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

How and why should every scene have an emotional event?

For the first episode of our tenth anniversary year, we are joined by Judith Weston to talk about Emotional Events. What is an emotional event? Well, it’s a way of thinking about scenes through relationships rather than plot. Instead of asking how a scene moves the plot forward, ask how the scene alters the relationship between characters. While emotional events are ostensibly a tool for directors to interpret scenes, we believe that the emotional event starts with the writer(s).

But it is an idea better illustrated through examples and discussion rather than sound bites. To that end, we breakdown scene from OPPENHEIMER, CASINO ROYALE (the Daniel Craig one), and PAST LIVES and explore how the emotional event is written (and not written) on the page.

Through a close reading of each scene, we talk about subtext, power dynamics, status transactions, tactics, beats and much much more. Because Chas, Stu and Judith are also reading the scripts there lot of discussion about table reads and how to get the most out of them.

For those unfamiliar with Judith, she is a famed teacher of writers, directors and actors with a focus on the directing or actors. Her books Directing Actors and The Film Director’s Intuition are basically industry standards.

You can find Judith Weston (and her books!) at her website: https://judithweston.com/web/

Thanks to Chris Walker for his excellent editing this episode.

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

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

→ Read the transcript for this episode.

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"I think they're both testing each other. I think, you know, Oppenheimer wants the job, but he knows that Groves wants somebody who will test him. They want the friction. They like the friction. They both work best with friction." — Judith Weston @ 00:30:37

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

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

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

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

Listen if you want to understand how character actions and reactions shape a film's tone

In this episode, Chas and Stu continue their deep dive into how to write tone by examining films with “light” (we use the phrase loosely) tones: LADY BIRD, EMILY THE CRIMINAL, THE BALLAD OF BUSTER SCRUGGS, and SPONTANEOUS. We also talk a surprising amount about DUNE and CRAZY STUPID LOVE.

We focus on the relationship between character & tone and how the writers of these films use dramatisation to create their unique tones. We talk minimalism vs maximalism, dialogue, character actions & reactions, emotional dynamic range, and rules of the world vs given circumstances.

Stu proposes a new triangle to help us understand the dials we as writers have to affect tone:

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.

LIKE THIS EPISODE?

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

→ Read the transcript for this episode.

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"Emily feels a rush of blood to the head. And the blood, to me, kind of connects it to the feral thing, right? Like it's just got a little bit of an animalistic quality to it in terms of the kind of language system they're using it." — Stu Willis @ 00:42:31

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CHAPTERS

FILMS

SCRIPTS

LINKS

EPISODES IN THE ESTABLISHING TONE SERIES

RELATED EPISODES

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

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

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

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

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

In this episode, Chas, Stu and Mel attempt to answer a listener question: “In your own pre-writing process, how do you know you have enough for a feature? And do you have a specific pre-writing method you're going to?”

Thus we launch into a discussion on our writing processes and the varying usefulness of tools such as log lines, turning points, beat sheets, synopsis, treatments, and scene breakdowns. We also tackle the challenges encountered while developing an idea to first draft, such as balancing the pace of the story, developing distinct character voices, character choices, plot changes, pacing, and thematic clarity.

Is this backmatter? Or is it development tools? You decide! Hahaha.

Thanks so much to Chris Walker for his excellent editing on this episode!

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

LIKE THIS EPISODE?

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

→ Read the transcript for this episode.

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"for me, that's actually in a lot of ways easier to write. You don't need to conclude anything. And you can hopefully if you sell it, then you get a room of people and then it's all of your problems, you know, as opposed to just your problem and you're banging your head up against the wall on page 80 going, Oh my God, what have have I done?" — Mel Killingsworth @ 00:05:41

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CHAPTERS

EPISODES IN THE DEVELOPMENT TOOLS SERIES

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

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

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

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

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

Chas and Stu finally start their long-mooted exploration of tone with a series that examines films and shows with unusual tones and dives into how the writers establish those tones in the first 5 pages.

How does your script want your reader to experience violence in your story? Humour? Sex? Prejudice?

To answer these questions, this episode look at how films with “darker” or “sadder” tones teach the reader what they can laugh at, namely: THE NICE GUYS, THE BANSHEES OF INISHERIN and the pilot for YELLOWJACKETS.

Together they learn how to better talk about tone, how to frame tone for a scene or sequence, and what levers writers can use on the page to compensate for cinematic tools like music, performance, composition, lighting, design, editing, etc etc etc.

Future episodes plan to explore establishing lighter or quirkier tones, as well as tools in shifting or changing tone on the page.

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

LIKE THIS EPISODE?

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

→ Read the transcript for this episode.

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"He is writing our experience as the audience to us as we're reading it." — Chas Fisher @ 00:40:40

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CHAPTERS

FILMS

SHOWS

SCRIPTS

EPISODES IN THE ESTABLISHING TONE SERIES

RELATED EPISODES

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

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

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

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

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

In this episode, we explore the audience's connection with characters through the lens of characters being alone.

Chas and Stu breakdown scenes (and their scripts) from AFTERSUN, SENSE AND SENSIBILITY and THE EQUALIZER to discuss the significance of solitude in giving the audience insight into a character’s interiority. We talk how big print can reflect character; how finding moments for vulnerability allows characters to drop their masks; and how staging can help these moments occur organically.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

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

→ Read the transcript for this episode.

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"I've been for a long time trying to improve my ability to what I call dramatize the internal and I think this is a really good opportunity to do this." — Chas Fisher @ 00:01:43

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CHAPTERS

FILMS

SCRIPTS

LINKS

RELATED EPISODES

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

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

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

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

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

In part two of this two parter, Stu and Chas go further into the game (of the scene) and look at how games force characters other than the protagonist to interact. We deep dive into the wonderful social satires of TRIANGLE OF SADNESS and THE FAVOURITE.

We discuss how games reveal character through competency and decisions, how resources and skills impact the tactics that characters employ, and the difference between referees, rule lawyers, rule makers and rule breakers.

Thanks to Chris Walker for editing this episode.

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

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

LIKE THIS EPISODE?

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

→ Read the transcript for this episode.

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"games are about a series of choices and relatedness is the way that they build interaction so you can see how that is actually really useful for characters because what you actually want to do is put your characters in a situation where they're competent enough to be challenged but you don't want them to be destroyed." — Stu Willis @ 00:09:50

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CHAPTERS

FILMS

SCRIPTS

LINKS

EPISODES IN THE GAME OF THE SCENE SERIES

RELATED EPISODES

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

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

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

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

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

Stu and Chas turn their attention to a topic that has long eluded them: the game of the scene. We look at how considering the game that characters are playing — its rules, arenas, players, referees, and win conditions — can help you write more dynamic scenes.

This will be a two-parter, and for this half, we talk BLUEY, “The Quiet Game” (from Season 2) and “Phones” (from Season 3), and JOHN WICK 4. We also touch on GAME NIGHT and LIFE OF BRIAN.

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

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

→ Read the transcript for this episode.

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"So I think there's the referees, there's the arena, the victory conditions important and it leads into this other idea, speaking of board games, of like the path to victory." — Stu Willis @ 00:09:44

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CHAPTERS

FILMS

SHOWS

SCRIPTS

LINKS

EPISODES IN THE GAME OF THE SCENE SERIES

RELATED EPISODES

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

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

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

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

Listen to understand how screenwriters direct the camera without calling shots.

Chas, Stu and Mel reunite to talk about writing the feel of camerawork in screenplays. We use “oners” — a long-playing continuous take — as a lens to talk about how some writers have “directed” from the page. We talk immediacy, camera positions, handovers, and anchoring action and more.

We breakdown the famous Copacabana shot from GOODFELLAS, the awe-inspiring chase sequence from THE ADVENTURES OF TINTIN, and the heart pounding ‘Zed attack’ from CHILDREN OF MEN. We also briefly discuss THE BOURNE IDENTITY, HEREDITARY, THE BEAR, ALL THE PRESIDENTS MEN and TOUCH OF EVIL.

And we do this breakdown by closely reading the actual words on the page!

So thanks to Meegan May (of Starship Q Star) for performing the big print / action lines. Script Pages available on our Patreon -> https://www.patreon.com/posts/dz-99-scene-82312058

Thanks to Chris Walker for editing this episode.

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

LIKE THIS EPISODE?

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

→ Read the transcript for this episode.

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"You're meant to be swept along with this action. In Children of Men, the script's... just bang, bang, bang. You can almost tell that it's happening simultaneously because of the mini slugs, you know, in the road, in the car, outside, inside. It's all felt as one." — Mel Killingsworth @ 00:06:55

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CHAPTERS

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

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

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

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

Full show notes at: https://draft-zero.com/2023/dz-101/

Listen if you want to know why the distance between two characters matters more than what they say.

In this slightly unusual episode of Draft Zero (but also incredibly on brand), Stu and philosopher-swordsperson Damon Young discuss how the lessons they have learned from martial arts can be applied to scenes. In particular, they discuss how approaching an opponent in a sword fight can be analogous to how characters approach conflict, such as: the distance between the characters, who chooses to engage first, how to feint, how to lure an attack by leaving yourself vulnerable, etc.

They reference classic conflicts such as Clarice interviewing Dr. Lecter in SILENCE OF THE LAMBS, when Miranda puts down Andrea in THE DEVIL WEARS PRADA, and the final showdown between Obi-Wan and Darth Maul in the animated series THE CLONE WARS.

You can find Damon Young here: https://www.damonyoung.com.au/

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

LIKE THIS EPISODE?

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

→ Read the transcript for this episode.

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"I'm really interested in crafts, in the way we move from little bits of knowledge that we have to work through painstakingly one step at a time to a more fluid knowledge that we can deploy on the fly, as it were." — Damon-Young @ 00:04:25

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CHAPTERS

FILMS

SHOWS

SCRIPTS

LINKS

RELATED EPISODES

———

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

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

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

Full show notes at: https://draft-zero.com/2023/dz-100/

Listen if learn how to structure individual scenes through the questions you pose to your audience!

Inspired by our earlier episodes on sequences, Chas and Stu narrow their focus to look at the atomic unit of screen storytelling: the scene. In particular, we breakdown how question and answers prompted in the audience structure individual scenes.

We talk plot, character, and theme questions (and their hybrids) by analysing scenes from LOKI, THE LAST CRUSADE, THE BOURNE SUPREMACY, QUEEN AND SLIM, and DO THE RIGHT THING. We also briefly discuss SUCCESSION, DUNGEONS & DRAGONS: HONOUR AMONG THIEVES, and ANDOR.

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

LIKE THIS EPISODE?

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

→ Read the transcript for this episode.

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CHAPTERS

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

RELATED EPISODES

———

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

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

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

Full show notes at: https://draft-zero.com/2023/dz-99/