Explore every episode of the podcast Draft Zero: a screenwriting podcast
| Title | Pub. Date | Duration | |
|---|---|---|---|
| DZ-112: Breaking the 4th wall | 31 Jul 2024 | 01:52:16 | |
DZ-112: Breaking the 4th wall How is the effect of breaking the 4th wall different to VoiceOver? As part of our series on how filmmakers can directly communicate to the audience, we finally examine the most blatant tool of them all: when character look directly down the barrel of the camera… and thus look directly at us, the viewer. Chas, Stu and Mel take the craft tools/levers they identified in previous episodes and use them to examine HIGH FIDELITY, ABBOTT ELEMENTARY and - of course - FLEABAG. By examining how “in-world” the camera is, who is talking, and whom the character is talking to (i.e. who we are in the relationship), we end up discovering how breaking the 4th wall can involve the audience in the emotional present of the character and also grants the character a degree of narrative control (a craft lever that can be dialled in and out). Separately, in a Backmatter to this episode to be found on our Patreon page, Mel and Chas answer a listener question and take a deep dive into how breaking the 4th wall changes the RELATIONSHIP between you - the viewer - and character. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. Thanks to Chris Walker for his excellent editing this episode.
CHAPTERS 00:00:00 - Cold Open RELATED EPISODES
This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget our awesome Patreons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-111: Unreliable Narrators and Fight Club | 02 Jul 2024 | 00:55:26 | |
How does the unreliability of a narrator impact the way a story is told? In this episode, Stu and Mel (sans Chas!) take a deep dive into FIGHT CLUB and its use of the unreliable narrator. This is a bridging episode between our previous episode on VOICEOVER and our forthcoming episode on TALKING TO CAMERA as Fight Club does both. We dissect the film’s disconnected sequence-driven structure and how the voiceover ’stitches’ the film together. And then we look at what makes ‘Jack’ an unreliable narrator and how his control over the storytelling impacts us. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. Thanks to Chris Walker for his excellent editing this episode. CHAPTERS:
RELATED EPISODES: How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Paulo, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-102: Game of the Scene - Bluey, John Wick 4 | 31 Aug 2023 | 01:23:30 | |
How can ‘games’ help us write better scenes? Stu and Chas turn their attention to a topic that has long eluded them: the game of the scene. We look at how considering the game that characters are playing — its rules, arenas, players, referees, and win conditions — can help you write more dynamic scenes. This will be a two-parter, and for this half, we talk BLUEY, “The Quiet Game” (from Season 2) and “Phones” (from Season 3), and JOHN WICK 4. We also touch on GAME NIGHT and LIFE OF BRIAN. Thanks to Chris Walker for editing this episode. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. CHAPTERS
RELATED EPISODES RELATED LINKS
This episode brought to you by (drum roll):
And how can we forget our awesome Patreons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack | |||
| DZ-101 Creating Immediacy & Anchoring Action on the Page | 03 Jul 2023 | 01:23:01 | |
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
SCENE EXCERPTS via
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RELATED EPISODES
This episode brought to you by (drum roll):
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 | |||
| DZ-100: Scenes through Swords | 29 May 2023 | 01:00:35 | |
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:
As always: SPOILERS ABOUND. RELATED EPISODES
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 | |||
| DZ-99: Scene Questions | 01 May 2023 | 01:34:43 | |
How do audience questions shape scenes? nspired by our earlier episodes on sequences, Chas and Stu narrow their focus to look at the atomic unit of screen storytelling: the scene. In particular, we breakdown how question and answers prompted in the audience structure individual scenes. We talk plot, character, and theme questions (and their hybrids) by analysing scenes from LOKI, THE LAST CRUSADE, THE BOURNE SUPREMACY, QUEEN AND SLIM, and DO THE RIGHT THING. We also briefly discuss SUCCESSION, DUNGEONS & DRAGONS: HONOUR AMONG THIEVES, and ANDOR. As always: SPOILERS ABOUND CHAPTERS
SCENE EXCERPTS via:
RELATED EPISODES
This episode brought to you by (drum roll):
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 | |||
| DZ-98: Ensembles 3 - Character Function & Theme | 31 Mar 2023 | 02:02:03 | |
What effect does adding a ton of characters have on your story? In Part 3 (the final part? Ha!) of our exploration into ensemble stories, Stu, Chas & Mel examine films whose genres do not conventionally require a ton of character or that use those ensembles in unconventional ways - in particular, adding whole storylines that are separate from the main 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
RELATED EPISODES EPISODE LINKS
This episode brought to you by (drum roll):
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 | |||
| DZ-97: Ensembles 2 - Servicing Characters | 28 Feb 2023 | 02:22:28 | |
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
RELATED EPISODES
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 | |||
| DZ-96: Ensembles 1 - What do we mean by an ensemble? | 31 Jan 2023 | 01:16:26 | |
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. <3 Chris! CHAPTERS
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
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| DZ-95: Backmatter - Building and Maintenance | 31 Dec 2022 | 01:16:50 | |
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. <3 Chris! CHAPTERS
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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-94: Talismans (Part 2) | 30 Nov 2022 | 02:07:34 | |
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
LINKS
RELATED EPISODES
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 | |||
| DZ-93: Talismans (Part 1) | 31 Oct 2022 | 01:37:45 | |
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 & Chris Walker for editing this episode. CHAPTERS
LINKS
RELATED EPISODES
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-110: Voiceover | 31 May 2024 | 01:41:23 | |
How can you use Voiceover without it feeling like a cheat? In this episode, we finally delve into the world of VOICEOVERS (as part of our larger series exploring craft tools that allow characters & storytellers to talk directly to the audience). Chas, Stu and Mel deep dive into the VERONICA MARS pilot, Disney’s THE EMPEROR’S NEW GROOVE, and the Michael Bay epic PAIN & GAIN. In exploring what makes these particular examples of Voiceover great (and not feel like a cheat or a well-worn trope), we apply the four levers identified in our Part 1 (in particular ‘when in time is the Voiceover coming from’). In this episode we discover how Voiceover can set tone, reveal character motivations, enhance viewer empathy, or even create tension. Don’t forget to check out the Backmatter (https://www.patreon.com/posts/backmatter-for-105083575) to this episode answering Patreon Abigail’s question. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. Thanks to Chris Walker for his excellent editing this episode. CHAPTERS:
RELATED EPISODES: How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-92: Insightful recognition in powerful endings | 29 Sep 2022 | 01:26:06 | |
How can endings prompt an audience to reflect on your story? Stu & Chas set out to explore what makes certain endings powerful, in particular those of LA LA LAND, INCEPTION, NO COUNTRY FOR OLD MEN and TURNING RED. The lens they bring to those endings is Aristotle’s moment of “anagnorisis” (don’t worry - we can’t pronounce it either), traditionally when a character moves from ignorance to knowledge (particularly of self). But in analysing these films, Chas and Stu discover that endings can be particularly powerful when the characters experience insightful recognition in others, or in the world, or - perhaps most powerfully - when the anagnorisis is aimed at the audience. In other words, are there craft tools for your ending to prompt an audience to ask itself the question “What was that all about?”? Turns out, we think there are. 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
LINKS RELATED EPISODES 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 | |||
| DZ-91: Raising (different kinds of) Stakes | 31 Aug 2022 | 02:19:46 | |
How can you keep your audience hooked when they know the end of the story? Chas, Stu and Mel take a deep dive into stakes, using then lens of biopics to help us think about them. If an audience already knows the “plot” outcome of a story, then how do you create stakes to make a story tense for the audience? To explore this, we deep dive into HIDDEN FIGURES (about the NASA Friendship 7 mission), DOWNFALL (the final days of Berlin in WW2), and BRIGHT STAR (the life and death of romantic poet John Keats). We unpack the ideas around internal, external and philosophical /moral stakes and propose some new terminology that may help us write stakes more effectively. 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. This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and ArcStudio: https://www.arcstudiopro.com - go to www.draft-zero.com/arcstudio for $30 off a subscription! And how can we forget our awesome Patreons?, Especially Malay, Casimir, Eduardo, Jennifer, Leigh, 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 CHAPTERS | |||
| DZ-90: Setups & Payoffs in Everything Everywhere All At Once | 27 Jul 2022 | 01:30:54 | |
How can you use setups and payoffs to stitch your film together? In this one-shot, Chas and Stu dive into the awesomeness of EVERYTHING EVERYWHERE ALL AT ONCE. In particular, we focus on its use of setups, payoffs and reversals; breakdown the difference between Pointers and Plants and Stitches; deep dive into its Michael Arndt inspired ending. And, of course, we talk hotdog fingers and butt-plugs. 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
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RELATED EPISODES
This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off. Thanks to all our patrons, especially Malay, Casimir, Eduardo, Jennifer, Leigh, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-89: Opening Sequences | 31 May 2022 | 01:48:09 | |
How does your opening sequence set up your audience? Inspired by her tweet on how subversive an opening OCEAN’S ELEVEN has, Chas and Stu invited amazing writer/director Jessica Ellis onto the show to deep dive into opening sequences. How does a good opening setup character, genre, and theme? In exploring how best to open your story - instead of looking at the almost mandatory studio note of “dropping you in the action” - Stu, Chas and Jess look at the inventive openings of OCEAN’S ELEVEN, LONG SHOT, ARRIVAL and A SERIOUS MAN. Each of these films opens in a way that seems to defy its genre conventions and yet still provide all the set-up it needs to perfectly tell its story. 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
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RELATED EPISODES
This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off. Thanks to all our patrons, especially Casimir, Lloyd, Eduardo, Jennifer, Leigh, Thomas, Garrett, Bjorn, Randy, Jesse, Sandra, 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. | |||
| DZ-88: Drama in Genre clothing | 30 Apr 2022 | 02:06:33 | |
How can dramas use genre elements to hook their audiences? Stu and Chas reunite with TV writer & director Kodie Bedford to look at how some films start out as genre but gradually become character dramas. Or, as Stu never said on the episode "Genre in the streets, Drama in the sheets". Together, they break down HUSTLERS, PIG and POWER OF THE DOG, to see how these films use their genre trappings to hook their audience while ultimately delivering something else entirely. We discuss chapter breaks, inciting incidents, character questions, theme and MORE. 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
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RELATED EPISODES This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off. Thanks to all our patrons, especially Lloyd, Eduardo, Jennifer, Leigh, Thomas, 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. | |||
| DZ-87: Keeping Genre fresh | 28 Mar 2022 | 02:13:13 | |
How do you deliver on the emotional contract of a genre while surprising the audience? In tackling this enormous topic, Stu and Chads enlist professional TV writer and director for Kodie Bedford, someone who has somehow managed to defy genre pigeon-holing by writing mystery, comedy and vampire shows. The three of them look at GET OUT, PROMISING YOUNG WOMAN and THE INVISIBLE MAN (with reference to PARASITE, JOHN WICK, TAKEN, KNIVES OUT and more) to see what tools the writers have used to deliver on the expectations of a genre while moving that genre on, without writing something stale. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Thanks to Chris for editing this episode. CHAPTERS
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RELATED EPISODES
This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off. Thanks to all our patrons, especially Jennifer, Leigh, Thomas, Garrett, Bjorn, 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. And you can find @draft_zero on Instagram and Twitter. | |||
| DZ-86: Backmatter - Minimum Viable Product | 01 Feb 2022 | 01:29:47 | |
How do you determine what is your MVP? In their annual full backwater episode, Stu and Chas let out their pandemic hair, drop the ruse of objectivity, and allow themselves to have even more options about writing and the business of writing. In this Backmatter entry, they go deep on: future episode topics; their screenwriting lessons from 2021 (especially on control); pitching projects; the minimum viable product & minimum loveable thing; and share their exper iences with running a writers workshop/group. There are no Star Wars references in this episode, but there are plenty of Die Hard ones. Die Hard is the new Star Wars. Get over it. Thanks to Chris Walker for editing this episode. RUNNING ORDER
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Many thanks to all our patrons, but especially Jennifer, Leigh, Thomas, Garrett, Bjorn, Randy, Jesse, Sandra, Theis and Khrob. They’re good humans who allow us to bring you more draft zero, more often. | |||
| DZ-85: Choices & Decisions 2 - The Farewell & Wrath of Man | 17 Nov 2021 | 01:49:23 | |
What is difference between choice and decision when it comes to audience experience? In our second part of our “series” on Choices and Decisions, we take a deep dive into THE FAREWELL and WRATH OF MAN, with a sidebar on NOMADLAND. In THE FAREWELL, we consider how the choice/decision to lie underpins every sene of the film (to great effect). In NOMADLAND, we consider how using choice and decision is a great way to show how a character doesn’t change. And in WRATH OF MAN, we look at how non-linear narrative - and its decoupling of choice, decisions and consequence (wouldn’t that be a detripling???) impacts the audience experience, especially how we feel about characters. The terminology we settled on in Part 1 was:
As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. CHAPTERS
LINKS
RELATED EPISODES
This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off. Thanks to all our patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra, 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. And you can find @draft_zero on Instagram and Twitter.
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| DZ-84: Choices & Decisions 1 - Booksmart | 30 Oct 2021 | 01:12:38 | |
What is the difference between choice and decision when it comes to characters? In order to better understand dramatising of character, Chas and Stu take a very draft zero look at very specific tool: choices and decisions. We analyse three films through the decisions made by their characters. In particular, how the audience understanding of: the choice available, the considered decision itself, and the consequence changes how we feel about these characters. And how separating those three things can create different emotional effects on your audience. We debate this in the episode, but this is the terminology we settle on:
Part 1 (this part) establishes what we mean by choice and decision, and then takes a deep dive into BOOKSMART, directed by Olivia Wilde, and written by Emily Halpern, Sarah Haskins and Susanna Fogel. We all discuss FLEABAG, SEVEN, and old favourite, Star Wars. Part 2 will turn our analytical eye on THE FAREWELL and WRATH OF MAN. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Thanks to Chris for editing this episodes. CHAPTERS
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This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off. Thanks to all our patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra, 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. And you can find @draft_zero on Instagram and Twitter. | |||
| DZ-83: A Very Thematic Stand-up Special! | 08 Sep 2021 | 02:31:37 | |
What can screenwriters learn from the storytelling techniques used by stand-up comedians? Standup comedians can keep audiences gripped to their every word for over an hour, and often bring them to emotional climaxes by the end. So how do they do it and what tools can apply to scripted narratives? For this deep dive into standup, Stu and Chas are joined by the super-talented comic and podcaster Alice Fraser. Which is rather fortuitous. Because not only are we schooled on comedy techniques, but because Alice also has a Masters in Narrative Rhetoric. So as we dive in to NANETTE by Hannah Gadsby, BABY COBRA by Ali Wong and IT’S THE FIREWORKS TALKING by Daniel Kitson (with more than a passing reference to Alice’s own show SAVAGE and INSIDE by Bo Burnham), we analyse narrative structure, transitions, set-ups and pay-offs used by stand-ups… But we end up focusing on exploring thematic tools - particularly the Aristotelean concepts of the rhetorical triangle: logos (how the story is told), ethos (who the storyteller is), and pathos (how the audience emotionally engages). With these powers combined, storytellers of all kinds can produce work of thematic power and resonance. Or just funny. And in backmatter, we discuss adapting Savage for the recorded stage with Alice! Enjoy! Spoilers abound. Audio excerpts used for educational purposes. CHAPTERS
LINKS Alice Fraser - http://www.alicecomedyfraser.com
Hannah Gadsby - Nanette:
Alice Wong - Baby Cobra: Daniel Kitson - It’s The Fireworks Talking: Bo Burnham - Inside: This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off. 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. | |||
| DZ-109: Talking DIRECTLY to your audience | 01 May 2024 | 01:20:28 | |
What are the different ways a filmmaker can ask something of the audience? Chas and Stu are joined by recurring guest Mel in this prelude episode to upcoming episodes on Voice Over and Breaking the Fourth Wall. In this episode, we attempt to taxonomise the different ways filmmakers can ask something directly of their audience. To this end, we identify 4 levers that can be pulled:
They then take these levers and ask a series of questions, including:
They then apply these questions and levers to… deep breath… STAR WARS, ROBOCOP, STARSHIP TROOPERS, KILLERS OF THE FLOWER MOON, MINORITY REPORT, CHILDREN OF MEN, NEVER HAVE I EVER, ARRESTED DEVELOPMENT, STRANGER THAN FICTION, DUNE, OPPENHEIMER, YELLOWJACKETS, HUSTLERS, THE OFFICE, MASTERCHEF, ZOMBIELAND, FLEABAG, PRETTY LITTLE LIARS, THE BIG LEBOWSKI, SPONTANEOUS, BLACKKKLANSMAN, AMERICAN FICTION, AMERICAN SPLENDOR, THE KILLER, VERONICA MARS, FIGHT CLUB, SHUTTER ISLAND, SIXTH SENSE, HAUNTING OF BLY MANOR. FALL OF THE HOUSE OF USHER, GOODFELLAS, EMPERORS NEW GROOVE, THE TRUMAN SHOW, HOW I MET YOUR MOTHER, DIE HARD, THE BIG SHORT, THE USUAL SUSPECTS, DERRY GIRLS, THE LAST JEDI, THE LAST DUEL, RASHOMON, BONES AND ALL, ARCHIVE 81, SANS SOLEIL, F IS FOR FAKE, THE PRINCESS BRIDE, THE BALLAD OF BUSTER SCRUGGS, JULIUS CAESAR, GUARDIANS OF THE GALAXY Vol. 1 As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. Thanks to Chris Walker for his excellent editing this episode. CHAPTERS:
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How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-82: Dramatising Given Circumstances in Watchmen | 18 Aug 2021 | 02:06:11 | |
How can writers dramatise Given Circumstances?
For this podcast release, we focus on a single craft tool: GIVEN CIRCUMSTANCES. Traditionally an acting tool, we look at how it is also a useful writing tool: how is your story world different to your audience’s lived world and how best to communicate that? In terms of WATCHMEN (as you will hear), there is so much given circumstances to convey — in terms of alternate history, superhero rules, political rules, character backstory, character worldview — that is done excellently in both the movie and the TV show that this becomes a masterclass in exposition. We also touch on narrative structure and tone: how presenting the exact same information in a different order or through a different tonal lens can change how it lands for an audience. ie this diagram -- But this is explored much more fully in the very-visual companion YouTube videos:
While this episode may not be for the feint of heart, we feel it is one of our best. Hope you do too. Quantity has a quality of its very own. Spoilers abound. Audio excerpts used for educational purposes. Thanks to Chris for wrangling this into shape! CHAPTERS
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RELATED EPISODES Thanks to all our patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra, 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. And you can find @draft_zero on Instagram and Twitter. | |||
| DZ-81: Pitch Decks & Look Books - Development Tools 4 | 30 Jun 2021 | 01:13:23 | |
How do you make effective pitch decks and look books for your projects? Chas and Stu are joined by writer/director/producer/multi-hyphenate Marc Furmie of Rezistor Studios to talk all things pitch decks and look books. Coming from an advertising and music video background, Marc shares his experience in putting together visual materials to pitch a project. We discuss the difference between pitch decks and lookbooks, how they help you sell your projects, what buyers are looking for, television vs features, and how do we make yours better? This is a podcast cutdown of the live stream that was done with Marc. So if you'd like to *see* what we are discussing, including a critique of a listener's pitch deck, then check out our YouTube recording. Thanks to Chris Walker for editing this episode. LINKS:
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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. | |||
| DZ-80: Interweaving Timelines 3 - Little Women | 31 May 2021 | 02:11:25 | |
How can interweaving timelines elevate the emotional experience for the audience? In our final part, part 3, of our Interweaving Timelines series, we — Chas, Stu & Mel — take a deep dive into Greta Gerwig's 2019 adaptation of Little Women. In her adaptation of Louisa May Alcott's iconic novels, Greta chose to interweave the seperate timelines of Little Women and it's sequel, Good Wives, to create a thematically and emotionally potent work. This differs from all the other adaptations, which have chosen to keep the chronological storytelling of the source material. We compare Gerwig's choices and their resulting effects with Gilliam Armstrong & Robin Swicord's more faithful (and chronological) 1994 version. It's almost like a scientific experiment! Stay tuned! 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. RUNNING ORDER
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RELATED EPISODES This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off. Many thanks to all our patrons but particularly to Randy, Garrett, Bjorn, Jessie, Khrob, and Sandra. They’re good humans. 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. | |||
| DZ-79: Interweaving Timelines 2 - The Social Network | 30 Apr 2021 | 01:37:29 | |
How can interweaving two timelines change how we feel about a character? In this Part 2 of Interweaving Timelines (aka The Stu Monologue Episode), Mel, Chas and Stu tackle Sorkin/Fincher's The Social Network. As you’ll hear, it is clearly Stu’s favourite of the examples we cover and, ah, *not* Mel’s favourite. While all three bring their own biases and opinions on the reality of Facebook as it has become, we do manage to put the destruction of democracy to one side to actually analyse the meticulous craft that this film displays. We analyse Sorkin’s on-the-page skill with time jumps, managing intercutting and introducing characters - as well as explore how the flash-forward technique manages the absence of stakes (i.e. we know Facebook exists) and creates a different emotional experience to the flashbacks of Destroyer. Finally, and most importantly, we look at how the interweaving timelines change how the audience feel about Mark Zuckerberg (as portrayed in this film). Stay tuned! 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. RUNNING ORDER
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RELATED EPISODES This episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off. Many thanks to all our patrons but particularly to Randy, Garrett, Bjorn, Joakim, Khrob, and Sandra. They’re good humans. 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. | |||
| DZ-78: Interweaving Timelines 1 - Destroyer | 01 Apr 2021 | 01:42:38 | |
How does interweaving two timelines change how the audience feel? Stu and Chas are joined by Mel Killingsworth to dissect interweaving timelines. Not anthology films. Not Cloud Atlas. But films where two plot lines featuring the same characters, but from different timelines, are woven together. How do you manage stakes when you know a character’s future? What questions does this prompt in the viewer? And how the hell do you orient the reader? To answer these questions, it will take three episodes. In this Part 1, our intrepid team (and Mel’s 42 pages of homework) tackle the 2018 film DESTROYER directed by Karen Kusama, written by Hay & Manfredi and starring Nicole Kidman. Meanwhile, Part 2 will cover THE SOCIAL NETWORK and Part 3 will compare the 1994 Gillian Armstrong version with 2019 Greta Gerwig version of LITTLE WOMEN. Whew. Stay tuned! 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. RUNNING ORDER
EPISODE LINKS
RELATED EPISODES This episode brought to you by ScriptUp - https://www.scriptupstudio.com - use promo code DZ10 to get 10% off. Many thanks to all our patrons but particularly to Randy, Garrett, Bjorn, Jack, Khrob, and Sandra. They’re good humans. 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. | |||
| DZ-77: Backmatter - Prioritising and choosing projects | 28 Feb 2021 | 01:36:41 | |
How do you choose which project to start next? In their now-annual full backmatter episode, Stu and Chas let their hair down, drop the guise of objectivity, and allow themselves to have an even more subjective opinion about writing and the business of writing. In this particular Backmatter entry, they wax lyrical on [deep breath]: character journeys, hyperlink cinema, keeping genre fresh, beginning a new co-writing relationship, managing multiple projects, choosing your next project, and - naturally - Star Wars. SPOILERS ABOUND, particularly for The Mandalorian Season 2 and Ready or Not. Thanks to Chris Walker for editing this episode. RUNNING ORDER
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But the system using folders is actually from Anthony Johnston
Many thanks to all our patrons but particularly to Randy, Bjorn, Garrett, Joakim, Khrob, and Sandra. They’re good humans. 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. | |||
| DZ-76: Spotlight on Sofia Coppola | 01 Feb 2021 | 01:54:24 | |
What can we learn from Sofia Coppola’s on-the-page skills over her career? Following the success of the Tips from Tarantino episode, we have again decided to look at three different scripts from over the course of a long screenwriting career from a single writer to see what we can learn. Our beloved patreons not only selected Sofia Coppola as said writer, but also selected the scripts to analyse: LOST IN TRANSLATION, THE BLING RING and THE BEGUILED. Stu and Chas are joined by repeat Draft Zero offender Melanie Killingsworth and are surprised to find that Coppola does not often write the tone or experience of her films into her scripts (given how specific her tone is and how unique the experiences of her films are). Instead, we are treated to a masterclass in writing character performance on the page - actor catnip, if you will - as well as Coppola’s insightful use of white space. You can also watch the complete live stream on YouTube. As always: SPOILERS ABOUND. Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. RUNNING ORDER
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This episode brought to you by ScriptUp - https://www.scriptupstudio.com - use promo code DZ10 to get 10% off. Many thanks to all our patrons but particularly to Randy, Bjorn, Jack, Khrob, and Sandra. They’re good humans. 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. | |||
| DZ-75: Fury Road & Visual Storytelling | 31 Dec 2020 | 01:09:28 | |
How can you do powerful storytelling... without dialogue? Stu and Chas are joined by filmmaker, podcaster and writer Matthew Brown to deep dive into FURY ROAD and its astounding visual storytelling, both on the page and on screen. We talk about setups and payoffs, given circumstances, image systems, environmental storytelling, and how the relationship between Furiosa and Max is built over the course of the story with very little dialogue (besides Tom Hardy’s grunts and the odd bellow of “MEDIOCRE!”). You can also watch the complete live stream on YouTube or just the breakdown of the Furiosa/Max fight (which isn’t in the podcast) here. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. RUNNING ORDER
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Many thanks to all our patrons but particularly to Stuart, Jack, Chris, Khrob, and Sandra. They’re good humans. 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. LINKS @ http://linktr.ee/draftzero BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-74: Midsommar & Folk Horror | 01 Dec 2020 | 02:01:43 | |
What can we learn from folk horror? Draft Zero return with their next YouTube livestream! Stu and Chas are joined by previous guest (and successful screenwriter) C.S. McMullen for a deep dive into MIDSOMMAR! We analyse the film through the lens of Folk Horror, but tackle broader topics such as horror vs dread, rising tension, transgressions, unfilmables, and portraying toxic relationships. You can also watch the recorded live stream on YouTube. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. RUNNING ORDER
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Many thanks to all our patrons but particularly to Stuart, Jack, Chris, Khrob, and Sandra. They’re good humans. 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. LINKS @ http://linktr.ee/draftzero BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-73: Selling documents - Development Tools 3 | 21 Oct 2020 | 00:39:10 | |
How do I write selling documents differently to development documents? In developing our stories and scripts, we have probably written some combination of treatments and loglines and outlines. Some of us have probably even sent these development materials out to producers or agencies when “selling” a project — as a step towards getting someone to read or *gulp* produce your material. If so… have you written them differently? Should you have? You probably should have... In this final part from the epic recording on short documents, Stephen explores how we should craft the words on the page and structure these documents differently when they are to sell the project as opposed to develop the project. Something that Chas and Stu badly need to hear, learn and apply right now. RELATED EPISODES
Many thanks to all our patrons but particularly to Theis, Jack, Chris, Khrob, Sandra, and Matteo. They’re good humans. 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. LINKS @ http://linktr.ee/draftzero | |||
| DZ-108: The Emotional Event with Judith Weston | 31 Mar 2024 | 01:37:03 | |
How and why should every scene have an emotional event? For the first episode of our tenth anniversary year, we are joined by Judith Weston to talk about Emotional Events. What is an emotional event? Well, it’s a way of thinking about scenes through relationships rather than plot. Instead of asking how a scene moves the plot forward, ask how the scene alters the relationship between characters. While emotional events are ostensibly a tool for directors to interpret scenes, we believe that the emotional event starts with the writer(s). But it is an idea better illustrated through examples and discussion rather than sound bites. To that end, we breakdown scene from OPPENHEIMER, CASINO ROYALE (the Daniel Craig one), and PAST LIVES and explore how the emotional event is written (and not written) on the page. Through a close reading of each scene, we talk about subtext, power dynamics, status transactions, tactics, beats and much much more. Because Chas, Stu and Judith are also reading the scripts there lot of discussion about table reads and how to get the most out of them. For those unfamiliar with Judith, she is a famed teacher of writers, directors and actors with a focus on the directing or actors. Her books Directing Actors and The Film Director’s Intuition are basically industry standards. You can find Judith Weston (and her books!) at her website: https://judithweston.com/web/ As always: SPOILERS ABOUND. Thanks to Chris Walker for his excellent editing this episode. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. CHAPTERS:
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How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack | |||
| DZ-72: Theme & The Story Synopsis – Development Tools 2 | 28 Sep 2020 | 01:00:25 | |
How can I develop my theme without writing script pages? Continuing our look at tools used in development, Chas & Stu are joined by Stephen Cleary to talk about Theme, The Thematic Logline and what Stephen calls The Story Synopsis. All are tools to help writers better understand their theme and how it is dramatised. We use the classic film WITNESS as an example, so spoilers abound. Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Thanks to Meegan May for reading the examples. Meegan May is an emerging queer screenwriter and former military intelligence analyst with plenty of award winning scripts and extensive experience in development. Look her up! RUNNING ORDER
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Many thanks to all our patrons but particularly to Theis, Jack, Chris, Khrob, Sandra, and Matteo. They’re good humans. 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. LINKS @ http://linktr.ee/draftzero | |||
| DZ-71: Treatments & Loglines - Development Tools 1 | 01 Sep 2020 | 01:26:46 | |
How can I develop my plot before writing the screenplay? Stu and Chas are joined by fan-favourite, Stephen Cleary, to NOT look at what makes great screenplays work -- but what makes great "short documents" work. We draw on Stephen Cleary's wealth of experience in developing work with writers, as a producer, as a script editor and as a former head of development. This recording turned especially epic and so we have divided it into three parts that can be listened to in any order. Part I explores the short documents and tools you can use to develop your story’s PLOT before going to script, including the Premise, the Logline, various synopses, character documents, and - of course - the dreaded Treatment… But also looks at development tools that aren’t written like: script reads, mini-shoots and animatics. Stay tuned for Part II which delves into documents that develop your story’s theme and then Part III where we look at how to write short documents differently when your objective isn’t story development but rather selling your idea/project. RUNNING ORDER
Many thanks to all our patrons but particularly to Theis, Jack, Chris, Khrob, Sandra, and Matteo. They’re good humans. 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. LINKS @ http://linktr.ee/draftzero BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-70: Joker & Melodrama | 23 Jul 2020 | 01:36:17 | |
How does Joker use melodramatic techniques to elevate its storytelling? Draft Zero return with their next YouTube livestream! Stu and Chas take a deep dive into JOKER and analyse the film through the story paradigm of melodrama. Is it a melodrama? Why or why not does that matter? And does that influence how it has been written on the page? They then answer listeners questions on JOKER and more. If you want to listen in on the next live recording, find details here: https://www.patreon.com/posts/dz-livesolation-35770237 and/or subscribe to us on YouTube via http://www.draft-zero.com/YouTube If you want to watch along instead of listen, you can watch on YouTube: https://youtu.be/pcMKhzJ1LkM Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. RUNNING ORDER
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DZ RELATED EPISODES Many thanks to all our patrons but particularly to Theis, Jack, Chris, Khrob, Sandra, and Matteo. They’re good humans. 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. LINKS @ http://linktr.ee/draftzero BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-69: Parasite & Audience Questions | 10 Jun 2020 | 01:22:53 | |
How can you use audience questions to heighten emotional investment? Draft Zero return with their next YouTube livestream! Stu and Chas take a deep dive into PARASITE and how its mastery of audience questions elevates the film. They then answer listeners questions on PARASITE and much more. If you want to listen in on the next live recording, find details here: https://www.patreon.com/posts/dz-livesolation-35770237 and/or subscribe to us on YouTube via http://www.draft-zero.com/YouTube If you want to watch along instead of listen, you can watch on YouTube: https://youtu.be/RWlYaityMfs Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. RUNNING ORDER:
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Many thanks to all our patrons but particularly to Theis, Jesse, Jack, Chris, Khrob, Sandra, Nick, and Matteo. They’re good humans. 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. LINKS @ http://linktr.ee/draftzero BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-68: Using POV to structure KNIVES OUT | 17 May 2020 | 01:32:42 | |
How can shifting narrative point of view drive your sequences? Born out of isolation madness, this episode is an edited version of Draft Zero’s first YouTube livestream. Stu and Chas both watched KNIVES OUT and - together with our listeners - broke down each sequence and turning point by reference to what the audience knows in relation to the characters (aka narrative point of view). hey then answer listener questions on KNIVES OUT and much else besides live on air. If you want to listen in on the next live recording, find details here: https://www.patreon.com/posts/dz-livesolation-35770237 and/or subscribe to us on YouTube via http://www.draft-zero.com/YouTube If you want to watch along instead of listen, the video of the episode can be found here: https://youtu.be/EsqoCVu-oX8?t=188 As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. RUNNING ORDER:
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Many thanks to all our patrons but particularly to Theis, Jesse, Jack, Chris, Khrob, Sandra, Nick, and Matteo. They’re good humans. 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. LINKS @ http://linktr.ee/draftzero BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-67: Writing “Passive” Protagonists & Melodrama | 30 Apr 2020 | 02:58:26 | |
How do I tell a powerful story where the protagonist cannot drive the plot? Stu and Chas are joined by Stephen Cleary following his exploration into Melodrama, and together they try to reclaim the word from its pejorative meaning. By examining powerful Melodramas - like THE HANDMAID’S TALE, LADIES IN BLACK and STRANGER THINGS… with many a tangent on MARRIAGE STORY, PETE’S DRAGON, MILDRED PIERCE, GAME OF THRONES, LOST, THE JOKER, THE KILLING, THE WITCHER, war movies and survival films - the three hosts try to unpick what makes Melodrama an alternate story paradigm to the Hero’s Journey. They delve into how Melodramas centre on characters that don’t have agency; where the plot happens to characters (as opposed to being driven by them); how Melodramas don’t end so much as close; and how all of the above delves into character questions more deeply than the Hero’s Journey. And to wrap it all up, the kind of techniques you use on the page to write effective melodramas. CW: There is a lot of discussion in this episode about melodrama being associated with “women’s stories” vs the “hero’s journey” - which is biased towards a ‘masculine’ mode of storytelling - and we fully acknowledge in the show and here that we are three cismen talking about these things. This episode was edited by Christopher Walker. Audio excerpts used for educational purposes only. RUNNING ORDER: 00:01:14 - Intro: Melodrama & Passive Protagonists 00:01:31 - What is Melodrama? 00:37:46 - The Handmaid's Tale Watch: https://www.themoviedb.org/tv/69478-the-handmaid-s-tale 00:56:08 - Horror and Melodrama 01:00:23 - Marriage Story Watch: https://www.themoviedb.org/movie/492188-marriage-story 01:14:58 - The Handmaid's Tale & Narrative Techniques 01:30:06 - Game of Thrones and Endings Watch: https://www.themoviedb.org/tv/1399-game-of-thrones 01:33:07 - Melodrama & Endings 01:38:37 - Ladies in Black Watch: https://www.themoviedb.org/movie/483411-ladies-in-black 02:13:12 - Stranger Things Watch: https://www.themoviedb.org/movie/182026-stranger-things 02:31:34 - The Killing Watch: https://www.themoviedb.org/tv/32368-forbrydelsen 02:38:07 - The Witcher Watch: https://www.themoviedb.org/tv/71912-the-witcher 2:43:53 - Wrap Up: Passive & Still Characters Read: The Handmaid’s Tale - 101 Offred DZ RELATED EPISODES
Many thanks to all our patrons but particularly to Theis, Jesse, Jack, Chris, Khrob, Sandra, Nick, and Matteo. They’re good humans. 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. LINKS @ http://linktr.ee/draftzero BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ LiVEsolation Annoucement | 07 Apr 2020 | 00:05:34 | |
How does Draft Zero cope with lockdown? LINKS
We hope you are all staying healthy and safe. Due this difficult time of lockdown, Chas and Stu have decided to “regularly” do special live-streamed episodes (via YouTube Live) of Draft Zero that we are calling LiVEsolation. They different from (and in addition to) Draft Zero Classic™ as you’ll be able to interact with us as we record: asking questions, prompting for clarification, and making observations that come part of the discussion. You’ll also be able to see video of our us (👎) while also seeing video of the scripts and scenes we are discussing (👍). After they’re streamed, recordings of the livestreams (including the chat!) will be on our YouTube channel for later viewing. LiVEsolation episodes that we particularly like will also be cleaned up and put out through the traditional podcast feed… but not always. Because our priority is doing these regularly, they'll be looser - like a great live gig. We are aiming for once-a-week and at the same time… but that won’t always be possible due to… well…life. We are also having special guests and will need to work around their schedules and timezones. So how do you keep up wth our shifting schedule? We recommend you like our page on Facebook. Our livestreams will be created as events so you know what streams we will be doing and when… in your timezone! We are also making PUBLIC posts on our Patreon page (i.e. ones you don’t have to pay for if you don’t have the coin during these trying times), so if you follow us there you’ll get something like an email newsletter with announcements about what’s forthcoming. Oh, and if you are a Patreon you’ll get priority access to the online chat (when appropriate) and also get to vote on forthcoming topics. Meanwhile, Draft Zero Classic™ episodes will continue as scheduled. All of the above is in addition to what we already had planned, driven entirely by isolation and a need for community right now. We hope to see you on the livestream soon! — Stu and Chas. | |||
| DZ-66: The Mandalorian and The Rise of Skywalker - Audience Knowledge vs Character Motivation | 17 Mar 2020 | 01:45:11 | |
How does audience knowledge affect your character’s motivations? Chas and Stu are joined by special guest - filmmaker Mel Killingsworth - to talk all things Star Wars. Well. Focusing on The Mandalorian and The Rise of Skywalker and wherever else our tangents take us. Our primary lens is look at how both shows handle “fan service” — but really its about how you handle character motivations when your audience has more knowledge than your characters, especially knowledge from outside the show itself. To that end, we discuss the characters of Poe, Rey, Kylo, and Palpatine in depth. We also discuss the Watchmen TV Show, Mind-hunter, Jojo Rabbit, Snowtown and Zodiac. SPOILERS ABOUND. Excerpts used for educational purposes. Thanks to Chris Walker for editing this episode. RUNNING ORDER
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lease 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, Jack, Chris, Khrob, Sandra, Nick, and Matteo. They’re good humans. BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-65: Collaborating with a Director - The Snip | 14 Feb 2020 | 01:03:10 | |
What changes in your writing and development when collaborating with a director? This episode, Chas steps down as co-host (kinda) and is interviewed by Stu as a guest, alongside director Ben Mizzi, about the short rom-com that Chas wrote and Ben directed & produced. The episode covers taking an idea from pitch to screen, working with a director, directing performance on the page, and marketing and distribution strategies for short films. If you are thinking of producing your own content, well worth a listen! And if you want to watch The Snip - a 16 min rom com about a guy who gets a vasectomy without telling his wife - here it is: https://youtu.be/_iBdDFKqqbs Thanks to Chris Walker for editing this episode.
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Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. Many thanks to Chris, Sandra, Jack, Jessie, Nick, Khrob and Theis for being top-level patrons. They’re good humans. Consider joining their ranks and supporting us on Patreon! | |||
| DZ-64: Backmatter - Controlling your Work, Treatments, and Writing Styles | 30 Jan 2020 | 01:42:29 | |
In our annual Backmatter-only episode, Stu and Chas indulge themselves by offering personal opinions on the life and work of emerging screenwriters based on their own personal experience. To that end, they discuss: what is and is not in your control in relation to an emerging writing career; choosing what project to develop next; using the Black List site to gain traction; the difference between treatments for pitching as opposed to for development; and the difference in writing style when writing on spec as against work for hire. We also unexpectedly have a guest: David Wappel kindly joins us to share his thoughts on anchoring nouns. RUNNING ORDER
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Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners. Many thanks to Daniel, Chris, Sandra, Jack, Jessie, Nick, Khrob and Theis for being top-level patrons. They’re good humans. | |||
| DZ-107: Establishing Tone Through Character | 29 Feb 2024 | 01:54:19 | |
How can we use dramatisation to create tone? In this episode, Chas and Stu continue their deep dive into how to write tone by examining films with “light” (we use the phrase loosely) tones: LADY BIRD, EMILY THE CRIMINAL, THE BALLAD OF BUSTER SCRUGGS, and SPONTANEOUS. We also talk a surprising amount about DUNE and CRAZY STUPID LOVE. We focus on the relationship between character & tone and how the writers of these films use dramatisation to create their unique tones. We talk minimalism vs maximalism, dialogue, character actions & reactions, emotional dynamic range, and rules of the world vs given circumstances. Stu proposes a new triangle to help us understand the dials we as writers have to affect tone: the given circumstances of the story, how that effects character actions & reactions, and how the audience are told about those elements. Thanks to Chris Walker for his excellent editing this episode. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. CHAPTERS:
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How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-63: Tools for Better Dialogue 2 - Hook and Eye | 31 Dec 2019 | 01:58:25 | |
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
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 | |||
| DZ-62: Unfilmables and Unscriptables 3 - As Ifs & Emotional context | 02 Dec 2019 | 02:17:14 | |
How do you know if your unfilmable is good... or if you’re just being a wanker? In this third and final part of our series on unfilmables, Chas and Stu turn their critical eye to... each other’s work! They take their key learnings from the previous episodes and apply them to rewriting scenes from their own projects. They discuss metaphors, emotional context, and how you can write tone on the page withoutresorting to unfilmables. They are also joined by Carissa Lee (who has been reading the excerpts) to discuss her perspective as an actor on the scripts we’ve been reading; and they answer listener questions about unfilmables. And, lastly, in backmatter Carissa reads the entire script to Stu’s award-nominated script, DUST BUNNY. Thanks to Chris Walker for editing this episode, and Carissa Lee for performing the big print. RUNNING ORDER
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 | |||
| DZ-61: Unfilmables and Unscriptables 2 - Moments of Awe | 25 Sep 2019 | 02:05:32 | |
How can unfilmables help you create those cinematic moments of awe? In this second part of our series on unfilmables, Chas and Stu continue their deep dive into how writing the “unfilmable” can enhance your script. Rather than looking at micro moments, they turn their gaze to "moments of awe" — those often breathtaking cinematic moments that feel beyond writing. But are those scenes actually unscriptable? In this episode we look at sequences from YOU WERE NEVER REALLY HERE, SEARCHING FOR BOBBY FISCHER, THE INVITATION, and MOONLIGHT. We talk writing cinematically, performance beats, breaking (and maintaining) “the spell”, limited palettes of language, self-contextualising writing, and "instructables". Thanks to Chris Walker for editing this episode, and Carissa Lee for performing the big print. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. RUNNING ORDER
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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 Jesse, Daniel, Devin, Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie. They’re good humans. BUY DRAFT ZERO MERCH via TeePublic | |||
| DZ-60 Unfilmables and Unscriptables 1 - Engaging imagination | 07 Aug 2019 | 02:25:17 | |
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)
FRAMING THE SCENE (@ 52:58)
OPENINGS (@ 59:27)
PERFORMANCE (@ 1:36:07)
TONE/THEME (@ 01:54:49)
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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 | |||