank">DZ-09: Characterising Introductions</a></li> <li><a href="http://draft-zero.com/2014/dz-11/" rel="noopener nofollow" target="_blank">DZ-11: Clash of the MacGuffins!</a></li> <li><a href="http://draft-zero.com/2014/dz-15/" rel="noopener nofollow" target="_blank">DZ-15: World Building Rules, Okay?</a></li> </ul> </li> <li>IRON MAN w: Mark Fergus &amp; Hawk Ostby and Art Marcum &amp; Matt Holloway [@ 7m 42s] <ul> <li>YouTube: <a href="https://www.youtube.com/watch?v=k3kYms1Yhmc" rel="noopener nofollow" target="_blank">Full Intro Scene - AC/DC</a></li> <li>YouTube: <a href="https://www.youtube.com/watch?v=ZGxw0xV6jR4" rel="noopener nofollow" target="_blank">Tony wins an award</a></li> <li>Find it on <a href="https://www.justwatch.com/us/movie/iron-man" rel="noopener nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li>GUARDIANS OF THE GALAXY w: James Gunn and Nicole Perlman [@ 39m 08s] <ul> <li>YouTube: <a href="https://www.youtube.com/watch?v=l9-nFsLxvlM" rel="noopener nofollow" target="_blank">A Bunch of "A" Holes</a></li> <li>YouTube: <a href="https://www.youtube.com/watch?v=9U7s4dwh0cw" rel="noopener nofollow" target="_blank">Bunch of Jackass's Standing In a Circle</a></li> <li>Find it on <a href="https://www.justwatch.com/us/movie/guardians-of-the-galaxy" rel="noopener nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li>DOCTOR STRANGE w: Jon Spaihts and Scott Derrickson &amp; C. Robert Cargill [@ 1hr 18m 13s] <ul> <li>YouTube: <a href="https://www.youtube.com/watch?v=bUi8Youavz8" rel="noopener nofollow" target="_blank">Ultimate Operation Scene</a></li> <li>YouTube: <a href="https://www.youtube.com/watch?v=kkVcsMZkP2k" rel="noopener nofollow" target="_blank">Heal the Body</a></li> <li>Find it on <a href="https://www.justwatch.com/us/movie/doctor-strange" rel="noopener nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li>WRAP UP [@ 1hr 47m 28s] <ul> <li><a href="http://draft-zero.com/2017/dz-43/" rel="nofollow" target="_blank">DZ-43: Driving Sequences – Character and Plot Intensity</a></li> </ul> </li> <li>WHAA? PATREON? [@1hr 57m 08s] <ul> <li><a href="https://www.reddit.com/r/Screenwriting/" rel="nofollow" target="_blank">/r/screenwriting </a></li> <li>Support us on <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">Patreon</a></li> </ul> </li> </ul> Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>, via our <a href="http://draft-zero.com/feedback/" rel="noopener nofollow" target="_blank">web form</a> or twitter <a href="https://twitter.com/draft_zero" rel="noopener nofollow" target="_blank">@draft_zero</a>  We are <a href="http://www.twitter.com/chasffisher" rel="noopener nofollow" target="_blank">@chasffisher </a>and <a href="http://www.twitter.com/stuwillis" rel="noopener nofollow" target="_blank">@stuwillis </a>on twitter. Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating or subscribing to us on Apple Podcast!</a> or sharing us on the Social Medias! We like finding new listeners. Thanks to Khrob and Nick for being patrons. They're good people.

DZ-44:  Marvel - First Acts and Establishing Characters

In part 1 of this 2-part episode, Chas &amp; 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.  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 ome bad examples of character motivation. As always: SPOILERS ABOUND! Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube.  Read the transcript on GitHub or in HTML. Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here! LINKS  CRAFT TOOLS AND THE ISSUE OF SUBJECTIVITY    MANCHESTER BY THE SEA written by Ken Lonergan  [@ 5m 03s] Reddit Thread:  https://www.reddit.com/r/Screenwriting/comments/8oew26/character_motivation_examples_of_motivations_that/ JustWatch: https://www.justwatch.com/au/movie/manchester-by-the-sea   DECISION vs MOTIVATION [@ 9m 48s] CHARACTER PATTERNING   THE COMMUTER screenplay by Byron Willinger, Philip de Blasi and Ryan Engle [@ 11 m 3s] JustWatch: https://www.justwatch.com/au/movie/the-commuter/movie-tickets GAME OF THRONES [@ 13m 8s] https://www.justwatch.com/au/tv-show/game-of-thrones   EARLY CHARACTER DECISIONS   NOTTING HILL written by Richard Curtis [@ 18m 54s] JustWatch: https://www.justwatch.com/au/movie/notting-hill TO ALL THE BOYS I’VE LOVED BEFORE written by Sofia Alvarez [23m 28s] JustWatch:  https://www.justwatch.com/au/movie/to-all-the-boys-ive-loved-before   LATE CHARACTER DECISIONS   AVENGERS INFINITY WAR written by C Markus &amp; S McFeely [@ 37m 24s] JustWatch: https://www.justwatch.com/au/movie/avengers-infinity-war    DEBATING THE CHARACTER DECISION   GAME NIGHT written by Mark Perez [@ 37m 24s] JustWatch: https://www.justwatch.com/au/movie/game-night    INTERNALLY DEBATE THE CHARACTER DECISION   THE LOBSTER written by Yorgos Lanthimos and Efthymis Filippou [@ 52m 44s] JustWatch: https://www.justwatch.com/au/movie/the-lobster  ARRIVAL written by Eric Heisserer [@ 54m 53s] JustWatch: https://www.justwatch.com/au/movie/arrival-2016    WITHHOLDING THE DECISION FROM THE AUDIENCE   IN THE BEDROOM  written by Robert Festinger and Todd Field [@ 1h] JustWatch: https://www.justwatch.com/au/movie/in-the-bedroom  BEIRUT written by Tony Gilroy [@ 1 h 10m 45s] JustWatch: https://www.justwatch.com/au/movie/beirut/movie-tickets    PROVIDING MOTIVATION THROUGH BACKSTORY   BREAKING BAD - “GRAY MATTER” written by Patty Lin and Vince Gilligan [@ 1h 10m 45s] JustWatch: https://www.justwatch.com/au/movie/beirut/movie-tickets  NOTTING HILL written by Richard Curtis [@ 1h 19m 47s] JustWatch: https://www.justwatch.com/au/movie/notting-hill GAME OF THRONES - “AND NOW HIS WATCH IS ENDED” written by D Benioff &amp; D B Weiss [1h 22m 15s]  JustWatch: https://www.justwatch.com/au/tv-show/game-of-thrones   WORLD BUILDING AFFECTING DECISION MAKING   THE MATRIX written by Lana &amp; Lily Wachowski [@ 1h 25m 3s] JustWatch: https://www.justwatch.com/au/movie/the-matrix    REMOVING OBSTACLES/ANCHORS   STAR WARS: EPISODE IV - A NEW HOPE written by George Lucas [@ 1h 29m 23s] JustWatch:  https://www.justwatch.com/au/movie/star-wars-episode-iv-a-new-hope    OVERCOMING CHARACTER WOUNDS IN MARVEL FIRST ACTS [@ 1h 38m 8s] GOALS, STAKES &amp; URGENCY   ScriptShadow: GSU!!! BLOCKERS written by Brian &amp; Jim Kehoe [@ 1h 41m 43s] JustWatch: https://www.justwatch.com/au/movie/blockers    WRAP UP [@ 2h 9m 14s] BACKMATTER [@ 2h 15m 20s] 

In part 1 of this 2-part episode, Chas &amp; 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.  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 ome bad examples of character motivation. As always: SPOILERS ABOUND! Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on <a href="https://youtu.be/rkmEeGwkp-4" rel="nofollow" target="_blank">YouTube</a>.  Read the transcript on <a href="https://github.com/Draft-Zero-Podcast/dz-transcripts" rel="nofollow" target="_blank">GitHub</a> or in <a href="http://draft-zero.com/transcripts/" rel="nofollow" target="_blank">HTML</a>. Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">click here</a>! LINKS <ul> <li>CRAFT TOOLS AND THE ISSUE OF SUBJECTIVITY </li> <li> <ul> <li>MANCHESTER BY THE SEA written by Ken Lonergan  [@ 5m 03s]</li> <li>Reddit Thread: <a href="https://www.reddit.com/r/Screenwriting/comments/8oew26/character_motivation_examples_of_motivations_that/" rel="nofollow" target="_blank"> https://www.reddit.com/r/Screenwriting/comments/8oew26/character_motivation_examples_of_motivations_that/</a></li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/manchester-by-the-sea" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/manchester-by-the-sea</a></li> </ul> </li> <li>DECISION vs MOTIVATION [@ 9m 48s]</li> <li>CHARACTER PATTERNING</li> <li> <ul> <li>THE COMMUTER screenplay by Byron Willinger, Philip de Blasi and Ryan Engle [@ 11 m 3s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/the-commuter/movie-tickets" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/the-commuter/movie-tickets</a></li> <li>GAME OF THRONES [@ 13m 8s] <a href="https://www.justwatch.com/au/tv-show/game-of-thrones" rel="nofollow" target="_blank">https://www.justwatch.com/au/tv-show/game-of-thrones</a></li> </ul> </li> <li>EARLY CHARACTER DECISIONS</li> <li> <ul> <li>NOTTING HILL written by Richard Curtis [@ 18m 54s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/notting-hill" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/notting-hill</a></li> <li>TO ALL THE BOYS I’VE LOVED BEFORE written by Sofia Alvarez [23m 28s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/to-all-the-boys-ive-loved-before" rel="nofollow" target="_blank"> https://www.justwatch.com/au/movie/to-all-the-boys-ive-loved-before</a></li> </ul> </li> <li>LATE CHARACTER DECISIONS</li> <li> <ul> <li>AVENGERS INFINITY WAR written by C Markus &amp; S McFeely [@ 37m 24s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/avengers-infinity-war" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/avengers-infinity-war</a> </li> </ul> </li> <li>DEBATING THE CHARACTER DECISION</li> <li> <ul> <li>GAME NIGHT written by Mark Perez [@ 37m 24s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/game-night" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/game-night</a> </li> </ul> </li> <li>INTERNALLY DEBATE THE CHARACTER DECISION</li> <li> <ul> <li>THE LOBSTER written by Yorgos Lanthimos and Efthymis Filippou [@ 52m 44s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/the-lobster" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/the-lobster</a> </li> <li>ARRIVAL written by Eric Heisserer [@ 54m 53s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/arrival-2016" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/arrival-2016</a> </li> </ul> </li> <li>WITHHOLDING THE DECISION FROM THE AUDIENCE</li> <li> <ul> <li>IN THE BEDROOM  written by Robert Festinger and Todd Field [@ 1h]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/in-the-bedroom" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/in-the-bedroom</a> </li> <li>BEIRUT written by Tony Gilroy [@ 1 h 10m 45s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/beirut/movie-tickets" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/beirut/movie-tickets</a> </li> </ul> </li> <li>PROVIDING MOTIVATION THROUGH BACKSTORY</li> <li> <ul> <li>BREAKING BAD - “GRAY MATTER” written by Patty Lin and Vince Gilligan [@ 1h 10m 45s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/beirut/movie-tickets" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/beirut/movie-tickets</a> </li> <li>NOTTING HILL written by Richard Curtis [@ 1h 19m 47s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/notting-hill" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/notting-hill</a></li> <li>GAME OF THRONES - “AND NOW HIS WATCH IS ENDED” written by D Benioff &amp; D B Weiss [1h 22m 15s] </li> <li>JustWatch: <a href="https://www.justwatch.com/au/tv-show/game-of-thrones" rel="nofollow" target="_blank">https://www.justwatch.com/au/tv-show/game-of-thrones</a></li> </ul> </li> <li>WORLD BUILDING AFFECTING DECISION MAKING</li> <li> <ul> <li>THE MATRIX written by Lana &amp; Lily Wachowski [@ 1h 25m 3s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/the-matrix" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/the-matrix</a> </li> </ul> </li> <li>REMOVING OBSTACLES/ANCHORS</li> <li> <ul> <li>STAR WARS: EPISODE IV - A NEW HOPE written by George Lucas [@ 1h 29m 23s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/star-wars-episode-iv-a-new-hope" rel="nofollow" target="_blank"> https://www.justwatch.com/au/movie/star-wars-episode-iv-a-new-hope</a> </li> </ul> </li> <li>OVERCOMING CHARACTER WOUNDS IN MARVEL FIRST ACTS [@ 1h 38m 8s]</li> <li>GOALS, STAKES &amp; URGENCY</li> <li> <ul> <li>ScriptShadow: <a href="http://scriptshadow.blogspot.com/2011/08/article-gsu.html" rel="nofollow" target="_blank">GSU!!!</a></li> <li>BLOCKERS written by Brian &amp; Jim Kehoe [@ 1h 41m 43s]</li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/blockers" rel="nofollow" target="_blank">https://www.justwatch.com/au/movie/blockers</a> </li> </ul> </li> <li>WRAP UP [@ 2h 9m 14s]</li> <li>BACKMATTER [@ 2h 15m 20s]</li> </ul>

DZ-55: Character Motivations (Part 1)

How can you create flow and contrast in your dialogue? 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. RUNNING ORDER  Intro/Groundwork Status and Gender (@ 05:52) FLEABAG (Season 2, Episode 5) by Phoebe Waller-Bridge (@ 15:26)  WATCH: Hair Is Everything — https://www.youtube.com/watch?v=q97iIDx-b7U JustWatch: https://www.justwatch.com/us/tv-show/fleabag   JUNO by Diablo Cody (@ 47:41)  WATCH: Juno Tells Her Parents: — https://www.youtube.com/watch?v=tWC-R-q85JU  JustWatch: https://www.justwatch.com/us/movie/juno   DEADWOOD (Pilot) (@ 01:20:20)  WATCH: Seth Bullock Hangs a Man in Montana https://www.youtube.com/watch?v=TtgjwmYgTOg JustWatch: https://www.justwatch.com/us/tv-show/deadwood   More Dialogue Tips and Techniques (@ 01:40:55)  WATCH: Jerry Maguire “Show me the money” - https://www.youtube.com/watch?v=ZTFJocQBLyE WATCH: Grosse Pointe Blanke “You can never go home again” - https://www.youtube.com/watch?v=WgLr6qlpec4 WATCH: Notting Hill “Kitchen Scene” - https://www.youtube.com/watch?v=xtQShHQuPwI&amp;t=93s    EPISODE LINKS  LISTEN: DZ-31: Tools for Better Dialogue (Part 1) WATCH: Five Easy Pieces “Side Order of Toast”  - https://www.youtube.com/watch?v=38maVb_30ng FOLLOW: Stephen Cleary JOIN: Stephen Cleary Workshops READ: Genderlect / Language and Gender READ: The Truth About How Much Women Talk — and Whether Men Listen  Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. Many thanks to all our patrons but particularly to Theis, Jesse, Daniel, Jack, Chris, Khrob, Sandra, Nick, Matteo, and Carrie. They’re good humans. BUY DRAFT ZERO MERCH via TeePublic

How can you create flow and contrast in your dialogue? 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. RUNNING ORDER <ul> <li>Intro/Groundwork</li> <li>Status and Gender (@ 05:52)</li> <li>FLEABAG (Season 2, Episode 5) by Phoebe Waller-Bridge (@ 15:26) <ul> <li>WATCH: Hair Is Everything — <a href="https://www.youtube.com/watch?v=q97iIDx-b7U" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=q97iIDx-b7U</a></li> <li>JustWatch: <a href="https://www.justwatch.com/us/tv-show/fleabag" rel="nofollow" target="_blank">https://www.justwatch.com/us/tv-show/fleabag</a></li> </ul> </li> <li>JUNO by Diablo Cody (@ 47:41) <ul> <li>WATCH: Juno Tells Her Parents: — <a href="https://www.youtube.com/watch?v=tWC-R-q85JU" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=tWC-R-q85JU</a> </li> <li>JustWatch: <a href="https://www.justwatch.com/us/movie/juno" rel="nofollow" target="_blank">https://www.justwatch.com/us/movie/juno</a></li> </ul> </li> <li>DEADWOOD (Pilot) (@ 01:20:20) <ul> <li>WATCH: Seth Bullock Hangs a Man in Montana <a href="https://www.youtube.com/watch?v=TtgjwmYgTOg" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=TtgjwmYgTOg</a></li> <li>JustWatch: <a href="https://www.justwatch.com/us/tv-show/deadwood" rel="nofollow" target="_blank">https://www.justwatch.com/us/tv-show/deadwood</a></li> </ul> </li> <li>More Dialogue Tips and Techniques (@ 01:40:55) <ul> <li>WATCH: Jerry Maguire “Show me the money” - <a href="https://www.youtube.com/watch?v=ZTFJocQBLyE" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=ZTFJocQBLyE</a></li> <li>WATCH: Grosse Pointe Blanke “You can never go home again” - <a href="https://www.youtube.com/watch?v=WgLr6qlpec4" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=WgLr6qlpec4</a></li> <li>WATCH: Notting Hill “Kitchen Scene” - <a href="https://www.youtube.com/watch?v=xtQShHQuPwI&amp;t=93s" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=xtQShHQuPwI&amp;t=93s</a></li> </ul> </li> </ul> EPISODE LINKS <ul> <li>LISTEN: <a href="http://draft-zero.com/2016/dz-31/" rel="nofollow" target="_blank">DZ-31: Tools for Better Dialogue (Part 1)</a></li> <li>WATCH: Five Easy Pieces “Side Order of Toast”  - <a href="https://www.youtube.com/watch?v=38maVb_30ng" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=38maVb_30ng</a></li> <li>FOLLOW: <a href="https://www.stephencleary.org/" rel="nofollow" target="_blank">Stephen Cleary</a></li> <li>JOIN: <a href="https://www.facebook.com/StephenClearyWorkshops/" rel="nofollow" target="_blank">Stephen Cleary Workshops</a></li> <li>READ: <a href="https://en.wikipedia.org/wiki/Language_and_gender" rel="nofollow" target="_blank">Genderlect / Language and Gender</a></li> <li>READ: <a href="https://time.com/4837536/do-women-really-talk-more/" rel="nofollow" target="_blank">The Truth About How Much Women Talk — and Whether Men Listen</a></li> </ul> Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a>! or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. Many thanks to all our <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">patrons</a> but particularly to Theis, Jesse, Daniel, Jack, Chris, Khrob, Sandra, Nick, Matteo, and Carrie. They’re good humans. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-63: Tools for Better Dialogue 2 - Hook and Eye

 What is it about Tarantino's writing that elevates his work?  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 that good.   Chapter 3: Epilogue, or, Links To Things We Talk About  USC School of Cinematic Arts: James L. Brooks and Larry Moss at USC (YouTube) Eric Sean McGiven: List of Intentions Wordplayer: The Task TRUE ROMANCE by Quentin Tarantino KILL BILL by Quentin Tarantino INGLORIOUS BASTERDS by Quentin Tarantino The Q&amp;A with Jeff Goldsmith: Writing for Tony Scott: A Quentin Tarantino &amp; Richard Kelly Q&amp;A  Chicks Who Script Podcast: Lexi Alexander And The Power Of Determination Draft Zero: DZ-05: Shifting audience point of view and heightened emotions Draft Zero: DZ-08: Status Transactions and the Power of Washing Machines BoardGameGeek: Dominion  The Dice Tower: Dominion Review (YouTube) The Dice Tower: Dominion Intrigue Review (YouTube)   

What is it about Tarantino's writing that elevates his work? 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 that good.  Chapter 3: Epilogue, or, Links To Things We Talk About <ul> <li>USC School of Cinematic Arts: <a href="https://www.youtube.com/watch?v=e_uFogOl68U" rel="nofollow" target="_blank">James L. Brooks and Larry Moss at USC</a> (YouTube)</li> <li>Eric Sean McGiven: <a href="http://www.erikseanmcgiven.com/list-of-intentions/" rel="nofollow" target="_blank">List of Intentions</a></li> <li>Wordplayer: <a href="http://www.wordplayer.com/columns/wp30.The.Task.html" rel="nofollow" target="_blank">The Task</a></li> <li><a href="http://home.online.no/~bhundlan/scripts/True_Romance.pdf" rel="nofollow" target="_blank">TRUE ROMANCE by Quentin Tarantino</a></li> <li><a href="http://www.quentintarantino.de/download/kill_bill_screenplay.pdf" rel="nofollow" target="_blank">KILL BILL by Quentin Tarantino</a></li> <li><a href="http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Inglourious_Bastards.pdf" rel="nofollow" target="_blank">INGLORIOUS BASTERDS by Quentin Tarantino</a></li> <li>The Q&amp;A with Jeff Goldsmith: <a href="http://www.theqandapodcast.com/2012/08/writing-for-tony-scott-quentin.html" rel="nofollow" target="_blank">Writing for Tony Scott: A Quentin Tarantino &amp; Richard Kelly Q&amp;A </a></li> <li>Chicks Who Script Podcast: <a href="http://www.chickswhoscript.com/podcast/episode-six-lexi-alexander-and-power-determination" rel="nofollow" target="_blank">Lexi Alexander And The Power Of Determination</a></li> <li>Draft Zero: <a href="http://draft-zero.com/2014/dz-05/" rel="nofollow" target="_blank">DZ-05: Shifting audience point of view and heightened emotions</a></li> <li>Draft Zero: <a href="http://draft-zero.com/2014/dz-08/" rel="nofollow" target="_blank">DZ-08: Status Transactions and the Power of Washing Machines</a></li> <li>BoardGameGeek: <a href="http://boardgamegeek.com/boardgame/36218/dominion" rel="nofollow" target="_blank">Dominion</a> <ul> <li>The Dice Tower: <a href="https://www.youtube.com/watch?v=9ENsEhRbVIM" rel="nofollow" target="_blank">Dominion Review</a> (YouTube)</li> <li>The Dice Tower: <a href="https://www.youtube.com/watch?v=ZbYsjNbDOiU" rel="nofollow" target="_blank">Dominion Intrigue Review</a> (YouTube)</li> </ul> </li> </ul>

DZ-13: True That - Tips from Tarantino

How does setting up rules help you build a world? 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! LINKS  Draft Zero: DZ-09: Characterising Introductions Draft Zero: DZ-14: Old Underwear and Actor's Tools Diary of a Screenwriter: Stanley Kubrick : Thoughts of Narrative A Constatinework Orange: Non-Submersible Units Reddit: Kate Powers (from Breaking Bad) on Non-Submersible Units Visual Memory: 49 What are Non-Submersible Units? io9: 7 Deadly Sins of Worldbuilding THE MATRIX by Larry and Andy Wachowski THE MATRIX RELOADED by Larry and Andy Wachowski INCEPTION by Christopher Nolan MINORITY REPORT by Scott Frank MOON screenplay by Nathan Parker, story by Duncan Jones LOOPER by Rian Johnson ELYSIUM by Neill Blomkamp  Think Progress: ‘Elysium’ Wants To Be A Lacerating Movie About Health Care, But It Has No Idea Why Inequality Exists io9: Here's What Elysium did wrong -- and what it did right   JURASSIC PARK screenplay by David Koepp HOW TO TRAIN YOUR DRAGON by Dean DeBlois &amp; Chris Sanders SNOW WHITE AND THE HUNTSMAN by Evan Daugherty, John Lee Hancock &amp; Hossein Amini, Story by Evan Daugherty LOTR: FELLOWSHIP OF THE RING by Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Trailer: NIGHT WATCH (YouTube) PAN'S LABYRINTH by Guillermo del Toro 28 WEEKS LATER by Rowan Joffé, Juan Carlos Frensadillo, E.L. Lavigne, Jesus Olmo (uncredited, undated script) ZOMBIELAND by Rhett Rheese &amp; Paul Wernick 30 DAYS OF NIGHT by Steve Niles, Revisions by Stuart Beattie, Revisions by Adi Hasak WOMAN IN BLACK by Jane Goldman BRICK by Rian Johnson GOODFELLAS by Nicholas Pileggi and Martin Scorsese ANIMAL KINGDOM by David Michôd SILVER LININGS PLAYBOOK by David O. Russell TINKER TAILOR SOLDIER SPY by Bridget O'Connor &amp; Peter Straughan MOONRISE KINGDOM by Wes Anderson and Roman Coppola THE ROYAL TENENBAUMS by Wes Anderson &amp; Owen Wilson Scriptnotes: Ep 149: The Long-Lost Austin Three Page Challenge (on Van Helsing) Scriptnotes: Ep 135: World-building Scriptnotes: Ep 160: A Screenwriter's Guide to the End of the World  Subscribe to the podcast via iTunes or RSS. Please send feedback to ask at draft-zero.com or via our web form or @draft_zero on twitter.  Please considering rating us on iTunes! or sharing us on the Social Medias!

How does setting up rules help you build a world? 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! LINKS <ul> <li>Draft Zero: <a href="http://draft-zero.com/2014/dz-09/" rel="nofollow" target="_blank">DZ-09: Characterising Introductions</a></li> <li>Draft Zero: <a href="http://draft-zero.com/2014/dz-14/" rel="nofollow" target="_blank">DZ-14: Old Underwear and Actor's Tools</a></li> <li>Diary of a Screenwriter: <a href="http://diaryofascreenwriter.blogspot.com.au/2013/10/non-submersible-units-stanley-kubrick_7854.html" rel="nofollow" target="_blank">Stanley Kubrick : Thoughts of Narrative</a></li> <li>A Constatinework Orange: <a href="http://constarvideo.blogspot.com.au/2009/04/non-submersible-units.html" rel="nofollow" target="_blank">Non-Submersible Units</a></li> <li>Reddit: Kate Powers (from Breaking Bad) on <a href="http://www.reddit.com/r/Screenwriting/comments/252p1p/breaking_bad_writers_room_time_lapse/chfh8mm" rel="nofollow" target="_blank">Non-Submersible Units</a></li> <li>Visual Memory: <a href="http://www.visual-memory.co.uk/faq/index4.html" rel="nofollow" target="_blank">49 What are Non-Submersible Units?</a></li> <li>io9: <a href="http://io9.com/7-deadly-sins-of-worldbuilding-998817537" rel="nofollow" target="_blank">7 Deadly Sins of Worldbuilding</a></li> <li><a href="http://www.dailyscript.com/scripts/the_matrix.pdf" rel="nofollow" target="_blank">THE MATRIX by Larry and Andy Wachowski</a></li> <li><a href="http://www.horrorlair.com/movies/scripts/matrixreloaded.pdf" rel="nofollow" target="_blank">THE MATRIX RELOADED by Larry and Andy Wachowski</a></li> <li><a href="http://www.raindance.org/site/scripts/Inception.pdf" rel="nofollow" target="_blank">INCEPTION by Christopher Nolan</a></li> <li><a href="http://www.dailyscript.com/scripts/MINORITY_REPORT_--_May_16th_2001_revised_draft_by_Scott_Frank.html" rel="nofollow" target="_blank">MINORITY REPORT by Scott Frank</a></li> <li><a href="http://www.screenplaydb.com/film/scripts/moon.pdf" rel="nofollow" target="_blank">MOON screenplay by Nathan Parker, story by Duncan Jones</a></li> <li><a href="http://www.rcjohnso.com/Looper/Looper.pdf" rel="nofollow" target="_blank">LOOPER by Rian Johnson</a></li> <li><a href="http://writetoreel.com/forum/showthread.php?1643-Elysium-Script-PDF" rel="nofollow" target="_blank">ELYSIUM by Neill Blomkamp</a> <ul> <li>Think Progress: <a href="http://thinkprogress.org/alyssa/2013/08/12/2450871/elysium-health-care/" rel="nofollow" target="_blank">‘Elysium’ Wants To Be A Lacerating Movie About Health Care, But It Has No Idea Why Inequality Exists</a></li> <li>io9: <a href="http://io9.com/heres-what-elysium-did-wrong-and-what-it-did-right-1125073263" rel="nofollow" target="_blank">Here's What Elysium did wrong -- and what it did right</a></li> </ul> </li> <li><a href="http://www.jpdatabase.net/db_media/s_scripts/jurassic-park_12-11-92.pdf" rel="nofollow" target="_blank">JURASSIC PARK screenplay by David Koepp</a></li> <li><a href="http://www.imsdb.com/scripts/How-to-Train-Your-Dragon.html" rel="nofollow" target="_blank">HOW TO TRAIN YOUR DRAGON by Dean DeBlois &amp; Chris Sanders</a></li> <li><a href="http://www.imsdb.com/scripts/Snow-White-and-the-Huntsman.html" rel="nofollow" target="_blank">SNOW WHITE AND THE HUNTSMAN by Evan Daugherty, John Lee Hancock &amp; Hossein Amini, Story by Evan Daugherty</a></li> <li><a href="http://www.fempiror.com/otherscripts/LordoftheRings1-FOTR.pdf" rel="nofollow" target="_blank">LOTR: FELLOWSHIP OF THE RING by Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson</a></li> <li>Trailer: <a href="https://www.youtube.com/watch?v=yMHQsjgQDrA" rel="nofollow" target="_blank">NIGHT WATCH</a> (YouTube)</li> <li><a href="http://www.dailyscript.com/scripts/PansLabyrinthEnglishScreenplay.pdf" rel="nofollow" target="_blank">PAN'S LABYRINTH by Guillermo del Toro</a></li> <li><a href="http://www.horrorlair.com/movies/28-weeks-later-script.html" rel="nofollow" target="_blank">28 WEEKS LATER by Rowan Joffé, Juan Carlos Frensadillo, E.L. Lavigne, Jesus Olmo</a> (uncredited, undated script)</li> <li><a href="http://screenplayexplorer.com/wp-content/scripts/Zombieland.pdf" rel="nofollow" target="_blank">ZOMBIELAND by Rhett Rheese &amp; Paul Wernick</a></li> <li><a href="http://www.horrorlair.com/movies/30-days-of-night.html" rel="nofollow" target="_blank">30 DAYS OF NIGHT by Steve Niles, Revisions by Stuart Beattie, Revisions by Adi Hasak</a></li> <li><a href="http://www.dynamo.ch/sites/default/files/WomanInBlack_Screenplay.pdf" rel="nofollow" target="_blank">WOMAN IN BLACK by Jane Goldman</a></li> <li><a href="http://www.rcjohnso.com/brickscript/BrickScript.pdf" rel="nofollow" target="_blank">BRICK by Rian Johnson</a></li> <li><a href="http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Goodfellas.pdf" rel="nofollow" target="_blank">GOODFELLAS by Nicholas Pileggi and Martin Scorsese</a></li> <li><a href="http://www.sonyclassics.com/awards-information/animalkingdom_screenplay.pdf" rel="nofollow" target="_blank">ANIMAL KINGDOM by David Michôd</a></li> <li><a href="http://www.screenplayexplorer.com/wp-content/scripts/silver-linings-playbook.pdf" rel="nofollow" target="_blank">SILVER LININGS PLAYBOOK by David O. Russell</a></li> <li><a href="http://academy.filminfocus.com/scripts/ttss_screenplay.pdf" rel="nofollow" target="_blank">TINKER TAILOR SOLDIER SPY by Bridget O'Connor &amp; Peter Straughan</a></li> <li><a href="http://www.screenplaydb.com/film/scripts/moonrisekingdom.pdf" rel="nofollow" target="_blank">MOONRISE KINGDOM by Wes Anderson and Roman Coppola</a></li> <li><a href="http://www.screenplaydb.com/film/scripts/Royal%20Tenenbaums,%20The.pdf" rel="nofollow" target="_blank">THE ROYAL TENENBAUMS by Wes Anderson &amp; Owen Wilson</a></li> <li>Scriptnotes: <a href="http://johnaugust.com/2014/scriptnotes-ep-149-the-long-lost-austin-three-page-challenge-transcript" rel="nofollow" target="_blank">Ep 149: The Long-Lost Austin Three Page Challenge (on Van Helsing)</a></li> <li>Scriptnotes: <a href="http://johnaugust.com/2014/scriptnotes-ep-135-world-building-transcript" rel="nofollow" target="_blank">Ep 135: World-building</a></li> <li>Scriptnotes: <a href="http://johnaugust.com/2014/scriptnotes-ep-160-a-screenwriters-guide-to-the-end-of-the-world-transcript" rel="nofollow" target="_blank">Ep 160: A Screenwriter's Guide to the End of the World</a></li> </ul> Subscribe to the <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">podcast via iTunes</a> or <a href="http://draftzero.libsyn.com/rss" rel="nofollow" target="_blank">RSS</a>. Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a> or via our <a href="http://draft-zero.com/feedback/" rel="nofollow" target="_blank">web form</a> or <a href="https://twitter.com/draft_zero" rel="nofollow" target="_blank">@draft_zero</a> on twitter.  Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating us on iTunes!</a> or sharing us on the Social Medias!

DZ-15: World Building Rules, Okay?

How can you successfully integrate exposition into your story? In Draft Zero's first two part episode, Stu &amp; 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. EPISODE LINKS  On the Page: Ep 457. Terry Rossio Compiled PDF of all Screenplays Excerpts PIRATES OF THE CARIBBEAN: CURSE OF THE BLACK PEARL by Ted Elliot &amp; Terry Rossio  Find it on JustWatch   SHORT TERM 12 by Destin Daniel Cretton  Find it on JustWatch   INSIDE OUT story by Pete Docter &amp; Ronnie Del Carmen; Screenplay by Pete Docter &amp; Meg LeFauve &amp; Josh Cooley  Find it on JustWatch   THE WORLD'S END by Simon Pegg &amp; Edgar Wright  Find it on JustWatch   THE BIG SHORT screenplay by Charles Randolph and Adam McKay  Fandor: Who Deserves the 2016 for Best Picture by Kevin B. Lee Video Essayists - Nerd Writer &amp; Every Frame A Painting   IT FOLLOWS by David Robert Mitchell  Find it on JustWatch   JURASSIC PARK screenplay by David Koepp, based on the novel by Michael Crichton and on an adaptation by Michael Crichton and Malia Scotch Marmo  Find it on JustWatch   JURASSIC WORLD by Rick Jaffa &amp; Amanda Silver and Colin Trevorrow &amp; Derek Connolly, story by Rick Jaffa &amp; Amanda Silver  Find it on JustWatch   Draft Zero: DZ-15: World Building Rules, Okay?  Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero  We are @chasffisher and @stuwillis on twitter. Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like finding new listeners.

How can you successfully integrate exposition into your story? In Draft Zero's first two part episode, Stu &amp; 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<a href="https://www.reddit.com/r/Screenwriting/comments/5136ix/best_and_worst_exposition_scenes/" rel="nofollow" target="_blank"> /r/screenwriting</a> for suggesting so many examples. EPISODE LINKS <ul> <li>On the Page:<a href="http://onthepage.libsyn.com/457-terry-rossio?utm_source=feedburner&amp;utm_medium=feed&amp;utm_campaign=Feed%3A+OnThePage+%28On+The+Page%3A+Screenwriting%29" rel="nofollow" target="_blank"> Ep 457. Terry Rossio</a></li> <li><a href="http://traffic.libsyn.com/draftzero/DZ-37_-_Excelling_at_Exposition_Part_1_-_Script_Excerpts.pdf" rel="nofollow" target="_blank">Compiled PDF of all Screenplays Excerpts</a></li> <li><a href="http://www.imsdb.com/scripts/Pirates-of-the-Caribbean.html" rel="nofollow" target="_blank">PIRATES OF THE CARIBBEAN: CURSE OF THE BLACK PEARL by Ted Elliot &amp; Terry Rossio</a> <ul> <li>Find it on <a href="https://www.justwatch.com/au/movie/pirates-of-the-caribbean-the-curse-of-the-black-pearl" rel="nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li><a href="https://gointothestory.blcklst.com/wp-content/uploads/2013/12/Short-Term-12-FINAL.pdf" rel="nofollow" target="_blank">SHORT TERM 12 by Destin Daniel Cretton</a> <ul> <li>Find it on <a href="https://www.justwatch.com/au/movie/short-term-12" rel="nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li><a href="http://draft-zero.com/2016/dz-35/" rel="nofollow" target="_blank">INSIDE OUT story by Pete Docter &amp; Ronnie Del Carmen; Screenplay by Pete Docter &amp; Meg LeFauve &amp; Josh Cooley</a> <ul> <li>Find it on <a href="https://www.justwatch.com/au/movie/inside-out-2015" rel="nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li><a href="http://www.horrorlair.com/scripts/The-World's-End.pdf" rel="nofollow" target="_blank">THE WORLD'S END by Simon Pegg &amp; Edgar Wright</a> <ul> <li>Find it on <a href="https://www.justwatch.com/au/movie/the-world-s-end" rel="nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li><a href="http://www.paramountguilds.com/pdf/the-big-short.pdf" rel="nofollow" target="_blank">THE BIG SHORT screenplay by Charles Randolph and Adam McKay</a> <ul> <li>Fandor: <a href="https://www.fandor.com/keyframe/oscars-2016-video-evidence" rel="nofollow" target="_blank">Who Deserves the 2016 for Best Picture by Kevin B. Lee</a></li> <li>Video Essayists - <a href="https://www.youtube.com/user/Nerdwriter1" rel="nofollow" target="_blank">Nerd Writer</a> &amp; <a href="https://www.youtube.com/user/everyframeapainting" rel="nofollow" target="_blank">Every Frame A Painting</a></li> </ul> </li> <li><a href="http://la-screenwriter.com/wp-content/uploads/2016/03/IT-FOLLOWS-2015-by-David-Robert-Mitchell.pdf" rel="nofollow" target="_blank">IT FOLLOWS by David Robert Mitchell</a> <ul> <li>Find it on <a href="https://www.justwatch.com/au/movie/it-follows-2014" rel="nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li><a href="http://www.dailyscript.com/scripts/jurassicpark_script_final_12_92.html" rel="nofollow" target="_blank">JURASSIC PARK screenplay by David Koepp, based on the novel by Michael Crichton and on an adaptation by Michael Crichton and Malia Scotch Marmo</a> <ul> <li>Find it on <a href="https://www.justwatch.com/au/movie/jurassic-park" rel="nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li><a href="http://www.imdb.com/title/tt0369610/?ref_=fn_al_tt_1" rel="nofollow" target="_blank">JURASSIC WORLD by Rick Jaffa &amp; Amanda Silver and Colin Trevorrow &amp; Derek Connolly, story by Rick Jaffa &amp; Amanda Silver</a> <ul> <li>Find it on <a href="https://www.justwatch.com/au/movie/jurassic-world" rel="nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li>Draft Zero: <a href="http://draft-zero.com/2014/dz-15/" rel="nofollow" target="_blank">DZ-15: World Building Rules, Okay?</a></li> </ul> Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>, via our <a href="http://draft-zero.com/feedback/" rel="nofollow" target="_blank">web form</a> or twitter <a href="https://twitter.com/draft_zero" rel="nofollow" target="_blank">@draft_zero</a>  We are <a href="http://www.twitter.com/chasffisher" rel="nofollow" target="_blank">@chasffisher </a>and <a href="http://www.twitter.com/stuwillis" rel="nofollow" target="_blank">@stuwillis </a>on twitter. Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating or subscribing to us on iTunes!</a> or sharing us on the Social Medias! We like finding new listeners.

DZ-37: Excelling at Exposition (Part 1)

 Are your story rules in your pilot strong enough to play out over the life of your show?  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.  LINKS  The-Solute.com: Wallflower (Grant Nebel)  Grant Nebel: Collected writing on THE SHIELD Soundtracking: Grant's Podcast on Movie Soundtracks    THE SHIELD pilot by Shawn Ryan [@ 5m 02s]  THE WIRE - Episode 101 "THE TARGET" teleplay by David Simon, Story by David Simon and Edward Burns [@ 35m 03s]  BREAKING BAD pilot by Vince Gilligan [@ 48m 29s]  MAD MEN - "Smoke Gets In Your Eyes" by Matthew Weiner [@ 1hr 9m 45s]  Vulture.com: Man Men Pilot Predicts the Final Episodes   Draft Zero: DZ-04: Catharsis and the Post-Coital Cigarette Draft Zero: DZ-09: Characterising Introductions Draft Zero: DZ-06: Key Scenes and Unlocking the Story StyleCaster: ‘Breaking Bad’ and Colors: A Comprehensive Guide to the Theories, Costumes The Disenchanted Costumier: Breaking Bad Costumes Director's Guild of America: Elia Kazan - On What Makes a Director (pdf) ActionCutPrint: Elia Kazan - On What Makes a Director (excerpted) Every Frame A Painting: David Fincher - And the Other Way is Wrong (Vimeo)   BACK MATTER (BACKDRAFT?) [@ 1hr 32m 56s]  Bob Saenz: The Mean Old Writer Genre Hacks: What is the Most Important Screenwriting Tool: The Rewriting Cycle Wired: Harnessing the Power of Feedback Loops GoodReader - PDF Reader (PDF Annotation) Readdle: Documents &amp; PDF Expert (PDF Annotation) Literature &amp; Latte: Scapple ("Flowcharting" for Scrivener)   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 us on iTunes! or sharing us on the Social Medias!

Are your story rules in your pilot strong enough to play out over the life of your show? 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. LINKS <ul> <li><a href="http://The-Solute.com" rel="nofollow" target="_blank">The-Solute.com</a>: <a href="http://www.the-solute.com/author/wallflowergallery/" rel="nofollow" target="_blank">Wallflower (Grant Nebel)</a> <ul> <li>Grant Nebel: <a href="https://docs.google.com/spreadsheets/d/1SN-m_R2tDUAgrtJLFPn6K3a64EWfxAAcsIjJAyx0kzg/pubhtml" rel="nofollow" target="_blank">Collected writing on THE SHIELD</a></li> <li>Soundtracking: Grant's Podcast on Movie Soundtracks</li> </ul> </li> <li><a href="http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Shield-Pilot.PDF" rel="nofollow" target="_blank"> THE SHIELD pilot by Shawn Ryan</a> [@ 5m 02s]</li> <li><a href="http://kottke.org.s3.amazonaws.com/the-wire/The_Wire_1x01_-_The_Target.pdf" rel="nofollow" target="_blank"> THE WIRE - Episode 101 "THE TARGET" teleplay by David Simon, Story by David Simon and Edward Burns</a> [@ 35m 03s]</li> <li><a href="http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Breaking_Bad-Pilot.PDF" rel="nofollow" target="_blank"> BREAKING BAD pilot by Vince Gilligan</a> [@ 48m 29s]</li> <li><a href="http://leethomson.myzen.co.uk/Mad_Men/Mad_Men_1x01_-_Smoke_Gets_in_Your_Eyes.pdf" rel="nofollow" target="_blank"> MAD MEN - "Smoke Gets In Your Eyes" by Matthew Weiner</a> [@ 1hr 9m 45s] <ul> <li><a href="http://Vulture.com" rel="nofollow" target="_blank">Vulture.com</a>: <a href="http://www.vulture.com/2015/05/mad-men-pilot-predicts-the-final-episodes.html" rel="nofollow" target="_blank">Man Men Pilot Predicts the Final Episodes</a></li> </ul> </li> <li>Draft Zero: <a href="http://draft-zero.com/2014/dz-04/" rel="nofollow" target="_blank">DZ-04: Catharsis and the Post-Coital Cigarette</a></li> <li>Draft Zero: <a href="http://draft-zero.com/2014/dz-09/" rel="nofollow" target="_blank">DZ-09: Characterising Introductions</a></li> <li>Draft Zero: <a href="http://draft-zero.com/2014/dz-06/" rel="nofollow" target="_blank">DZ-06: Key Scenes and Unlocking the Story</a></li> <li>StyleCaster: <a href="http://stylecaster.com/breaking-bad-colors-theory/#ixzz3hhuNx4h3" rel="nofollow" target="_blank">‘Breaking Bad’ and Colors: A Comprehensive Guide to the Theories, Costumes</a></li> <li>The Disenchanted Costumier: <a href="https://thedisenchantedcostumier.wordpress.com/2013/08/13/breaking-bad-costumes/" rel="nofollow" target="_blank">Breaking Bad Costumes</a></li> <li>Director's Guild of America: <a href="http://www.dga.org/~/media/Files/TheGuild/Committees/Kazan.ashx" rel="nofollow" target="_blank">Elia Kazan - On What Makes a Director</a> (pdf)</li> <li>ActionCutPrint: <a href="http://actioncutprint.com/kazan/" rel="nofollow" target="_blank">Elia Kazan - On What Makes a Director</a> (excerpted)</li> <li>Every Frame A Painting: <a href="https://vimeo.com/107779620" rel="nofollow" target="_blank">David Fincher - And the Other Way is Wrong</a> (Vimeo)</li> </ul> BACK MATTER (BACKDRAFT?) [@ 1hr 32m 56s] <ul> <li><a href="http://www.bobsaenz.com/blog/the-mean-old-writer/" rel="nofollow" target="_blank">Bob Saenz: The Mean Old Writer</a></li> <li>Genre Hacks: <a href="http://genrehacks.blogspot.com.au/2011/10/what-is-most-important-screenwriting.html" rel="nofollow" target="_blank">What is the Most Important Screenwriting Tool: The Rewriting Cycle</a></li> <li>Wired: <a href="http://www.wired.com/2011/06/ff_feedbackloop/" rel="nofollow" target="_blank">Harnessing the Power of Feedback Loops</a></li> <li><a href="http://www.goodreader.com" rel="nofollow" target="_blank">GoodReader - PDF Reader</a> (PDF Annotation)</li> <li>Readdle: <a href="https://readdle.com/products/documents" rel="nofollow" target="_blank">Documents</a> &amp; <a href="https://readdle.com/products/pdfexpert5" rel="nofollow" target="_blank">PDF Expert</a> (PDF Annotation)</li> <li>Literature &amp; Latte: <a href="https://www.literatureandlatte.com/scapple.php" rel="nofollow" target="_blank">Scapple</a> ("Flowcharting" for Scrivener)</li> </ul> Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>, via our <a href="http://draft-zero.com/feedback/" rel="nofollow" target="_blank">web form</a> or twitter <a href="https://twitter.com/draft_zero" rel="nofollow" target="_blank">@draft_zero</a>  We are <a href="http://www.twitter.com/chasffisher" rel="nofollow" target="_blank">@chasffisher </a>and <a href="http://www.twitter.com/stuwillis" rel="nofollow" target="_blank">@stuwillis </a>on twitter.  Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating us on iTunes!</a> or sharing us on the Social Medias!

DZ-24: Forging story rules in TV pilots

 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.  LINKS  SHORT TERM 12 by Destin Daniel Cretton - (Pages 42 - 48) Mike Jones: "Mythology of Horror: The Story That Won't Go Away" - www.mikejones.tv Stephen Cleary's Website: http://www.stephenclearyfilm.com THE DARK KNIGHT by Jonathan Nolan and Christopher Nolan (Pages 101-106)  The Dark Knight - "Interrogation Scene" (YouTube) Hero Complex: "Christopher Nolan revisits his favourite scene in 'Dark Knight'"   The Godfather Part II - "Corleone Family Flashback" (YouTube) HEAT by Michael Mann (Pages 84 - 88)  Heat - "The Diner Scene" (YouTube) Den Of Geek: "Michael Mann's Heat: how research created a classic thriller" Mann Made: From LA Takedown to Heat Part 1 (YouTube)   MARGIN CALL by J. C. Chandor (Pages 47 - 58)  Margin Call - "The Music Stops" (Youtube) Margin Call - "Be First, Be Smarter or Cheat" (YouTube)   The Empire Strikes Back - "Tested on Dagobah" (YouTube) The Decalogue: I Am Lord Thy God  - "Catharsis" (YouTube) The Raid 2: Berandal - Trailer (YouTube) Jane Espenson: "Hot Cold Openings" 

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. LINKS <ul> <li><a href="http://gointothestory.blcklst.com/wp-content/uploads/2013/12/Short-Term-12-FINAL.pdf" rel="noopener nofollow" target="_blank">SHORT TERM 12 </a><a href="http://gointothestory.blcklst.com/wp-content/uploads/2013/12/Short-Term-12-FINAL.pdf" rel="noopener nofollow" target="_blank">by Destin Daniel Cretton</a> - (Pages 42 - 48)</li> <li>Mike Jones: "<a href="http://www.mikejones.tv/journal/2012/11/19/mythology-of-horror-the-story-that-wont-go-away.html" rel="noopener nofollow" target="_blank">Mythology of Horror: The Story That Won't Go Away</a>" - <a href="http://www.mikejones.tv" rel="nofollow" target="_blank">www.mikejones.tv</a></li> <li>Stephen Cleary's <a href="http://www.stephenclearyfilm.com" rel="noopener nofollow" target="_blank">Website</a>: <a href="http://www.stephenclearyfilm.com" rel="nofollow" target="_blank">http://www.stephenclearyfilm.com</a></li> <li><a href="http://www.joblo.com/scripts/The_Dark_Knight.pdf" rel="noopener nofollow" target="_blank">THE DARK KNIGHT by Jonathan Nolan and Christopher Nolan</a> (Pages 101-106) <ul> <li>The Dark Knight - <a href="https://www.youtube.com/watch?v=xnOLhXmhkyA" rel="noopener nofollow" target="_blank">"Interrogation Scene"</a> (YouTube)</li> <li>Hero Complex: "<a href="http://herocomplex.latimes.com/uncategorized/christopher-n-1/" rel="noopener nofollow" target="_blank">Christopher Nolan revisits his favourite scene in 'Dark Knight'</a>"</li> </ul> </li> <li>The Godfather Part II - "<a href="https://www.youtube.com/watch?v=435mkg6_eGQ" rel="noopener nofollow" target="_blank">Corleone Family Flashback</a>" (YouTube)</li> <li><a href="http://www.dailyscript.com/scripts/Heat.pdf" rel="noopener nofollow" target="_blank">HEAT by Michael Mann</a> (Pages 84 - 88) <ul> <li>Heat - "<a href="https://www.youtube.com/watch?v=5gyfIvMd4T0" rel="noopener nofollow" target="_blank">The Diner Scene</a>" (YouTube)</li> <li>Den Of Geek: "<a href="http://www.denofgeek.com/movies/heat/25530/michael-manns-heat-how-research-created-a-classic-thriller" rel="noopener nofollow" target="_blank">Michael Mann's Heat: how research created a classic thriller</a>"</li> <li><a href="https://www.youtube.com/watch?v=fvkFi72cAbY&amp;feature=youtu.be&amp;t=4m35s" rel="noopener nofollow" target="_blank">Mann Made: From LA Takedown to Heat Part 1</a> (YouTube)</li> </ul> </li> <li><a href="http://www.ropeofsilicon.com/Images/web/template/awards/2012/scripts/margincall.pdf" rel="noopener nofollow" target="_blank">MARGIN CALL</a><a href="http://www.ropeofsilicon.com/Images/web/template/awards/2012/scripts/margincall.pdf" rel="noopener nofollow" target="_blank"> by J. C. Chandor</a> (Pages 47 - 58) <ul> <li>Margin Call - "<a href="https://www.youtube.com/watch?v=UOYi4NzxlhE" rel="noopener nofollow" target="_blank">The Music Stops</a>" (Youtube)</li> <li>Margin Call - "<a href="https://www.youtube.com/watch?v=ag14Ao_xO4c" rel="noopener nofollow" target="_blank">Be First, Be Smarter or Cheat</a>" (YouTube)</li> </ul> </li> <li>The Empire Strikes Back - <a href="https://www.youtube.com/watch?v=S5ZsMBLUsqU" rel="noopener nofollow" target="_blank">"Tested on Dagobah"</a> (YouTube)</li> <li>The Decalogue: I Am Lord Thy God  - <a href="http://youtu.be/3eCd8M8hbO4?t=45m6s" rel="noopener nofollow" target="_blank">"</a><a href="http://youtu.be/3eCd8M8hbO4?t=45m6s" rel="noopener nofollow" target="_blank">Catharsis"</a> (YouTube)</li> <li>The Raid 2: Berandal - <a href="http://www.youtube.com/watch?v=3MuXrN8L9ro" rel="noopener nofollow" target="_blank">Trailer</a> (YouTube)</li> <li>Jane Espenson: <a href="http://www.janeespenson.com/archives/00000602.php" rel="noopener nofollow" target="_blank">"Hot Cold Openings"</a></li> </ul>

DZ-06: Key Scenes and Unlocking the Story

How can films maintain audience interest without stakes or plot questions? 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 'Running Condition', Character Choice, SceneWork and the myriad other techniques the filmmakers use to keep us interested. PS: There is no backmatter this episode. PPS: Note that all these films are writer/directors. Hmm. EPISODE LINKS  CHEF by Jon Favreau  Watch it on iTunes or find it on JustWatch   HAPPY-GO-LUCKY by Mike Leigh  Watch it on iTunes or find it on JustWatch   AMOUR by Michael Henke  Watch it on on iTunes or find it on JustWatch   ScreenOnline: On Mike Leigh http://www.screenonline.org.uk/people/id/461294/  Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero  We are @chasffisher and @stuwillis on twitter. Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like finding new listeners.

How can films maintain audience interest without stakes or plot questions? 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 'Running Condition', Character Choice, SceneWork and the myriad other techniques the filmmakers use to keep us interested. PS: There is no backmatter this episode. PPS: Note that all these films are writer/directors. Hmm. EPISODE LINKS <ul> <li><a href="http://www.imdb.com/title/tt2883512/" rel="nofollow" target="_blank">CHEF by Jon Favreau</a> <ul> <li>Watch it on <a href="https://itunes.apple.com/us/movie/chef/id877741061" rel="nofollow" target="_blank">iTunes</a> or find it on <a href="https://www.justwatch.com/au/movie/chef" rel="nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li><a href="http://www.imdb.com/title/tt1045670/?ref_=nv_sr_1" rel="nofollow" target="_blank">HAPPY-GO-LUCKY by Mike Leigh</a> <ul> <li>Watch it on <a href="https://itunes.apple.com/us/movie/happy-go-lucky/id432513101" rel="nofollow" target="_blank">iTunes</a> or find it on <a href="https://www.justwatch.com/au/movie/happy-go-lucky" rel="nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li><a href="http://www.imdb.com/title/tt1602620/?ref_=nv_sr_1" rel="nofollow" target="_blank">AMOUR by Michael Henke</a> <ul> <li>Watch it on on <a href="https://itunes.apple.com/us/movie/amour/id675010277" rel="nofollow" target="_blank">iTunes</a> or find it on <a href="https://www.justwatch.com/au/movie/love" rel="nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li>ScreenOnline: On <a href="http://www.screenonline.org.uk/people/id/461294/" rel="nofollow" target="_blank">Mike Leigh</a> <a href="http://www.screenonline.org.uk/people/id/461294/" rel="nofollow" target="_blank">http://www.screenonline.org.uk/people/id/461294/</a></li> </ul> Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>, via our <a href="http://draft-zero.com/feedback/" rel="nofollow" target="_blank">web form</a> or twitter <a href="https://twitter.com/draft_zero" rel="nofollow" target="_blank">@draft_zero</a>  We are <a href="http://www.twitter.com/chasffisher" rel="nofollow" target="_blank">@chasffisher </a>and <a href="http://www.twitter.com/stuwillis" rel="nofollow" target="_blank">@stuwillis </a>on twitter. Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating or subscribing to us on iTunes!</a> or sharing us on the Social Medias! We like finding new listeners.

DZ-35: Driving Characters or Character Driven?

Can the introduction of a character be so good that the character doesn't need describing? 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 &amp; 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. LINKS  PIRATES OF THE CARRIBEAN: CURSE OF THE BLACK PEARL by Ted Elliott &amp; Terry Rossio  Youtube: Captain Jack Sparrow's intro Wordplayer: The Storyteller Cut by Terry Rossio   BLADE by David S. Goyer  Youtube: Blade Opening Scene   THE DARK KNIGHT by Jonathan Nolan and Christopher Nolan (story by Christopher Nolan &amp; David S. Goyer)  Youtube: The Dark Knight Bank Robbery Scene   BREAKING BAD Pilot by Vince Gilligan THE GIRL WITH THE DRAGON TATTOO by Steve Zaillian THE WRESTLER by Rob Siegel THE SIXTH SENSE by M. Knight Shyamalan Youtube: Miss Congeniality Opening BLADE RUNNER by Hampton Fancher and David Peoples CHILDREN OF MEN by Alfonso Cuarón &amp; Timothy Sexton  Youtube: Children of Men Opening   JAWS by Carl Gottlieb and Peter Benchley  Youtube: The Head, the Tail, the Whole Damn Thing   AMELIE by Jean-Pierre Jeanet (transcribed and translated - not original screenplay) Youtube: Introduction of Amelie's parents (in French, no subtitles)   FIGHT CLUB by Jim Uhls LOCK STOCK &amp; TWO SMOKING BARRELS by Guy Ritchie  Youtube: Lock, Stock and Two Smoking Barrels Opening Scene   CABIN IN THE WOODS by Drew Goddard and Joss Whedon THE WOLF OF WALL STREET by Terence Winter  Youtube: Wolf of Wall Street Opening Scene   TAXI DRIVER by Paul Schrader Chas Fisher: Seem vs Seen Jane Espenson: That's 'jack-assity', not Jack Cassidy DGA Quarterly: Picturing Life - The DGA Interview: David O'Russell John August: How to introduce a character  Subscribe to the podcast via iTunes or RSS. Please send feedback to ask at draft-zero.com. Please considering rating us on iTunes!

Can the introduction of a character be so good that the character doesn't need describing? 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 &amp; 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. LINKS <ul> <li><a href="http://www.imsdb.com/scripts/Pirates-of-the-Caribbean.html" rel="nofollow" target="_blank">PIRATES OF THE CARRIBEAN: CURSE OF THE BLACK PEARL by Ted Elliott &amp; Terry Rossio</a> <ul> <li>Youtube: <a href="https://www.youtube.com/watch?v=R7m5Int1hAA" rel="nofollow" target="_blank">Captain Jack Sparrow's intro</a></li> <li>Wordplayer: <a href="http://www.wordplayer.com/columns/wp45.The.Storyteller.Cut.html" rel="nofollow" target="_blank">The Storyteller Cut </a>by Terry Rossio</li> </ul> </li> <li><a href="http://www.dailyscript.com/scripts/blade.html" rel="nofollow" target="_blank">BLADE by David S. Goyer</a> <ul> <li>Youtube: <a href="https://www.youtube.com/watch?v=gHBhKbF2xMA" rel="nofollow" target="_blank">Blade Opening Scene</a></li> </ul> </li> <li><a href="http://www.joblo.com/scripts/The_Dark_Knight.pdf" rel="nofollow" target="_blank">THE DARK KNIGHT by Jonathan Nolan and Christopher Nolan (story by Christopher Nolan &amp; David S. Goyer)</a> <ul> <li>Youtube: <a href="https://www.youtube.com/watch?v=v3-ClsRE9Yk" rel="nofollow" target="_blank">The Dark Knight Bank Robbery Scene</a></li> </ul> </li> <li><a href="http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Breaking_Bad-Pilot.PDF" rel="nofollow" target="_blank">BREAKING BAD Pilot by Vince Gilligan</a></li> <li><a href="http://readwatchwrite.com/wp-content/uploads/2013/07/thegirlwiththedragontattoo-screenplay.pdf" rel="nofollow" target="_blank">THE GIRL WITH THE DRAGON TATTOO by Steve Zaillian</a></li> <li><a href="http://cinearchive.org/post/35241080900/the-wrestler-screenplay-by-robert-siegel-pdf" rel="nofollow" target="_blank">THE WRESTLER by Rob Siegel</a></li> <li><a href="http://www.mnightfans.com/wp-content/uploads/2013/06/sixth-sense.pdf" rel="nofollow" target="_blank">THE SIXTH SENSE by M. Knight Shyamalan</a></li> <li>Youtube: <a href="https://www.youtube.com/watch?v=PHbPQFSwvVI" rel="nofollow" target="_blank">Miss Congeniality Opening</a></li> <li><a href="http://www.dailyscript.com/scripts/blade-runner_shooting.html" rel="nofollow" target="_blank">BLADE RUNNER by Hampton Fancher and David Peoples</a></li> <li><a href="http://www.dailyscript.com/scripts/children_of_men-script.pdf" rel="nofollow" target="_blank">CHILDREN OF MEN by Alfonso Cuarón &amp; Timothy Sexton</a> <ul> <li>Youtube: <a href="https://www.youtube.com/watch?v=wCTgUq6hzUk" rel="nofollow" target="_blank">Children of Men Opening</a></li> </ul> </li> <li><a href="http://www.dailyscript.com/scripts/Jaws.txt" rel="nofollow" target="_blank">JAWS by Carl Gottlieb and Peter Benchley</a> <ul> <li>Youtube: <a href="https://www.youtube.com/watch?v=dPi40lQetew" rel="nofollow" target="_blank">The Head, the Tail, the Whole Damn Thing</a></li> </ul> </li> <li><a href="http://www.script-o-rama.com/movie_scripts/a/amelie-script-transcript-audrey-tautou.html" rel="nofollow" target="_blank">AMELIE by Jean-Pierre Jeanet</a> (transcribed and translated - not original screenplay) <ul> <li>Youtube: <a href="https://www.youtube.com/watch?v=B3-Eie2HG3k" rel="nofollow" target="_blank">Introduction of Amelie's parents</a> (in French, no subtitles)</li> </ul> </li> <li><a href="http://sfy.ru/?script=fight_club" rel="nofollow" target="_blank">FIGHT CLUB by Jim Uhls</a></li> <li><a href="http://www.scifiscripts.com/msol/lockstock_screenplay.txt" rel="nofollow" target="_blank">LOCK STOCK &amp; TWO SMOKING BARRELS by Guy Ritchie</a> <ul> <li>Youtube: <a href="https://www.youtube.com/watch?v=wSodvRnD3Qc" rel="nofollow" target="_blank">Lock, Stock and Two Smoking Barrels Opening Scene</a></li> </ul> </li> <li><a href="http://alexcassun.files.wordpress.com/2012/08/cabin-in-the-woods.pdf" rel="nofollow" target="_blank">CABIN IN THE WOODS </a><a href="http://alexcassun.files.wordpress.com/2012/08/cabin-in-the-woods.pdf" rel="nofollow" target="_blank">by Drew Goddard and Joss Whedon</a></li> <li><a href="http://www.paramountguilds.com/pdf/the_wolf_of_wall_street_screenplay.pdf" rel="nofollow" target="_blank">THE WOLF OF WALL STREET by Terence Winter</a> <ul> <li>Youtube: <a href="https://www.youtube.com/watch?v=K2npc7CdJ4A&amp;oref=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DK2npc7CdJ4A&amp;has_verified=1" rel="nofollow" target="_blank">Wolf of Wall Street Opening Scene</a></li> </ul> </li> <li><a href="http://www.lc.ncu.edu.tw/learneng/script/TaxiDriver.pdf" rel="nofollow" target="_blank">TAXI DRIVER by Paul Schrader</a></li> <li>Chas Fisher: <a href="http://chasfisher.info/seem-vs-seen/" rel="nofollow" target="_blank">Seem vs Seen</a></li> <li>Jane Espenson: <a href="http://www.janeespenson.com/archives/00000273.php" rel="nofollow" target="_blank">That's 'jack-assity', not Jack Cassidy</a></li> <li>DGA Quarterly: <a href="http://www.dga.org/Craft/DGAQ/All-Articles/1402-Spring-2014/DGA-Interview-David-O-Russell.aspx" rel="nofollow" target="_blank">Picturing Life - The DGA Interview: David O'Russell</a></li> <li>John August: <a href="http://johnaugust.com/2007/how-to-introduce-character" rel="nofollow" target="_blank">How to introduce a character</a></li> </ul> Subscribe to the <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">podcast via iTunes</a> or <a href="http://draftzero.libsyn.com/rss" rel="nofollow" target="_blank">RSS</a>. Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>. Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating us on iTunes!</a>

DZ-09: Characterising Introductions

How can unfilmables enhance the experience of your script? 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. RUNNING ORDER ASIDES (@ 23:08)  LETHAL WEAPON by Shane Black YOUR BRIDESMAID IS A BITCH by Brian Duffield HEREDITARY by Ari Aster  FRAMING THE SCENE (@ 52:58)  READ: Jane Espenson - The Grim Brothers KILLING EVE, EPISODE1 by Phoebe Waller-Bridge  OPENINGS (@ 59:27)  KILLING THEM SOFTLY screenplay by Andrew Dominik, based on the novel “Cogan’s Trade" by George V. Higgins SHARP OBJECTS. EPISODE 1, VANISH Written by Marti Noxon, Based on the novel by Gillian Flynn HEREDITARY by Ari Aster SPARTAN a screenplay by David Mamet  PERFORMANCE (@ 1:36:07)  FLEABAG PILOT written by Phoebe Waller Bridge THE GIRL ON THE TRAIN by Erin Cressida Wilson, Adapted from the novel by Paula Hawkins THE NICE GUYS by Anthony Bagarozzi &amp; Shane Black DRIVE written by Hossein Amini, Based on the novel by James Sallis  TONE/THEME (@ 01:54:49)  MICHAEL CLAYTON by Tony Gilroy THE TREE OF LIFE by Terrence Mallick THREE BILLBOARDS OUTSIDE EBBING MISSOURI by Martin McDonagh WRAP UP / KEY LEARNINGS (@ 02:11:52)  EPISODE LINKS  READ:  DZ-60 - Unfilmables Collated Examples READ: Cinephilia &amp; Beyond -In Search of Our Better Selves: The Rebirth, Redemption and Road Warriors of George Miller’s ‘Mad Max: Fury Road’ LISTEN: DZ-16: Masters of Time and Whitespace  Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. Many thanks to all our patrons but particularly to Devin, Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie. They’re good humans. BUY DRAFT ZERO MERCH via TeePublic

How can unfilmables enhance the experience of your script? 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. RUNNING ORDER ASIDES (@ 23:08) <ul> <li>LETHAL WEAPON by Shane Black</li> <li>YOUR BRIDESMAID IS A BITCH by Brian Duffield</li> <li>HEREDITARY by Ari Aster</li> </ul> FRAMING THE SCENE (@ 52:58) <ul> <li>READ: Jane Espenson - <a href="http://www.janeespenson.com/102008/the-grim-brothers" rel="nofollow" target="_blank">The Grim Brothers</a></li> <li>KILLING EVE, EPISODE1 by Phoebe Waller-Bridge</li> </ul> OPENINGS (@ 59:27) <ul> <li>KILLING THEM SOFTLY screenplay by Andrew Dominik, based on the novel “Cogan’s Trade" by George V. Higgins</li> <li>SHARP OBJECTS. EPISODE 1, VANISH Written by Marti Noxon, Based on the novel by Gillian Flynn</li> <li>HEREDITARY by Ari Aster</li> <li>SPARTAN a screenplay by David Mamet</li> </ul> PERFORMANCE (@ 1:36:07) <ul> <li>FLEABAG PILOT written by Phoebe Waller Bridge</li> <li>THE GIRL ON THE TRAIN by Erin Cressida Wilson, Adapted from the novel by Paula Hawkins</li> <li>THE NICE GUYS by Anthony Bagarozzi &amp; Shane Black</li> <li>DRIVE written by Hossein Amini, Based on the novel by James Sallis</li> </ul> TONE/THEME (@ 01:54:49) <ul> <li>MICHAEL CLAYTON by Tony Gilroy</li> <li>THE TREE OF LIFE by Terrence Mallick</li> <li>THREE BILLBOARDS OUTSIDE EBBING MISSOURI by Martin McDonagh</li> <li>WRAP UP / KEY LEARNINGS (@ 02:11:52)</li> </ul> EPISODE LINKS <ul> <li>READ: <a href="http://traffic.libsyn.com/draftzero/DZ-60-Unfilmmables_Collated_v02.pdf" rel="nofollow" target="_blank"> DZ-60 - Unfilmables Collated Examples</a></li> <li>READ: Cinephilia &amp; Beyond -<a href="https://cinephiliabeyond.org/mad-max-fury-road/" rel="nofollow" target="_blank">In Search of Our Better Selves: The Rebirth, Redemption and Road Warriors of George Miller’s ‘Mad Max: Fury Road’</a></li> <li>LISTEN: <a href="https://draft-zero.com/2014/dz-16/" rel="nofollow" target="_blank">DZ-16: Masters of Time and Whitespace</a></li> </ul> Please considering rating or subscribing to us on <a href="https://itunes.apple.com/au/podcast/draft-zero-a-screenwriting-podcast/id847126598?mt=2" rel="nofollow" target="_blank">Apple Podcasts</a>! or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. Many thanks to all our <a href="https://www.patreon.com/draftzero" rel="nofollow" target="_blank">patrons</a> but particularly to Devin, Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie. They’re good humans. BUY DRAFT ZERO MERCH <a href="https://www.teepublic.com/stores/draft-zero?ref_id=8544" rel="nofollow" target="_blank">via TeePublic</a>

DZ-60 Unfilmables and Unscriptables 1 - Engaging imagination

What gives your sequences their intensity? 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 &amp; 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. SPOILERS ABOUND!! Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. PS: Thanks to all our listeners who provided feedback on a draft edit of this episode. EPISODE LINKS  HISTORY &amp; THEORY OF SEQUENCES  [@ 1m 38s] PLOT-LITE REVISITED - AMOUR, CHEF and HAPPY-GO-LUCKY [@ 13m 24s]  DZ-35: Character driven or driving characters? DZ-29: Showdowns &amp; Scene Structure   HIGH INTENSITY PLOT SEQUENCES [@ 24m 01s]  Youtube: Heat - Bank Robbery JustWatch: Heat Youtube: Frenzy - Potato Truck Scene JustWatch: Frenzy Youtube: Saving Private Ryan - Omaha Beach Landing JustWatch: Saving Private Ryan   PLOT/CHARACTER SEQUENCES THE BOURNE IDENTITY w Tony Gilroy [@ 36m 07s]  Youtube: Bourne vs The Professor Find it on JustWatch   PLOT SEQUENCES MOVING INTO PURE CHARACTER SEQUENCES NAKED w &amp; d Mike Leigh - Maggie Sequence [@ 54m 43s]  Youtube: Naked - "Maggie!" scene IMDB: http://www.imdb.com/title/tt0107653/   ROAD MOVIES [@ 1hr 06m 35s ]  IMDB: Living Is Easy with Your Eyes Closed JustWatch: The Motorcycle Diaries   NAKED w &amp; d Mike Leigh - Security Guard Sequence [@ 1hr 13m 00s]  Youtube: Naked - Jonny and the Security Guard IMDB: http://www.imdb.com/title/tt0107653/   PLOT AS THE HOOK [ @1h 21m 31s] THE KINGSMAN w Jane Goldman &amp; Matthew Vaughn [@ 1h 26m 44s]  Find it on JustWatch   CHARACTER SEQUENCES &amp; AUDIENCE INTROSPECTION [@ 1h 34m 52s] THE DIVING BELL AND THE BUTTERFLY w Ronald Harwood [@ 1h 34m 52s]  Script: http://www.dailyscript.com/scripts/The_Diving_Bell_and_the_Butterfly.pdf Find it on JustWatch   THERE WILL BE BLOOD w Paul Thomas Anderson [@ 1h 55m 41s]  Vimeo: There Will Be Blood Opening Scene Find it on JustWatch   FARGO (1996) w Joel &amp; Ethan Coen [@ 2h 05m 28s]  Youtube: Mike Yanagita Find it on JustWatch   CHILDREN OF MEN w A Cuaron, T Sexton, D Arata, M Fergus, H Ostby [@ 2h 20m 12s]  Youtube: Faith vs Chance Youtube: Baby Ceasefire Find it on JustWatch   SUMMARY &amp; FINAL WORDS [@ 3hr 03m 44s]  Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero  We are @chasffisher and @stuwillis on twitter.

What gives your sequences their intensity? 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 &amp; 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. SPOILERS ABOUND!! Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. PS: Thanks to all our listeners who provided feedback on a draft edit of this episode. EPISODE LINKS <ul> <li>HISTORY &amp; THEORY OF SEQUENCES  [@ 1m 38s]</li> <li>PLOT-LITE REVISITED - AMOUR, CHEF and HAPPY-GO-LUCKY [@ 13m 24s] <ul> <li><a href="http://draft-zero.com/2016/dz-35/" rel="nofollow" target="_blank">DZ-35: Character driven or driving characters?</a></li> <li><a href="http://draft-zero.com/2016/dz-29/" rel="nofollow" target="_blank">DZ-29: Showdowns &amp; Scene Structure</a></li> </ul> </li> <li>HIGH INTENSITY PLOT SEQUENCES [@ 24m 01s] <ul> <li>Youtube: Heat - <a href="https://www.youtube.com/watch?v=QQNBg6I29gI" rel="noopener nofollow" target="_blank">Bank Robbery</a></li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/heat" rel="noopener nofollow" target="_blank">Heat</a></li> <li>Youtube: Frenzy - <a href="https://www.youtube.com/watch?v=Zty-1BfGXfM" rel="noopener nofollow" target="_blank">Potato Truck Scene</a></li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/frenzy" rel="noopener nofollow" target="_blank">Frenzy</a></li> <li>Youtube: Saving Private Ryan - <a href="https://www.youtube.com/watch?v=h5p5j_K0CsY&amp;list=PLHdAFydjBWfYwDhAeRQmvmNRJ5fBrzAzV" rel="noopener nofollow" target="_blank">Omaha Beach Landing</a></li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/saving-private-ryan" rel="noopener nofollow" target="_blank">Saving Private Ryan</a></li> </ul> </li> <li>PLOT/CHARACTER SEQUENCES</li> <li>THE BOURNE IDENTITY w Tony Gilroy [@ 36m 07s] <ul> <li>Youtube: <a href="https://youtube.com/watch?v=P_uwr10k_s0" rel="noopener nofollow" target="_blank">Bourne vs The Professor</a></li> <li>Find it on <a href="https://www.justwatch.com/au/movie/bourne" rel="noopener nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li>PLOT SEQUENCES MOVING INTO PURE CHARACTER SEQUENCES</li> <li>NAKED w &amp; d Mike Leigh - Maggie Sequence [@ 54m 43s] <ul> <li>Youtube: <a href="https://youtube.com/watch?v=dHVOhXc3QWE" rel="noopener nofollow" target="_blank">Naked - "Maggie!" scene</a></li> <li>IMDB: <a href="http://www.imdb.com/title/tt0107653/" rel="nofollow" target="_blank">http://www.imdb.com/title/tt0107653/</a></li> </ul> </li> <li>ROAD MOVIES [@ 1hr 06m 35s ] <ul> <li>IMDB: <a href="http://www.imdb.com/title/tt2896036/?ref_=nv_sr_1" rel="noopener nofollow" target="_blank">Living Is Easy with Your Eyes Closed</a></li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/the-motorcycle-diaries" rel="noopener nofollow" target="_blank">The Motorcycle Diaries</a></li> </ul> </li> <li>NAKED w &amp; d Mike Leigh - Security Guard Sequence [@ 1hr 13m 00s] <ul> <li>Youtube: Naked - <a href="https://youtube.com/watch?v=N90sl94g7PE" rel="noopener nofollow" target="_blank">Jonny and the Security Guard</a></li> <li>IMDB: <a href="http://www.imdb.com/title/tt0107653/" rel="nofollow" target="_blank">http://www.imdb.com/title/tt0107653/</a></li> </ul> </li> <li>PLOT AS THE HOOK [ @1h 21m 31s]</li> <li>THE KINGSMAN w Jane Goldman &amp; Matthew Vaughn [@ 1h 26m 44s] <ul> <li>Find it on <a href="https://www.justwatch.com/au/movie/kingsman-the-secret-service" rel="noopener nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li>CHARACTER SEQUENCES &amp; AUDIENCE INTROSPECTION [@ 1h 34m 52s]</li> <li>THE DIVING BELL AND THE BUTTERFLY w Ronald Harwood [@ 1h 34m 52s] <ul> <li>Script: <a href="http://www.dailyscript.com/scripts/The_Diving_Bell_and_the_Butterfly.pdf" rel="noopener nofollow" target="_blank">http://www.dailyscript.com/scripts/The_Diving_Bell_and_the_Butterfly.pdf</a></li> <li>Find it on <a href="https://www.justwatch.com/au/movie/the-diving-bell-and-the-butterfly" rel="noopener nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li>THERE WILL BE BLOOD w Paul Thomas Anderson [@ 1h 55m 41s] <ul> <li>Vimeo: <a href="https://vimeo.com/47961685" rel="noopener nofollow" target="_blank">There Will Be Blood Opening Scene</a></li> <li>Find it on <a href="https://www.justwatch.com/au/movie/there-will-be-blood" rel="noopener nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li>FARGO (1996) w Joel &amp; Ethan Coen [@ 2h 05m 28s] <ul> <li>Youtube: <a href="https://youtube.com/watch?v=r_Ge4F4E9JE" rel="noopener nofollow" target="_blank">Mike Yanagita</a></li> <li>Find it on <a href="https://www.justwatch.com/au/movie/fargo-remastered" rel="noopener nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li>CHILDREN OF MEN w A Cuaron, T Sexton, D Arata, M Fergus, H Ostby [@ 2h 20m 12s] <ul> <li>Youtube: <a href="https://youtube.com/watch?v=bS8Ho_gZ6RQ" rel="noopener nofollow" target="_blank">Faith vs Chance</a></li> <li>Youtube: <a href="https://youtube.com/watch?v=Y5vmo_oUnJo" rel="noopener nofollow" target="_blank">Baby Ceasefire</a></li> <li>Find it on <a href="https://www.justwatch.com/au/movie/children-of-men" rel="noopener nofollow" target="_blank">JustWatch</a></li> </ul> </li> <li>SUMMARY &amp; FINAL WORDS [@ 3hr 03m 44s]</li> </ul> Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>, via our <a href="http://draft-zero.com/feedback/" rel="noopener nofollow" target="_blank">web form</a> or twitter <a href="https://twitter.com/draft_zero" rel="noopener nofollow" target="_blank">@draft_zero</a>  We are <a href="http://www.twitter.com/chasffisher" rel="noopener nofollow" target="_blank">@chasffisher </a>and <a href="http://www.twitter.com/stuwillis" rel="noopener nofollow" target="_blank">@stuwillis </a>on twitter.

DZ-43: Driving Sequences - Character and Plot Intensity

How do you keep contained movies engaging? 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 &amp; 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 &amp; CUBE 2, INFINITE MAN and BOXING DAY. EPISODE LINKS  Locke by Steven Knight (Script) YouTube: Locke - Trailer The Q&amp;A Podcast: Steven Knight - Pawn Sacrifice Q&amp;A   The One I Love by Justin Lader (IMDB) Watch on Netflix (US) and on Stan (Australia)   Everly screenplay by Yalo Hannon, story by Joe Lynch &amp; Yale Hannon (IMDB) YouTube: Everly - Official Trailer #1 The Movie Crypt with Adam Green &amp; Joe Lynch Chicks Who Script: Ep 25 - Brett Hedblom and the Skinny on Producing    Boxing Day (IMDB) YouTube: Boxing Day - Trailer Boxing Day - Watch on iTunes   The Infinte Man (IMDB) YouTube: The Infinite Man - Trailer The Infinite Man - Watch on iTunes   YouTube: Buried - Trailer YouTube: Phone Booth - Trailer YouTube: the Disappearance of Alice Creed - Trailer YouTube: Cube - Trailer &amp; Cube 2: Hypercube - Trailer ScriptShadow - GSU!!! (Goal, Stakes, Ugency) Wikipedia: Pathetic Fallacy &amp; LiteraryDevices.Net: Pathetic Fallacy The Guardian: Covenhithe (short story) by China Miéville Draft Zero: DZ-05: Shifting audience point of view and heightened emotions  BACKMATTER  Grant Nebel on Story Intensity Over Time  &amp; Forms of Storytelling on Television Pete's Blog: A Thousand Men : TV for Writers The Screen Director Podcast produced by Ben Mizzi  Writing Predestination - The Spierig Brothers Corrie Chen on Bloomers Julietta Boscolo on Love Child Tommy Schlamme (The West Wing, Manhattan) interviewed by DZ's very own Stu Willis   Patreon.com : Recurring funding for artists and creators  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 us on iTunes! or sharing us on the Social Medias!

How do you keep contained movies engaging? 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 &amp; 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 &amp; CUBE 2, INFINITE MAN and BOXING DAY. EPISODE LINKS <ul> <li><a href="http://gointothestory.blcklst.com/wp-content/uploads/2014/11/Locke.pdf" rel="nofollow" target="_blank">Locke by Steven Knight</a> (Script) <ul> <li>YouTube: <a href="https://www.youtube.com/watch?v=2Ao2r6qD22A" rel="nofollow" target="_blank">Locke - Trailer</a></li> <li>The Q&amp;A Podcast: <a href="http://www.theqandapodcast.com/2015/09/steven-knight-pawn-sacrifice-q.html" rel="nofollow" target="_blank">Steven Knight - Pawn Sacrifice Q&amp;A</a></li> </ul> </li> <li><a href="http://www.imdb.com/title/tt2756032/" rel="nofollow" target="_blank">The One I Love by Justin Lader</a> (IMDB) <ul> <li>Watch on <a href="http://www.netflix.com/title/70299863" rel="nofollow" target="_blank">Netflix (US)</a> and on <a href="https://play.stan.com.au/programs/376215" rel="nofollow" target="_blank">Stan (Australia)</a></li> </ul> </li> <li><a href="http://www.imdb.com/title/tt1945084/" rel="nofollow" target="_blank">Everly screenplay by Yalo Hannon, story by Joe Lynch &amp; Yale Hannon</a> (IMDB) <ul> <li>YouTube: <a href="https://www.youtube.com/watch?v=jCWXWgg5H9g" rel="nofollow" target="_blank">Everly - Official Trailer #1</a></li> <li><a href="http://geeknation.com/podcast/the-movie-crypt/" rel="nofollow" target="_blank">The Movie Crypt with Adam Green &amp; Joe Lynch</a></li> <li>Chicks Who Script: <a href="http://chickswhoscript.com/podcast/episode-twenty-five-brett-hedblom-and-skinny-producing" rel="nofollow" target="_blank">Ep 25 - Brett Hedblom and the Skinny on Producing </a></li> </ul> </li> <li><a href="http://www.imdb.com/title/tt0970922/?ref_=fn_al_tt_2" rel="nofollow" target="_blank">Boxing Day </a>(IMDB) <ul> <li>YouTube: <a href="https://www.youtube.com/watch?v=etZS6pTU-Ks" rel="nofollow" target="_blank">Boxing Day - Trailer</a></li> <li>Boxing Day - Watch <a href="https://itunes.apple.com/au/movie/boxing-day/id932838405" rel="nofollow" target="_blank">on iTunes</a></li> </ul> </li> <li><a href="http://www.imdb.com/title/tt2553424/" rel="nofollow" target="_blank">The Infinte Man</a> (IMDB) <ul> <li>YouTube: <a href="https://www.youtube.com/watch?v=-P7bQ9fUw7A" rel="nofollow" target="_blank">The Infinite Man - Trailer</a></li> <li><a href="https://itunes.apple.com/au/movie/the-infinite-man/id944226767" rel="nofollow" target="_blank">The Infinite Man</a> - Watch on iTunes</li> </ul> </li> <li>YouTube: <a href="https://www.youtube.com/watch?v=j1Yyhxq56Xg" rel="nofollow" target="_blank">Buried - Trailer</a></li> <li>YouTube: <a href="https://www.youtube.com/watch?v=JDGY8GoEbQ0" rel="nofollow" target="_blank">Phone Booth - Trailer</a></li> <li>YouTube: <a href="https://www.youtube.com/watch?v=JDGY8GoEbQ0" rel="nofollow" target="_blank">the Disappearance of Alice Creed - Trailer</a></li> <li>YouTube: <a href="https://www.youtube.com/watch?v=JDGY8GoEbQ0" rel="nofollow" target="_blank">Cube - Trailer</a> &amp; <a href="https://www.youtube.com/watch?v=uxDycRoR9VY" rel="nofollow" target="_blank">Cube 2: Hypercube - Trailer</a></li> <li><a href="http://scriptshadow.blogspot.com.au/2011/08/article-gsu.html" rel="nofollow" target="_blank">ScriptShadow - GSU!!!</a> (Goal, Stakes, Ugency)</li> <li>Wikipedia: <a href="https://en.wikipedia.org/wiki/Pathetic_fallacy" rel="nofollow" target="_blank">Pathetic Fallacy</a> &amp; <a href="http://LiteraryDevices.Net" rel="nofollow" target="_blank">LiteraryDevices.Net</a>: <a href="http://literarydevices.net/pathetic-fallacy/" rel="nofollow" target="_blank">Pathetic Fallacy</a></li> <li>The Guardian: <a href="http://www.theguardian.com/books/2011/apr/22/china-mieville-covehithe-short-story" rel="nofollow" target="_blank">Covenhithe (short story) by China Miéville</a></li> <li>Draft Zero: <a href="http://draft-zero.com/2014/dz-05/" rel="nofollow" target="_blank">DZ-05: Shifting audience point of view and heightened emotions</a></li> </ul> BACKMATTER <ul> <li>Grant Nebel on <a href="http://www.the-solute.com/film-on-the-television-9152015-the-secret-life-of-walter-mitty-on-hbo/#comment-2255214314" rel="nofollow" target="_blank">Story Intensity Over Time</a>  &amp; <a href="https://disqus.com/home/channel/theavclubafterdark/discussion/channel-theavclubafterdark/forms_of_storytelling_on_television/" rel="nofollow" target="_blank">Forms of Storytelling on Television</a></li> <li>Pete's Blog: <a href="https://2thousandmen.wordpress.com" rel="nofollow" target="_blank">A Thousand Men : TV for Writers</a></li> <li><a href="http://www.screendirector.org/post?category=podcast" rel="nofollow" target="_blank">The Screen Director Podcast</a> produced by <a href="http://benmizzi.com" rel="nofollow" target="_blank">Ben Mizzi</a> <ul> <li><a href="http://www.screendirector.org/post/2015/2/18/writing-predestination-the-spierig-brothers" rel="nofollow" target="_blank">Writing Predestination - The Spierig Brothers</a></li> <li><a href="http://www.screendirector.org/post/2015/7/4/corrie-chen-bloomers" rel="nofollow" target="_blank">Corrie Chen on Bloomers</a></li> <li><a href="http://www.screendirector.org/post/2015/julietta-boscolo-love-child" rel="nofollow" target="_blank">Julietta Boscolo on Love Child</a></li> <li><a href="http://www.screendirector.org/post/2015/thomas-schlamme" rel="nofollow" target="_blank">Tommy Schlamme (The West Wing, Manhattan)</a> interviewed by DZ's very own Stu Willis</li> </ul> </li> <li><a href="https://www.patreon.com" rel="nofollow" target="_blank">Patreon.com : Recurring funding for artists and creators</a></li> </ul> Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>, via our <a href="http://draft-zero.com/feedback/" rel="nofollow" target="_blank">web form</a> or twitter <a href="https://twitter.com/draft_zero" rel="nofollow" target="_blank">@draft_zero</a>  We are <a href="http://www.twitter.com/chasffisher" rel="nofollow" target="_blank">@chasffisher </a>and <a href="http://www.twitter.com/stuwillis" rel="nofollow" target="_blank">@stuwillis </a>on twitter. Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating us on iTunes!</a> or sharing us on the Social Medias!

DZ-28: Containing Your Script

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  DRAFT ZERO Related Episodes  DZ-05: Shifting audience point of view and heightened emotions DZ-10: Midpoint Reversals and The Ride DZ-21: Scene Transitions and the Hook   INTRODUCTION  LA Confidential [@ 6m 21s] Manchester by the Sea [@ 10m 57s]   GET OUT written &amp; directed by Jordan Peele [@ 19m 57s]  Vimeo: Get Out - Alternate Ending Jordan Peele on the Nerdist Podcast and on The Movie Crypt podcast Jason Blum on the Nerdist Podcast Find it on Just Watch   DUNKIRK written &amp; directed by by Christopher Nolan [@ 50m 15s]  Vox: The sound illusion that makes Dunkirk so intense Find it on Just Watch   THE LIVES OF OTHERS written &amp; directed by Florian Henckel von Donnersmark [@ 1hr 31m 00s]  Find it on Just Watch   WRAP UP [@ 2hr 11m 32s]  The Kuleshov effect    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, <a href="https://www.patreon.com/draftzero/" rel="noopener nofollow" target="_blank">click here</a>! EPISODE LINKS <ul> <li>DRAFT ZERO Related Episodes <ul> <li><a href="http://draft-zero.com/2014/dz-05/" rel="noopener nofollow" target="_blank">DZ-05: Shifting audience point of view and heightened emotions</a></li> <li><a href="http://draft-zero.com/2014/dz-10/" rel="noopener nofollow" target="_blank">DZ-10: Midpoint Reversals and The Ride</a></li> <li><a href="http://draft-zero.com/2015/dz-21/" rel="noopener nofollow" target="_blank">DZ-21: Scene Transitions and the Hook</a></li> </ul> </li> <li>INTRODUCTION <ul> <li>LA Confidential [@ 6m 21s]</li> <li>Manchester by the Sea [@ 10m 57s]</li> </ul> </li> <li>GET OUT written &amp; directed by Jordan Peele [@ 19m 57s] <ul> <li>Vimeo: <a href="https://vimeo.com/218161622" rel="noopener nofollow" target="_blank">Get Out - Alternate Ending</a></li> <li>Jordan Peele on the <a href="https://nerdist.com/nerdist-podcast-jordan-peele/" rel="noopener nofollow" target="_blank">Nerdist Podcast</a> and on The Movie Crypt podcast</li> <li>Jason Blum on the <a href="https://nerdist.com/nerdist-podcast-jason-blum/" rel="noopener nofollow" target="_blank">Nerdist Podcast</a></li> <li>Find it on <a href="https://www.justwatch.com/us/movie/get-out" rel="noopener nofollow" target="_blank">Just Watch</a></li> </ul> </li> <li>DUNKIRK written &amp; directed by by Christopher Nolan [@ 50m 15s] <ul> <li>Vox: <a href="https://www.youtube.com/watch?v=LVWTQcZbLgY&amp;t=47s" rel="noopener nofollow" target="_blank">The sound illusion that makes Dunkirk so intense</a></li> <li>Find it on <a href="https://www.justwatch.com/us/movie/dunkirk-2017" rel="noopener nofollow" target="_blank">Just Watch</a></li> </ul> </li> <li>THE LIVES OF OTHERS written &amp; directed by Florian Henckel von Donnersmark [@ 1hr 31m 00s] <ul> <li>Find it on <a href="https://www.justwatch.com/us/movie/the-lives-of-others" rel="noopener nofollow" target="_blank">Just Watch</a></li> </ul> </li> <li>WRAP UP [@ 2hr 11m 32s] <ul> <li><a href="https://en.wikipedia.org/wiki/Kuleshov_effect" rel="nofollow" target="_blank">The Kuleshov effect</a></li> </ul> </li> </ul> Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>, via our <a href="http://draft-zero.com/feedback/" rel="noopener nofollow" target="_blank">web form</a> or twitter <a href="https://twitter.com/draft_zero" rel="noopener nofollow" target="_blank">@draft_zero</a>! We are <a href="http://www.twitter.com/chasffisher" rel="noopener nofollow" target="_blank">@chasffisher </a>and <a href="http://www.twitter.com/stuwillis" rel="noopener nofollow" target="_blank">@stuwillis </a>on twitter. Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating or subscribing to us on Apple Podcast!</a> or sharing us on the Social Medias! We like finding new listeners. Thanks to Khrob and Joakim for being patrons. They're good people.

DZ-46: Structure & Point of View

What makes a strong human antagonist? 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 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! EPISODES LINKS  DRAFT ZERO RELATED EPISODES  DZ-43: Driving Sequences – Character and Plot Intensity DZ-35: Driving Characters or Character Driven?   ANTAGONISTS OVERVIEW  READ: https://en.wikipedia.org/wiki/Boss_(video_gaming) READ:  Different kinds of antagonistic forces? (for draft zero episode) READ:  How can I create meaningful conflict for my characters without a physical antagonist? READ:  There was a post the other day about making villains 'deep', I got distracted/carried away with my comment but thought it might be fun to still discuss it. WATCH: Movie Villains Done Right   DIE HARD screenplay: Jeb Stuart and Steven E. de Souza [@ 12m 27s]  JustWatch: https://www.justwatch.com/us/movie/die-hard-1   MISERY screenplay: William Goldman [@ 24m 25s]  JustWatch: https://www.justwatch.com/us/movie/misery-stephen-king   THE DARK KNIGHT story: Christopher Nolan &amp; David S. Goyer screenplay: Jonathan Nolan &amp; Christopher Nolan [@ 40m 12s]  WATCH: The Dark Knight — Creating the Ultimate Antagonist JustWatch: https://www.justwatch.com/us/movie/batman-the-dark-knight   THREE BILLBOARDS OUTSIDE OF EBBING, MISSOURI w&amp;d: Martin McDonagh [@ 45m 32s]  JustWatch: https://www.justwatch.com/us/movie/three-billboards-outside-ebbing-missouri   LA LA LAND w&amp;d: Damien Chazelle [@ 1hr 11m 30s]  JustWatch: https://www.justwatch.com/us/movie/la-la-land   WRAP UP [@ 1hr 14m 33s]  Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher  @stuwillis and @csmcmullen on twitter. Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners. Many thanks to Sandra, Paul, Rob, Christopher,  Joakim and Khrob for being top-level patrons. They're good human antagonists.

What makes a strong human antagonist? Prompted by a listener (and <a href="http://patreon.com/draftzero" rel="noopener nofollow" target="_blank">patron</a> 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 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, <a href="https://www.patreon.com/draftzero/" rel="noopener nofollow" target="_blank">click here</a>! EPISODES LINKS <ul> <li>DRAFT ZERO RELATED EPISODES <ul> <li><a href="http://draft-zero.com/2017/dz-43/" rel="nofollow" target="_blank">DZ-43: Driving Sequences – Character and Plot Intensity</a></li> <li><a href="http://draft-zero.com/2016/dz-35/" rel="nofollow" target="_blank">DZ-35: Driving Characters or Character Driven?</a></li> </ul> </li> <li>ANTAGONISTS OVERVIEW <ul> <li>READ: <a href="https://en.wikipedia.org/wiki/Boss_(video_gaming)" rel="noopener nofollow" target="_blank">https://en.wikipedia.org/wiki/Boss_(video_gaming)</a></li> <li>READ: <a href="https://www.reddit.com/r/Screenwriting/comments/7pfevc/different_kinds_of_antagonistic_forces_for_draft/" rel="nofollow" target="_blank"> Different kinds of antagonistic forces? (for draft zero episode)</a></li> <li>READ: <a href="https://www.reddit.com/r/Screenwriting/comments/6e5kky/how_can_i_create_meaningful_conflict_for_my/" rel="nofollow" target="_blank"> How can I create meaningful conflict for my characters without a physical antagonist?</a></li> <li>READ: <a href="https://www.reddit.com/r/Screenwriting/comments/7fftdf/there_was_a_post_the_other_day_about_making/" rel="nofollow" target="_blank"> There was a post the other day about making villains 'deep', I got distracted/carried away with my comment but thought it might be fun to still discuss it.</a></li> <li>WATCH: <a href="https://www.youtube.com/watch?v=X5yTzP2TfrM" rel="noopener nofollow" target="_blank">Movie Villains Done Right</a></li> </ul> </li> <li>DIE HARD screenplay: Jeb Stuart and Steven E. de Souza [@ 12m 27s] <ul> <li>JustWatch: <a href="https://www.justwatch.com/us/movie/die-hard-1" rel="noopener nofollow" target="_blank">https://www.justwatch.com/us/movie/die-hard-1</a></li> </ul> </li> <li>MISERY screenplay: William Goldman [@ 24m 25s] <ul> <li>JustWatch: <a href="https://www.justwatch.com/us/movie/misery-stephen-king" rel="noopener nofollow" target="_blank">https://www.justwatch.com/us/movie/misery-stephen-king</a></li> </ul> </li> <li>THE DARK KNIGHT story: Christopher Nolan &amp; David S. Goyer screenplay: Jonathan Nolan &amp; Christopher Nolan [@ 40m 12s] <ul> <li>WATCH: <a href="https://youtu.be/pFUKeD3FJm8" rel="noopener nofollow" target="_blank">The Dark Knight — Creating the Ultimate Antagonist</a></li> <li>JustWatch: <a href="https://www.justwatch.com/au/movie/batman-the-dark-knight" rel="noopener nofollow" target="_blank">https://www.justwatch.com/us/movie/batman-the-dark-knight</a></li> </ul> </li> <li>THREE BILLBOARDS OUTSIDE OF EBBING, MISSOURI w&amp;d: Martin McDonagh [@ 45m 32s] <ul> <li>JustWatch: <a href="https://www.justwatch.com/us/movie/three-billboards-outside-ebbing-missouri" rel="noopener nofollow" target="_blank">https://www.justwatch.com/us/movie/three-billboards-outside-ebbing-missouri</a></li> </ul> </li> <li>LA LA LAND w&amp;d: Damien Chazelle [@ 1hr 11m 30s] <ul> <li>JustWatch: <a href="https://www.justwatch.com/us/movie/la-la-land" rel="noopener nofollow" target="_blank">https://www.justwatch.com/us/movie/la-la-land</a></li> </ul> </li> <li>WRAP UP [@ 1hr 14m 33s]</li> </ul> Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>, via our <a href="http://draft-zero.com/feedback/" rel="noopener nofollow" target="_blank">web form</a> or twitter <a href="https://twitter.com/draft_zero" rel="noopener nofollow" target="_blank">@draft_zero</a>! We are <a href="http://www.twitter.com/chasffisher" rel="noopener nofollow" target="_blank">@chasffisher </a> <a href="http://www.twitter.com/stuwillis" rel="noopener nofollow" target="_blank">@stuwillis </a>and <a href="https://twitter.com/csmcmullen" rel="noopener nofollow" target="_blank">@csmcmullen</a> on twitter. Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating or subscribing to us on Apple Podcast!</a> or sharing us on the Social Medias! We like finding new listeners. Many thanks to Sandra, Paul, Rob, Christopher,  Joakim and Khrob for being top-level patrons. They're good human antagonists.

DZ-49: Antagonists! 1 - vs Humans

How do you make unlikeable characters compelling to watch... in drama? 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 a**hole 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. EPISODE LINKS  Draft Zero: DZ-03: Making Unlikable Protagonists Compelling AMERICAN HISTORY X by David McKenna  YouTube: American History X - First Scene YouTube: American History X - Basketball Game   YOUNG ADULT by Diablo Cody (Final Draft) - First 20 pages. For educational purposes only. YOUNG ADULT by Diablo Cody - First 20 pages. For educational purposes only. YouTube: Young Adult - Trailer   NIGHTCRAWLER  by Dan Gilroy  YouTube: Nightcrawler Best Scenes New York Times: 'Nightcrawler' Anatomy of a Scene with Dan Gilroy   YouTube: The Killer Inside Me - Trailer Every Frame a Painting: Snowpiercer - Left or Right  BACKMATTER LINKS  Cinephilla &amp; Beyond: Alien 3 Archive The Contrarians: Episode 2 - Alien 3 Temple of the Seven Golden Camels: Staging and How It Affects Mood &amp; Drama Temple of the Seven Golden Camels: (Just a Little Bit) More Flat and Deep Every Frame a Painting: Drive (2011) - the Quadrant System Every Frame a Painting: The Bad Sleep Well (1960) - the Geometry of a Scene Day One: A Simple and Elegant Journal for iPhone, iPad and Mac  Shawn Blanc: Day One review IMDB: David Caesar  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 us on iTunes! or sharing us on the Social Medias!

How do you make unlikeable characters compelling to watch... in drama? 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 a**hole 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. EPISODE LINKS <ul> <li>Draft Zero: <a href="http://draft-zero.com/2014/dz-03/" rel="nofollow" target="_blank">DZ-03: Making Unlikable Protagonists Compelling</a></li> <li><a href="http://www.thescriptsource.net/Scripts/AmericanHistoryX.pdf" rel="nofollow" target="_blank">AMERICAN HISTORY X by David McKenna</a> <ul> <li>YouTube: <a href="https://www.youtube.com/watch?v=2Ea_YBF7yzU" rel="nofollow" target="_blank">American History X - First Scene</a></li> <li>YouTube: <a href="https://www.youtube.com/watch?v=xuocNUuhe1M" rel="nofollow" target="_blank">American History X - Basketball Game</a></li> </ul> </li> <li><a href="http://traffic.libsyn.com/draftzero/YOUNGADULT_FinalDraft_DiabloCody-20pages.pdf" rel="nofollow" target="_blank">YOUNG ADULT by Diablo Cody (Final Draft)</a> - First 20 pages. For educational purposes only. <ul> <li><a href="http://traffic.libsyn.com/draftzero/YOUNG_ADULT_DiabloCody-20pages.pdf" rel="nofollow" target="_blank">YOUNG ADULT by Diablo Cody</a> - First 20 pages. For educational purposes only.</li> <li>YouTube: <a href="https://www.youtube.com/watch?v=Ar_-v7dEEoo" rel="nofollow" target="_blank">Young Adult - Trailer</a></li> </ul> </li> <li><a href="lcklst.com/wp-content/uploads/2014/12/NIGHTCRAWLER-Dan-Gilroy.pdf" rel="nofollow" target="_blank">NIGHTCRAWLER  by Dan Gilroy</a> <ul> <li>YouTube: <a href="https://www.youtube.com/watch?v=KW-PYeXsmvY" rel="nofollow" target="_blank">Nightcrawler Best Scenes</a></li> <li>New York Times: <a href="https://www.youtube.com/watch?v=qt54tpjWII0" rel="nofollow" target="_blank">'Nightcrawler' Anatomy of a Scene with Dan Gilroy</a></li> </ul> </li> <li>YouTube: <a href="https://www.youtube.com/watch?v=BO9lzxOai10" rel="nofollow" target="_blank">The Killer Inside Me - Trailer</a></li> <li>Every Frame a Painting: <a href="https://vimeo.com/110329961" rel="nofollow" target="_blank">Snowpiercer - Left or Right</a></li> </ul> BACKMATTER LINKS <ul> <li>Cinephilla &amp; Beyond: <a href="http://www.cinephiliabeyond.org/take-all-of-the-responsibility-because-youre-going-to-get-all-of-the-blame/" rel="nofollow" target="_blank">Alien 3 Archive</a></li> <li>The Contrarians: <a href="http://www.google.com/url?q=http%3A%2F%2Fwww.wearethecontrarians.com%2Fepisodes%2F2014%2F12%2F9%2Fepisode-2-alien-3&amp;sa=D&amp;sntz=1&amp;usg=AFQjCNEVWujuU82RHgx7eeCCzA7Z-ImpKw" rel="nofollow" target="_blank">Episode 2 - Alien 3</a></li> <li>Temple of the Seven Golden Camels: <a href="http://sevencamels.blogspot.com/2012/07/staging-and-how-it-affects-mood-and.html" rel="nofollow" target="_blank">Staging and How It Affects Mood &amp; Drama</a></li> <li>Temple of the Seven Golden Camels: <a href="http://sevencamels.blogspot.com.au/2009/02/just-little-bit-more-more-flat-and-deep.html" rel="nofollow" target="_blank">(Just a Little Bit) More Flat and Deep</a></li> <li>Every Frame a Painting: <a href="https://vimeo.com/118321998" rel="nofollow" target="_blank">Drive (2011) - the Quadrant System</a></li> <li>Every Frame a Painting: <a href="https://vimeo.com/118078262" rel="nofollow" target="_blank">The Bad Sleep Well (1960) - the Geometry of a Scene</a></li> <li>Day One: <a href="http://dayoneapp.com" rel="nofollow" target="_blank">A Simple and Elegant Journal for iPhone, iPad and Mac </a></li> <li>Shawn Blanc: <a href="http://shawnblanc.net/2012/08/day-one-review/" rel="nofollow" target="_blank">Day One review</a></li> <li>IMDB: <a href="http://www.imdb.com/name/nm0128365/" rel="nofollow" target="_blank">David Caesar</a></li> </ul> Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>, via our <a href="http://draft-zero.com/feedback/" rel="nofollow" target="_blank">web form</a> or twitter <a href="https://twitter.com/draft_zero" rel="nofollow" target="_blank">@draft_zero</a>  We are <a href="http://www.twitter.com/chasffisher" rel="nofollow" target="_blank">@chasffisher </a>and <a href="http://www.twitter.com/stuwillis" rel="nofollow" target="_blank">@stuwillis </a>on twitter. Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating us on iTunes!</a> or sharing us on the Social Medias!

DZ-19: Car-Crash Characters

How can studying RomCom clichés teach us to subvert them? 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. EPISODE LINKS  Vulture.com: 10 Most Over-Used Romantic Comedy Plot-Points Draft Zero: DZ-13: True That – Tips from Tarantino Goodreads: Writing the Romantic Comedy: From "Cute Meet" to "Joyous Defeat" by Billy Mernit WHEN HARRY MET SALLY by Rob Reiner, Nora Ephron &amp; Andrew Scheinman  Youtube: WHEN HARRY MET SALLY - Restaurant Orgasm Scene   Youtube: WHAT IF trailer Youtube: THE PROPOSAL trailer 500 DAYS OF SUMMER by Scott Neustadter &amp; Michael H. Weber  Youtube: (500) DAYS OF SUMMER - Expectations vs Reality   The Atlantic: Love Actually is the least romantic film of all time BAFTA: Richard Curtis Delivers his BAFTA Screenwriters' Lecture Alli Parker: Twitter - @alli_and_that and website - http://www.alliparker.com  BACKMATTER LINKS  TV Tropes: Romantic Comedy Aeon Magazine: There Is No Language Instinct DZ-04: Catharsis and the Post-Coital Cigarette YouTube: Girls (HBO) Season 2 Episode 10 " Together" Finale NewStatesman: “Let's talk about genre” - Neil Gaiman and Kazuo Ishiguro in conversation TheDailyDot.com: The Mako Mori Test: 'Pacific Rim' inspires a Bechdel Test alternative The Guardian: Woman sues to stop Drive getting away with a 'misleading' trailer Listener Project: EX-BEST Wikipedia: Cosmic Encounter  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 us on iTunes! or sharing us on the Social Medias!

How can studying RomCom clichés teach us to subvert them? 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. EPISODE LINKS <ul> <li><a href="http://Vulture.com" rel="nofollow" target="_blank">Vulture.com</a>: <a href="http://whatculture.com/film/10-most-over-used-romantic-comedy-plot-points.php" rel="nofollow" target="_blank">10 Most Over-Used Romantic Comedy Plot-Points</a></li> <li>Draft Zero: <a href="http://draft-zero.com/2014/dz-13/" rel="nofollow" target="_blank">DZ-13: True That – Tips from Tarantino</a></li> <li>Goodreads: <a href="https://www.goodreads.com/book/show/34220.Writing_the_Romantic_Comedy" rel="nofollow" target="_blank">Writing the Romantic Comedy: From "Cute Meet" to "Joyous Defeat" by Billy Mernit</a></li> <li><a href="http://www.dailyscript.com/scripts/whenharrymesally.pdf" rel="nofollow" target="_blank">WHEN HARRY MET SALLY by Rob Reiner, Nora Ephron &amp; Andrew Scheinman</a> <ul> <li>Youtube: WHEN HARRY MET SALLY - <a href="https://www.youtube.com/watch?v=FZluzt3H6tk" rel="nofollow" target="_blank">Restaurant Orgasm Scene</a></li> </ul> </li> <li>Youtube: <a href="https://www.youtube.com/watch?v=A86JGbBEaBk" rel="nofollow" target="_blank">WHAT IF trailer</a></li> <li>Youtube: <a href="https://www.youtube.com/watch?v=RFL8b1p1ELY" rel="nofollow" target="_blank">THE PROPOSAL trailer</a></li> <li><a href="http://readwatchwrite.com/wp-content/uploads/2013/06/500DaysofSummer.pdf" rel="nofollow" target="_blank">500 DAYS OF SUMMER by Scott Neustadter &amp; Michael H. Weber</a> <ul> <li>Youtube: (500) DAYS OF SUMMER - <a href="https://www.youtube.com/watch?v=r-xJ15AN9ts" rel="nofollow" target="_blank">Expectations vs Reality</a></li> </ul> </li> <li>The Atlantic: <a href="http://www.theatlantic.com/entertainment/archive/2013/12/-em-love-actually-em-is-the-least-romantic-film-of-all-time/282091/" rel="nofollow" target="_blank">Love Actually is the least romantic film of all time</a></li> <li>BAFTA: <a href="http://www.bafta.org/film/features/richard-curtis-delivers-his-bafta-screenwriters-lecture" rel="nofollow" target="_blank">Richard Curtis Delivers his BAFTA Screenwriters' Lecture</a></li> <li>Alli Parker: Twitter - <a href="https://twitter.com/alli_and_that" rel="nofollow" target="_blank">@alli_and_that</a> and website - <a href="http://www.google.com/url?q=http%3A%2F%2Fwww.alliparker.com&amp;sa=D&amp;sntz=1&amp;usg=AFQjCNG12273u3eDRaCywdiouETo5zT5BA" rel="nofollow" target="_blank">http://www.alliparker.com</a></li> </ul> BACKMATTER LINKS <ul> <li>TV Tropes: <a href="http://tvtropes.org/pmwiki/pmwiki.php/Main/RomanticComedy" rel="nofollow" target="_blank">Romantic Comedy</a></li> <li>Aeon Magazine: <a href="http://aeon.co/magazine/culture/there-is-no-language-instinct/" rel="nofollow" target="_blank">There Is No Language Instinct</a></li> <li>DZ-04: <a href="http://draft-zero.com/2014/dz-04/" rel="nofollow" target="_blank">Catharsis and the Post-Coital Cigarette</a></li> <li>YouTube: <a href="https://www.youtube.com/watch?v=94vEy2PXr24" rel="nofollow" target="_blank">Girls (HBO) Season 2 Episode 10 " Together" Finale</a></li> <li>NewStatesman: <a href="http://www.newstatesman.com/2015/05/neil-gaiman-kazuo-ishiguro-interview-literature-genre-machines-can-toil-they-can-t-imagine" rel="nofollow" target="_blank">“Let's talk about genre” - Neil Gaiman and Kazuo Ishiguro in conversation</a></li> <li><a href="http://TheDailyDot.com" rel="nofollow" target="_blank">TheDailyDot.com</a>: <a href="http://www.dailydot.com/fandom/mako-mori-test-bechdel-pacific-rim/" rel="nofollow" target="_blank">The Mako Mori Test: 'Pacific Rim' inspires a Bechdel Test alternative</a></li> <li>The Guardian: <a href="http://www.theguardian.com/film/2011/oct/10/woman-sues-drive-trailer" rel="nofollow" target="_blank">Woman sues to stop Drive getting away with a 'misleading' trailer</a></li> <li>Listener Project: <a href="https://www.facebook.com/exbesttheseries" rel="nofollow" target="_blank">EX-BEST</a></li> <li>Wikipedia: <a href="http://en.wikipedia.org/wiki/Cosmic_Encounter" rel="nofollow" target="_blank">Cosmic Encounter</a></li> </ul> Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>, via our <a href="http://draft-zero.com/feedback/" rel="nofollow" target="_blank">web form</a> or twitter <a href="https://twitter.com/draft_zero" rel="nofollow" target="_blank">@draft_zero</a>  We are <a href="http://www.twitter.com/chasffisher" rel="nofollow" target="_blank">@chasffisher </a>and <a href="http://www.twitter.com/stuwillis" rel="nofollow" target="_blank">@stuwillis </a>on twitter. Please considering <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rating us on iTunes!</a> or sharing us on the Social Medias!

DZ-22: Romantic Comedy, Actually

 How does the end of certain films make your soul shudder?  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.  LINKS  Stephen Cleary's Website: http://www.stephenclearyfilm.com Stephen Cleary's Lecture on Catharsis and Aristotle for Screenwriters SAFC Filmlab on Low Budget Filmmaking FIELD OF DREAMS by Phil Alden Robinson -- Last 5 pages. For educational purposes only.  Field of Dreams -- “You’re not invited” (Youtube) Field of Dreams -- “Ray meets his father” (Youtube)   TOY STORY 3 by Michael Arndt -- Last 11 pages. For educational purposes only. SE7EN by Andrew Kevin Walker -- Last 18 pages. For educational purposes only.  Se7en – “The Box” (Youtube)   FROZEN by Jennifer Lee – Last 10 pages. For educational purposes only. Stereofilm: "Defining TV Comedy One Word at a Time" blog by Leo Astudillo on Greg Daniels, writer on THE SIMPSONS and creator of the US version of THE OFFICE. Diary of a Screenwriter: Paul Schrader on the American existentialist protagonist #Scriptchat on Twitter: https://twitter.com/search?q=%23scriptchat #Scriptchat Archives: http://scriptchat.blogspot.com Done Deal Pro: http://www.donedealpro.com/ The Blackboard: http://theblackboard.blcklst.com Reddit /r/Screenwriting Subreddit: http://www.reddit.com/r/Screenwriting/ Line by Line Melbourne: http://linebyline-melbourne.blogspot.com.au   Thanks to Noisepig Productions for location recording and producing this episode.  Subscribe to the podcast via iTunes or RSS.  Please send feedback to ask at draft-zero.com. Please rate us on iTunes!

How does the end of certain films make your soul shudder? 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. LINKS <ul> <li>Stephen Cleary's <a href="http://www.stephenclearyfilm.com" rel="nofollow" target="_blank">Website</a>: <a href="http://www.stephenclearyfilm.com" rel="nofollow" target="_blank">http://www.stephenclearyfilm.com</a></li> <li>Stephen Cleary's <a href="http://blog.vca.unimelb.edu.au/2012/05/21/free-podcast-aristotelian-wisdom-for-modern-scriptwriters/" rel="nofollow" target="_blank">Lecture on Catharsis and Aristotle for Screenwriters</a></li> <li><a href="http://www.safilmlab.com.au/lab/" rel="nofollow" target="_blank">SAFC Filmlab</a> on <a href="http://www.safilmlab.com.au/lodown/section/lowschool" rel="nofollow" target="_blank">Low Budget Filmmaking</a></li> <li><a href="http://traffic.libsyn.com/draftzero/FIELD-OF-DREAMS_PhilAldenRobinson-CatharsisPages.pdf" rel="nofollow" target="_blank">FIELD OF DREAMS by Phil Alden Robinson</a> -- Last 5 pages. For educational purposes only. <ul> <li>Field of Dreams -- “<a href="https://www.youtube.com/watch?v=29nIXG5KJYw" rel="nofollow" target="_blank">You’re not invited</a>” (Youtube)</li> <li>Field of Dreams -- “<a href="https://www.youtube.com/watch?v=cz1TJ4r7bOU" rel="nofollow" target="_blank">Ray meets his father</a>” (Youtube)</li> </ul> </li> <li><a href="http://traffic.libsyn.com/draftzero/TOY-STORY-3_MichaelArndt-CatharsisPages.pdf" rel="nofollow" target="_blank">TOY STORY 3 by Michael Arndt</a> -- Last 11 pages. For educational purposes only.</li> <li><a href="http://traffic.libsyn.com/draftzero/SEVEN_AndrewKevinWalker-CatharsisPages.pdf" rel="nofollow" target="_blank">SE7EN by Andrew Kevin Walker</a> -- Last 18 pages. For educational purposes only. <ul> <li>Se7en – “<a href="https://www.youtube.com/watch?v=1giVzxyoclE" rel="nofollow" target="_blank">The Box</a>” (Youtube)</li> </ul> </li> <li><a href="http://traffic.libsyn.com/draftzero/FROZEN_JenniferLee-CatharsisPages.pdf" rel="nofollow" target="_blank">FROZEN</a><a href="http://traffic.libsyn.com/draftzero/FROZEN_JenniferLee-CatharsisPages.pdf" rel="nofollow" target="_blank"> by Jennifer Lee</a> – Last 10 pages. For educational purposes only.</li> <li>Stereofilm: <a href="http://stereofilm.wordpress.com/2014/03/20/greg-daniels-defining-tv-comedy-one-word-at-a-time" rel="nofollow" target="_blank">"Defining TV Comedy One Word at a Time"</a> blog by Leo Astudillo on Greg Daniels, writer on THE SIMPSONS and creator of the US version of THE OFFICE.</li> <li>Diary of a Screenwriter: <a href="http://diaryofascreenwriter.blogspot.com.au/2012/04/paul-schrader-steps-to-writing-script.html" rel="nofollow" target="_blank">Paul Schrader on the American existentialist protagonist</a><a href="http://diaryofascreenwriter.blogspot.com.au/2012/04/paul-schrader-steps-to-writing-script.html" rel="nofollow" target="_blank"></a></li> <li>#Scriptchat on Twitter: <a href="https://twitter.com/search?q=%23scriptchat" rel="nofollow" target="_blank">https://twitter.com/search?q=%23scriptchat</a></li> <li>#Scriptchat Archives: <a href="http://scriptchat.blogspot.com.au" rel="nofollow" target="_blank">http://scriptchat.blogspot.com</a></li> <li>Done Deal Pro: <a href="http://www.donedealpro.com/default.aspx" rel="nofollow" target="_blank">http://www.donedealpro.com/</a></li> <li>The Blackboard: <a href="http://theblackboard.blcklst.com" rel="nofollow" target="_blank">http://theblackboard.blcklst.com</a></li> <li>Reddit /r/Screenwriting Subreddit: <a href="http://www.reddit.com/r/Screenwriting/" rel="nofollow" target="_blank">http://www.reddit.com/r/Screenwriting/</a></li> <li>Line by Line Melbourne: <a href="http://linebyline-melbourne.blogspot.com.au" rel="nofollow" target="_blank">http://linebyline-melbourne.blogspot.com.au</a></li> </ul> Thanks to <a href="http://noisepig.com" rel="nofollow" target="_blank">Noisepig Productions</a> for location recording and producing this episode. Subscribe to the <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">podcast via iTunes</a> or <a href="http://draftzero.libsyn.com/rss" rel="nofollow" target="_blank">RSS</a>. Please send feedback to ask at <a href="http://draft-zero.com" rel="nofollow" target="_blank">draft-zero.com</a>. Please <a href="https://itunes.apple.com/au/podcast/draft-zero-screenwriting-podcast/id847126598?mt=2&amp;ls=1" rel="nofollow" target="_blank">rate us on iTunes!</a>

DZ-04: Catharsis and the Post-Coital Cigarette

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