DZ-61: Unfilmables and Unscriptables (Part 2) – Moments of Awe

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 INVITIATION, 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

EPISODE LINKS


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.

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DZ-60: Unfilmables and Unscriptables (Part 1) – Engaging imagination

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)
    • LETHAL WEAPON by Shane Black
    • YOUR BRIDESMAID IS A BITCH by Brian Duffield
    • HEREDITARY by Ari Aster
  • FRAMING THE SCENE ( @ 52:58)
  • OPENINGS (@ 59:27)
    • KILLING THEM SOFTLY screenplay by Andrew Dominik, Based on the novel “Cogan’s Trade by George V. Higgins
    • SHARP OBJECTS. EPISODE 1, VANISH written by Marti Noxon, Based on the novel by Gillian Flynn
    • HEREDITARY by Ari Aster
    • SPARTAN a screenplay by David Mamet
  • PERFORMANCE (@ 1:36:07)
    • FLEABAG PILOT Written by Phoebe Waller Bridge
    • THE GIRL ON THE TRAIN by Erin Cressida Wilson, Adapted from the novel by Paula Hawkins
    • THE NICE GUYS by Anthony Bagarozzi & Shane Black
    • DRIVE written by Hossein Amini, Based on the novel by James Sallis
  • TONE/THEME (@ 01:54:49)
    • MICHAEL CLAYTON by Tony Gilroy
    • THE TREE OF LIFE by Terrence Mallick
    • THREE BILLBOARDS OUTSIDE EBBING MISSOURI by Martin McDonagh
  • WRAP UP / KEY LEARNINGS (@ 02:11:52)
EPISODE LINKS

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.

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DZ-59: Avengers Endgame & Ending Character Journeys

Do you want your audience feeling with or for your characters?  

One day, Chas saw Avengers: Endgame for the second time and wrote a review on Letterboxd. In particular, he had issues with how little he perceived the characters of Cap and Tony changed within the film, their big finale (spoiler). Then friend and patron of the podcast Julio vehemently disagreed in the comments. He was egged on by Stu. And there in the comments began a debate that looked a lot like an episode of Draft Zero. So we decided to make it one.

And what began as an exploration of how to dramatise character change swiftly became an exploration of how to position audience in relation to your characters. Do you want the audience empathising with the characters? Feeling what they are feeling in the moment? Or do you want your audience sympathising with your characters? Being rocked by surprise after the fact? Reminding your audience of their own personal relationship with the characters.

As always, spoiler-tastic.

RUNNING ORDER

  • CHAS’ LETTERBOXD REVIEW [@ 00:00:00]
  • HOW DOES THE SNAP AFFECT CAP & TONY? [@ 00:04:27]
  • HOW IS TONY’S JOURNEY DRAMATISED? [@ 00:08:31] 
  • WORKSHOPPING A MOMENT WHEN TONY RISKS IT ALL [@ 00:26:56] 
  • PROVING TONY HAS CHANGED SINCE IRON MAN [@ 00:35:13] 
  • HOW IS STEVE’S JOURNEY DRAMATISED? [@ 00:48:03] 
  • WHAT IF CAP CHOSE TO STAY IN THE PAST? [@ 00:54:49] 
  • KEY LEARNINGS [@ 01:02:43] 

EPISODE LINKS

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, @chasfisher and @Ovnio on twitter.

Many thanks to all our patrons but particularly to Jack, Paul, Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie. They’re good humans.

BUY DRAFT ZERO MERCH via TeePublic