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

RELATED LINKS:

• Tom Vaughan / Story and Plot: Controlling the tone in your screenwriting

How can we forget our awesome Patreons, especially Lily,  Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

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

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