Draft Zero: a screenwriting podcast

Will Director Stu allow Writer Chas on his set? Following our annual wrap up in 2017, we've decided to once again explore what craft issues/lessons we can garner from the latest Stars, namely Episode VIII: The Last Jedi, focusing on how consequences of character actions can do a lot of heavy lifting as to how the audience perceives that character (as well as looking at worldview and overall story structure). We also discuss how the sexual assault allegations in our industry can impact on what work we choose to analyse as well as dive into a bunch of listener questions. We end on whether - if our space pirates project gets off the ground - Chas should come on set, whether Stu will have him and whether it would do anyone any good. 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! BACKMATTER LINKS THE LAST JEDI w & d Rian Johnson [@ 1m 28s] The Verge: The Last Jedi: our spoiler-free review IndieWire: Rian Johnson Explains Why Shattering Fan Theories About Rey's Parents Was Essential Variety: Four Reasons Why Last Jedi Isn't One For The Ages GamesRadar: George Lucas nearly wrote a perfect prequel trilogy. He just didn't notice SEXUAL ASSAULT ALLEGATIONS & DRAFT ZERO HOMEWORK POLICIES [@ 29m 07s] YouTube: Rose McGowan speaks publicly in Detroit, first time since Weinstein allegations The New Yorker coverage of the Weinstein allegations: Ronan Farrow: From Aggressive Overtures to Sexual Assault: Harvey Weinstein's Accusers Tell Their Stories Ronan Farrow: Harvey Weinstein's Army of Spies Commentary from collaborators with Harvey Weinstein Rolling Stone/Joyce Che: Kevin Smith is Donating his Residuals to Women in Film The Guardian: Tarantino on Weinstein Our Lady J: 'Transparent' Writer Says Jeffrey Tambor Accusers Told "Their Truth" & Series Should Not "Be Taken Down" By Actor LISTENER QUESTIONS [@ 52m 28s] Fiona: When do you reveal a secret in a story? Khrob: Can Blockbusters escape the ROTJ 3rd Act "problem"? Khrob: Best Writing Moment of 2017? Dexter: Would you be open to a draft zero commentary with a movie? Thomas: Could you please do an episode on Linklater? Susie: How do I move from the 2nd into the 3rd Act without it being so sudden? César: What are the best scripts you've ever read? César: Do you write scenes in the order they're in the script? César: What are the biggest differences in writing movies & tv shows? Mendoza: Let me tell you why you're wrong about SPLIT. In four parts. Sunday: What's the best piece of advice you've ever been given about writing? Sunday: How did you transition from short form to long form writing? Sunday: How do you, as a Director, work with a writing partner? Evrim: Do you find short online form (web series) restrictive or liberating? WRAP UP [@ 1hr 48m 21s] What have Stu & Chas Been Working On? Should Chas Come To Set? (Post Credits) Thomas schools us on our pronunciation. 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, Joakim and Christopher for being patrons. They're good people. Sorry Christopher that you didn't get a shout-out in the episode but hopefully this note immortalised in the very bottom of the show notes demonstrates how much we appreciate ja!

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 & 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 & 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 & 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-5, Stu and Chas examined how shifting narrative point of view (i.e. what the audience knows in relation to the characters on screen) heightens emotions in any given scene. We've now taken that micro idea and applied it to the macro: how can deciding what the audience knows and when in relation to the characters organise your story? Are whole sequences or even acts driven by the audience following a character, feeling concerned about a character, empathising with a character or being absorbed in the irony of knowing more than all the characters interacting on screen. To tackle this topic, Stu and Chas dive in to films that make very conscious structural choices in relation to narrative POV, namely: GET OUT, DUNKIRK and the underrated German film THE LIVES OF OTHERS (with honourable mentions to LA CONFIDENTIAL and MANCHESTER BY THE SEA). Wait till the end to hear poor Stu's mind absolutely blown in relation to the Kuleshov effect. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. 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 & 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 & 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 & 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.

How can you dramatise your theme on a scene level? As part of their ongoing exploration of scene-work, Stu and Chas apply their earlier thinking on theme and character worldview to individual scenes. Can examining a scene from a thematic perspective impact the drama, conflict or stakes of the scene? How does your character's conscious and subconscious world views dramatise the overall theme of the work? How can an individual scene reflect the larger themes of the overall story? Do any of these questions or approaches lead to writing better scenes? To this end, Stu and Chas examine particular scenes from works that have particularly apparent, strong and consistent themes; namely: FINDING NEMO, EX MACHINA, MANCHESTER BY THE SEA and the Netflix TV series GLOW. ... 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-41: Theme and Worldview DZ-31: Tools for Better Dialogue DZ-29: Showdowns & Scene Structure DZ-06: Key Scenes and Unlocking the Story INTRODUCTION Nerdwriter: The Epidemic of Passable Movies Every Frame a Painting: Snowpiercer - Left or Right Film Crit Hulk: Ex Machina and the Art of Character Identification Neuromancer: Dixie Flatline FINDING NEMO s: Andrew Stanton, Bob Peterson, David Reynolds [@ 10m 36s] YouTube: Finding Nemo Full Whale Scene Find it on Just Watch EX MACHINA [@ 17m 28s ] Script: Ex Machina by Alex Garland YouTube: Ex Machina - Ave Session 5 Avas Test Letterboxd: Stu's Review Find it on Just Watch MANCHESTER BY THE SEA [@ 59m 55s ] Script: Manchester by the Sea by Kenneth Lonergan YouTube: "Can we ever have lunch"? scene Find it on Just Watch GLOW Episode 1 [@ 1h 28m 26s ] Script: GLOW by Liv Flahive and Carly Mensch Podcast: The Contrarians — Bonus! Netflix's Glow Watch it on Netflix WRAP UP [@ 2h 04m 13s ] Stan Bush - Dare (from Transformers the Movie) "Dare" (Live) - The Cybertronic Spree 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 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 & Hawk Ostby and Art Marcum & 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 & 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.

Guest Stephen Cleary delves deep into the impact of plot vs. character questions in sequences, exploring how they shape pacing, structure, and audience engagement. The discussion spans films like THE BOURNE IDENTITY, NAKED, and THERE WILL BE BLOOD, unraveling the dynamics of protagonists and the narrative impact of abandoning the plot. Spoilers ahead in this 3-hour long exploration!

What screenwriting lessons can be we learn from SPLIT? In our first (and perhaps last) one-shot, we take a close look at the M. Night Shyamalan's SPLIT. Rather than having one topic with many examples, we use the one example to look at many topics. Well, okay, a few topics. Firstly, we take the opportunity to revisit theme. SPLIT offers a very clear example of the worldview of the characters and the rules of the world working together to create a coherent theme. Then we look at the SPLIT's use of macro point of view. Given the film's contained nature, it makes some interesting choices in the story structure in order to control what the audience knows vis-a-vis the characters. This assists in generating tension (in both conventional and unconventional ways) while also creating a dramatic journey for the protagonist and reinforcing the theme. We also cover (in lesser detail) flashbacks, tactics, contained spaces, character individuation, and... being a M. Night Shamalyan film... TWISTS. And if its not obvious... this episode is FULL OF SPOILERS. Love it, hate it or indiffererent, please let us know what you think of this new format. We're not going to do it every episode, but it gives us the opportunity to look at some great films in more detail. EPISODE LINKS SPLIT by M. Night IMDB: http://www.imdb.com/title/tt4972582/ Find it on JustWatch The Guardian: From Split to Psycho: why cinema fails dissociative identity disorder WORLDVIEW [ @ 6m 36s] DZ-41: Theme and Worldview MACRO POV AND NARRATIVE [ @ 35m 35s ] DZ-05: Shifting audience point of view and heightened emotions FLASHBACKS [ @ 1hr 03m 26s ] DZ-21: Scene Transitions and the Hook TACTICS [ @ 1hr 12m 34s] DZ-40: Tactics and Scenes CONTAINED SPACES [ @ 1hr 15m 35s ] DZ-28: Containing Your Script CHARACTER INDIVIDUATION [ @ 1hr 19m 32s ] DZ-31: Tools for Better Dialogue DZ-14: Writing For Actors & Old Underwear The Fashionpedia: https://fashionary.org/products/fashionpedia TWIST ENDINGS [ @ 1hr 33m 00s] DZ-25: Coincidences, Contrivances & Giant Eagles EPISODE WRAP [ @ 1hr 50m 41s ] DZ-38: Excelling at Exposition (Part 2) 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 your characters' worldview dramatise your theme? In this episode, Stu and Chas tackle one of the more esoteric topics in screenwriting (and writing in general): theme! To help us tackle this topic, we decided to look at television pilots, because we felt that television requires the theme to be more explicit. Our zig-zagging (and long) discussion covers thematic engines, music themes, thematic loglines, punishment vs reward, and - perhaps most of all - the worldview of characters. So we take a look at the opening and closing scenes (and middle scenes, too) of some of our favourite shows: HOUSE OF CARDS, CRAZY EX-GIRLFRIEND, TRUE DETECTIVE, FARGO and TRANSPARENT. We also make passing reference to SPEC OPS: THE LINE, GAME OF THRONES (its Stu's new Star Wars), and BOJACK HORSEMAN. In backmatter, we talk about the difference between the written scripts of these pilots and their released versions. Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. It should go without saying but - SPOILERS AHEAD. DRAFT ZERO - Related Episodes DZ-24: Forging story rules in TV pilots DZ-15: World Building Rules, Okay? DZ-34: Game of Choices – Decision Making and Character Implications BACKGROUND MATERIAL /r/screenwriting: [QUESTION] How do I find my theme/moral/the point I want to make with my story? Game Maker's Toolkit: Morality in the Mechanics Game Maker's Toolkit: Telling Stories with Systems YouTube: SpecOps the Line - White Phosphorus Scenes PopMatters: Morality and Karma Systems HOUSE OF CARDS [@ 24m 33s] Script: HOUSE OF CARDS by Beau Williamson YouTube: Francis Underwood's first monologue YouTube: Tyrion and Varys Discuss Power Find it on JustWatch CRAZY EX GIRLFRIEND [@ 42m 23s] Script: CRAZY EX GIRLFRIEND "West Covina" Written by Rachel Bloom and Aline Brosh McKenna YouTube: "West Covina" YouTube: Bojack Horseman Find it on JustWatch TRUE DETECTIVE [@ 01hr 07m 27s] Script: TRUE DETECTIVE "The Long Bright Dark" by Nic Pizzolatto YouTube: Rust & Martin Car Conversation YouTube: Six Feet Under - Elephant Art vs Termite Art Find it on JustWatch FARGO [@ 1h1 35m 40s] Script: FARGO script by Noah Hawley YouTube: Lester Nygaard talks to Lorne Malvo about Sam Hess Find it on JustWatch TRANSPARENT [@ 1hr 52m 46s] Script: TRANSPARENT by Jill Soloway YouTube: A Big Change Find it on JustWatch WRAP UP MATERIAL [@ 2hr 01m 05s] Slate.com: Against Subtlety: The Case for Heavy-Handedness in Art. BACKMATTER [@ 2hr 21m 29s] 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 do tactics make your characters and scenes more dynamic? In this episode, Stu and Chas turn their gaze to the "tactics" that characters use in scenes to get what they want. Tactics are how the characters try to achieve their goals and (we reckon) can be revealing of the essence of their character. The shifting and thwarting of tactics can make scenes more dynamic; while over the course of a story, the changing of tactics can reflect the growth of characters... even if their goal stays the same. We take a close look at great single scenes from ZODIAC and TRAINING DAY. And then we look at a number of scenes over the course of HELL OR HIGH WATER, SILENCE OF THE LAMBS and WINTER'S BONE. And we also skate over WILE E COYOTE, GAME OF THRONES, MACBETH, HAMLET, and EDGE OF SEVENTEEN. Audio quotations used for educational purposes only. Timestamps indicated below! It should go without saying but - SPOILERS AHOY. EPISODE LINKS DRAFT ZERO - Related Episodes DZ-34: Game of Choices – Decision Making and Character Implications DZ-32: High-Tension Sequences DZ-31: Tools for Better Dialogue DZ-29: Showdowns & Scene Structure DZ-14: Writing For Actors & Old Underwear DZ-08: Status Transactions and the Power of Washing Machines The Game of the Scene Improv's Babel: Defining the Game of the Scene http://kevinmullaney.com/tag/game-of-the-scene/ ROADRUNNER [@ 8m 08s] YouTube: Wile E Coyote and Road Runner E01 Twitter: Coyote Rules for Road Runner Every Frame A Painting: Chuck Jones - Evolution of an Artist Scenes Compiled PDF of all scene excerpts ZODIAC [@ 16m 15s] Script: ZODIAC screenplay by James Vanderbilt YouTube: Zodiac - Arthur Leigh Allen interrogation Find it on JustWatch TRAINING DAY [@ 36m 53s] Script: TRAINING DAY by David Ayer YouTube: Training Day - Initial Scene Find it on JustWatch HELL OR HIGH WATER [@ 46m 22s] Script: HELL OR HIGH WATER written by Taylor Sheridan Find it on JustWatch SILENCE OF THE LAMBS [@ 1hr 21m 34s] Script: SILENCE OF THE LAMBS by Ted Tally Every Frame a Painting: Who Wins the Scene? Find it on JustWatch WINTER'S BONE [@ 1hr 43m 23s] WINTER'S BONE written by Debra Granik & Anne Rosellini Find it on JustWatch 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 writers make use of their time when hitting LA? In another backmatter-only episode, Stu & Chas zig-zag through a range of topics. We talk about Chas' experience(s) hitting both Los Angeles and the Austin Film Festival, effective networking, career capital, the art of receiving feedback, and Stu's harsh Three Strikes Rule. We look back at the most important lessons we've learned about storytelling in 2016 and that leads us to talk about character choices in a little-known and little-talked about film called ROGUE ONE. And, of course, we open the listener mail box for critiques, praise, suggestions and follow-up to earlier episodes -- especially our Exposition two-parter. Thanks to everyone for their support in 2016! We look forward to erratically bringing you new episodes this year. BACKMATTER LINKS Urban Dictionary: Career Capital Forbes: 7 Steps To Developing Career Capital -- And Achieving Success Music Bed: Creative Critique - The Art of Receiving Feedback Twitter: @theemilyblake on Failure and Hope Emily Blake: Choosing to Fail - Journey From Writer to Scripty /r/screenwriting: Fishmanmanfish on Given Circumstances vs Exposition ROGUE ONE links because, well, Stu KCRW The Business: Hollywood News Banter Yahoo UK: Rogue One's editors reveal the scenes added in the Star Wars standalone reshoots (exclusive) Mamo 459: Rogue Two Podcast Super Ticket 8: Rowgue Three Vashi Visuals: ROGUE ONE – 46 SHOTS NOT IN THE FINAL FILM Destroy All Monsters: The Meme-ification of ROGUE ONE Oscars.org: SHORT TERM 12 by Destin Cretton (Nicholls Draft) DZ-37: Excelling at Exposition (Part 1) DZ-38: Excelling at Exposition (Part 2) DZ-34: Game of Choices – Decision Making and Character Implications DZ-20: Writing Strong Secondary Characters – Trinity, Bechdel and a Bamboo Killer 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