This episode, Chas steps down as co-host (kinda) and is interviewed by Stu as a guest, alongside director Ben Mizzi, about the short rom-com that Chas wrote and Ben directed & produced. The episode covers taking an idea from pitch to screen, working with a director, directing performance on the page, and marketing and distribution strategies for short films.
If you are thinking of producing your own content, well worth a listen!
And if you want to watch The Snip – a 16 min rom com about a guy who gets a vasectomy without telling his wife – here it is: https://youtu.be/_iBdDFKqqbs
Thanks to Chris Walker for editing this episode.
- Introduction: The Snip
- Working With a Director (@ 3:44)
- How did you go from pitch to script? (@ 13:16)
- Short films and audience expectations (@ 22:19)
- What expectations can you have of the end product? (@ 26:41)
- How do you “direct” performance on the page? (@ 39:05)
- How do you direct performance from a writer? (@ 46:03)
- What are some marketing strategies for short films? ( @ 52:28)
- What is your online release strategy? (@ 58:22)
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
Many thanks to Chris, Sandra, Jack, Jessie, Nick, Khrob and Theis for being top-level patrons. They’re good humans. Consider joining their ranks and supporting us on Patreon!
What can and should you do next?
In our annual Backmatter-only episode, Stu and Chas indulge themselves by offering personal opinions on the life and work of emerging screenwriters based on their own personal experience.
To that end, they discuss: what is and is not in your control in relation to an emerging writing career; choosing what project to develop next; using the Black List site to gain traction; the difference between treatments for pitching as opposed to for development; and the difference in writing style when writing on spec as against work for hire.
We also unexpectedly have a guest: David Wappel kindly joins us to share his thoughts on anchoring nouns.
- What is in your control? (@ 05:27)
- Choosing what to develop (@ 28:58)
- Using the Black List site (@ 33:24)
- Treatments for development vs for pitching (@ 59:47)
- Writing on spec vs work for hire (@ 01:23:23)
- Backmatter on backmatter (@ 01:37:37)
Please considering rating or subscribing to us on Apple Podcasts! or sharing us on the Social Medias! We like finding new listeners.
Many thanks to Daniel, Chris, Sandra, Jack, Jessie, Nick, Khrob and Theis for being top-level patrons. They’re good humans.
How can you create flow and contrast in your dialogue?
A full three years after the first instalment (and one of our most popular), Stu and Chas have kidnapped Stephen Cleary to once again develop some craft tools around dialogue. It would be fair to say that – in that time – all three have learnt a lot more about dialogue than they knew in 2016. It would be also fair to say that Stephen perhaps learnt a little more through his research into “genderlect”.
In Part II, we analyse key scenes from films and TV shows famous for their dialogue, namely FLEABAG (Season 2, Episode 5), JUNO and DEADWOOD (The Pilot). The biggest tools we explore are: the hook and eye; how dialogue can reveal status and empathy; rhythm; contrast and affinity; and pacing.
And just to help us all out, Stephen rounds out the episode with some quick fire examples – FIVE EASY PIECES, JERRY MAGUIRE, GROSSE POINTE BLANK, and NOTTING HILL (again) – and further dialogue tips.
Thanks to Chris Walker for editing this episode during the holiday season.
- Status and Gender (@ 05:52)
- FLEABAG (Season 2, Episode 5) by Phoebe Waller-Bridge (@ 15:26)
- JUNO by Diablo Cody (@ 47:41)
- DEADWOOD (Pilot) (@ 01:20:20)
- More Dialogue Tips and Techniques (@ 01:40:55)
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 Theis, Jesse, Daniel, Jack, Chris, Khrob, Sandra, Nick, Matteo, and Carrie. They’re good humans.
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