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: 00:00:00 – Cold Open 00:00:30 – What is an emotional event? 00:13:48 – Oppenheimer 00:46:16 – Casino Royale 00:59:35 – Past Lives 01:30:20 – Key Learnings & Wrap Up 01:36:05 – Thanks to our Patreons RELATED EPISODES: DZ-08: Status Transactions – https://draft-zero.com/2014/dz-08/ DZ-40: Tactics and Scenes – https://draft-zero.com/2017/dz-40/ How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How can we use dramatisation to create tone? In this episode, Chas and Stu continue their deep dive into how to write tone by examining films with “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: 00:00:00 - Cold Open 00:00:23 - Tone & Character 00:15:26 - Ladybird 00:33:20 - Emily The Criminal 00:57:43 - The Ballad of Buster Scruggs 01:17:28 - Spontaneous 01:39:38 - Key Learnings & Wrap Up 01:51:58 - Many thanks to our Patreons RELATED EPISODES: DZ-105: Establishing Tone - Dark DZ-82: Dramatising Given Circumstances in Watchmen 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

How do you know if you have enough narrative fuel to write a script? In this episode, Chas, Stu and Mel attempt to answer a listener question: “In your own pre-writing process, how do you know you have enough for a feature? And do you have a specific pre-writing method you're going to?” Thus we launch into a discussion on our writing processes and the varying usefulness of tools such as log lines, turning points, beat sheets, synopsis, treatments, and scene breakdowns. We also tackle the challenges encountered while developing an idea to first draft, such as balancing the pace of the story, developing distinct character voices, character choices, plot changes, pacing, and thematic clarity. Is this backmatter? Or is it development tools? You decide! Hahaha. Thanks so much to Chris Walker for his excellent editing on this episode! CHAPTERS: 00:00:00 - Cold Open 00:00:30 - Introduction: Falling Short 00:02:38 - Our Development Processes 00:33:06 - Developing from concept 00:45:26 - Sponsor: Arc Studio Pro 00:48:12 - Expanding your Idea 01:15:29 - Long Short Documents 01:27:22 - Consistent problems with first drafts 01:34:28 - Many thanks to our Patreons! This episode brought to you by (drum roll): ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can also find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How can we teach the reader to find the humour in our darkness? Chas and Stu finally start their long-mooted exploration of tone with a series that examines films and shows with unusual tones and dives into how the writers establish those tones in the first 5 pages. How does your script want your reader to experience violence in your story? Humour? Sex? Prejudice? To answer these questions, this episode look at how films with “darker” or “sadder” tones teach the reader what they can laugh at, namely: THE NICE GUYS, THE BANSHEES OF INISHIRIN and the pilot for YELLOWJACKETS. Together they learn how to better talk about tone, how to frame tone for a scene or sequence, and what levers writers can use on the page to compensate for cinematic tools like music, performance, composition, lighting, design, editing, etc etc etc. Future episodes plan to explore establishing lighter or quirkier tones, as well as tools in shifting or changing tone on the page. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. CHAPTERS: 00:00:00 - Cold Open 00:00:32 - What is tone? 00:25:00 - The Nice Guys 00:55:07 - Sponsor: Arc Studio Pro 00:57:23 - The Banshees of Inisherin 01:25:06 - Yellowjackets 01:53:30 - Key Learnings & Wrap Up 02:04:40 - Many thanks to our Patreons! RELATED EPISODES DZ-60: Unfilmables and Unscriptables (Part 1) - Engaging imagination DZ-61: Unfilmables 2 – Moments of Awe This episode brought to you by (drum roll): ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How can scenes where characters are alone increase our connection with them? In this episode, we explore the audience's connection with characters through the lens of characters being alone. Chas and Stu breakdown scenes (and their scripts) from AFTERSUN, SENSE AND SENSIBILITY and THE EQUALIZER to discuss the significance of solitude in giving the audience insight into a character’s interiority. We talk how big print can reflect character; how finding moments for vulnerability allows characters to drop their masks; and how staging can help these moments occur organically. Thanks to Chris Walker for editing this episode. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. CHAPTERS 00:00:02 - Cold Open 00:00:24 - Intro: Character's Alone 00:13:04 - Aftersun 00:31:55 - Sponsor: Arc Studio Pro 00:34:16 - Sense and Sensibility 00:59:59 - The Equalizer 01:25:02 - Wrap Up & Key Learnings 01:28:34 - Many thanks to our Patreons! RELATED EPISODES DZ-99: Scene Questions DZ-93: Talismans (Part 1) DZ-94 Talismans (Part 2) DZ-60: Unfilmables and Unscriptables (Part 1) - Engaging imagination RELATED LINKS Shot Zero: www.shot-zero.com Restoration: www.restorationseries.com This episode brought to you by (drum roll): ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How can games elevate dramatic scenes? In part two of this two parter, Stu and Chas go further into the game (of the scene) and look at how games force characters *other* than the protagonist to interact. We deep dive into the wonderful social satires of TRIANGLE OF SADNESS and THE FAVOURITE. We discuss how games reveal character through competency and decisions, how resources and skills impact the tactics that characters employ, and the difference between referees, rule lawyers, rule makers and rule breakers. Thanks to Chris Walker for editing this episode. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. CHAPTERS 00:00:00 - Cold Open 00:00:19 - Sponsor: ScriptUp 00:01:45 - Intro: Follow up 00:10:50 - Triangle of Sadness (Parts 1 and 2) 00:35:37 - Sponsor: Arc Studio Pro 00:38:25 - Triangle of Sadness (Part 3) 00:52:51 - The Favourite 01:30:34 - Wrap Up & Key Learnings 01:40:30 - Thanks to our Patreons! RELATED EPISODES DZ-102: Game of the Scene 1 - Bluey, John Wick 4 DZ-99: Scene Questions DZ-40: Tactics and Scenes RELATED LINKS IMDB: Molli and Max in the Future Letterboxd: Molli and Max in the Future This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget our awesome Patreons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via our many social medias!

How can ‘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 00:00:00 - Cold Open 00:00:18 - Sponsor: ScriptUp 00:01:52 - Intro: What do we mean by Game of the Scene? 00:15:06 - The Life of Brian: "What have the Romans ever done for us?" 00:20:03 - Bluey 00:35:08 - Sponsor: Arc Studio Pro 00:37:56 - John Wick 4 01:14:34 - Wrap Up & Key Learnings 01:22:17 - Many thanks to our Patreons RELATED EPISODES DZ-100: Scenes through Swords DZ-99: Science Questions DZ-40: Tactics and Scenes RELATED LINKS Shot Zero on Game Night's Hot Potato Sequence This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget our awesome Patreons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, and Khrob. Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, and @chasffisher on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

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

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

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

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 00:00:00 - Cold Open 00:01:35 - Intro: Character Function 00:08:43 - The Woman King 00:50:00 - Riders of Justice 01:20:36 - Nope 01:47:00 - Key Learnings & Wrap Up 01:59:06 - Many thanks to our Patreons RELATED EPISODES DZ-96: Ensembles 1 – What do we mean by an ensemble? DZ-97: Ensembles 2 – Servicing Characters EPISODE LINKS Mel Killingsworth on The Möbius Strip Storytelling of NOPE Mel Killingsworth on Riders of Justice: Tidings of Trauma and Joy This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget our awesome Patreons, especially Alexandre, Casimir, Eduardo, Thomas, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex, and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis, @chasffisher and @mehlsbells on twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

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

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 00:00:00 - Intro 00:04:17 - What is an ensemble? 00:26:51 - Taxonomy of Ensembles 00:47:25 - ArcStudio Sponsorship 00:48:32 - Group Dynamics 01:08:39 - Wrap Up & Hopeful Learnings 01:15:15 - Patreon Thanks This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a subscription! And how can we forget our awesome Patreons?, Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

How 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 00:00:00 - Intro: Backmatter 00:02:44 - Housekeeping 00:05:49 - Future Episode Ideas 00:25:52 - Are first acts getting shorter? 00:40:16 - New projects vs current projects 00:48:59 - Maintaining Hope or Avoiding Despair 00:54:21 - The Big Lessons of 2022 00:55:19 - Andor vs Keobi 01:14:37 - Key Lessons & Wrap Up 01:16:06 - Many thanks LINKS LISTEN: Starship Q Star - https://starshipqstar.com/links And how can we forget our awesome Patreons? Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

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

How can you use physical objects to 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 00:00:00 - Intro 00:03:15 - Talismans in our own lives 00:08:41 - Scott Myer's definition of Talismans 00:18:58 - What are not Talismans? 00:21:48 - Wardrobe 00:28:26 - Talismans vs Characters 00:43:18 - Talismans vs MacGuffins 00:49:33 - Photos 00:53:53 - Jewellery 01:02:22 - Weapons & Tools 01:10:02 - Vehicles 01:12:03 - Letters & Journals 01:14:19 - Andor (Spoilers) 01:16:20 - Talismans and Rituals 01:24:14 - Wrap Up & Key Learnings LINKS Scott Myers / Go Into The Story: Talismans - https://medium.com/go-into-the-story/talismans-bcbf0a04d45d Scott Myers / Go Into The Story: Story Talismans - https://gointothestory.blcklst.com/story-talismans-89b91523e71d RELATED EPISODES DZ-11: Adventure for the MacGuffin! - http://draft-zero.com/2014/dz-11/ DZ-87: Keeping Genre fresh - http://draft-zero.com/2022/dz-87/ This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a subscription! And how can we forget our awesome Patreons?, Especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

How can 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 00:00:00 - Intro 00:00:48 - Insightful recognition in endings 00:03:39 - What the hell is “anagnorisis”? 00:12:04 - LA LA LAND 00:30:45 - INCEPTION 00:35:14 - NO COUNTRY FOR OLD MEN 01:00:04 - TURNING RED 01:18:18 - Wrap up & Key Learnings 01:24:26 - Thanks patreons! LINKS HULK PRESENTS THE MYTH OF THE THREE ACT STRUCTURE Lindsay Doran on the psychology of story-telling RELATED EPISODES DZ-04: Catharsis and the Post-Coital Cigarette This episode brought to you by (drum roll): ScriptUp: https://www.scriptupstudio.com – use promo code DZ10 to get 10% off; and ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a subscription! And how can we forget our awesome Patreons?, Especially Malay, Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob. You rule! Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners. We are @stuwillis and @chasffisher on twitter. And you can find @draft_zero on Instagram and Twitter. BUY DRAFT ZERO MERCH via TeePublic

How can 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 - 00:00:00 - Intro - 00:04:41 - What even are stakes? - 00:24:26 - Hidden Figures - 01:00:46 - Downfall - 01:33:38 - Bright Star - 02:10:33 - Key Learnings - 02:18:57 - Thanks Patreons!

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 00:00:00 - Intro 00:00:43 - Anywhere Anything At The Same time 00:10:48 - Summary 00:29:51 - Pointers and Planters 00:56:17 - The Ending 01:17:59 - Wrap Up and Key Learnings 01:30:06 - Thanks to our Patreons LINKS Michael Arndt - Endings: The Good, the Bad, and the Insanely Great -- https://vimeo.com/238637906 Will Dunne - The Dramatic Writer's Companion - https://willdunnedramaticwriting.com/the-dramatic-writers-companion/ RELATED EPISODES DZ-06: Key Scenes and Unlocking the Story DZ-04: Catharsis and the Post-Coital Cigarette DZ-10: Midpoint Reversals and The Ride 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

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 00:00:56 - Intro 00:12:04 - Ocean’s Eleven 00:30:26 - Long Shot 01:01:32 - Arrival 01:22:22 - A Serious Man 01:41:17 - Wrap Up 01:46:47 - Patreon thanks LINKS Jessica Ellis: https://twitter.com/baddestmamajama What Lies West: https://linktr.ee/whatlieswest RELATED EPISODES DZ-15: World Building Rules, Okay? DZ-43: Driving Sequences – Character and Plot Intensity DZ-44: Marvel, First Acts and Establishing Characters 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.