DZ-115: A Christmas Special – Rewatching & Rituals

In this “backmatter” episode of Draft Zero, Stu, Chas, and Mel Killingsworth embark on a festive exploration of what makes holiday films so engaging and so re-watchable that they can become part of our rituals. To that end, we breakdown the charm of of Christmas films like KISS KISS BANG BANG, RIDERS OF JUSTICE, and IT’S A WONDERFUL LIFE.

We discuss what defines a holiday movie, the power of nostalgia, the importance of ensembles to a sense of family, and how VoiceOver, snappy dialogue and intricate can make something rewatchable. In a way, we see all these films as gateways to introspection and shared experiences during the holidays.

And we are briefly joined by filmmaker (and friend of the podcast) Damien Cassar who talks us through the meaning of nostalgia and it’s relationship with the “pain of homecoming”, and how Christmas/Holiday films provide comfort and a sense of belonging amid ever-changing societal dynamics. 

Merry Christmas!

DZ-114: Climaxes in Challengers

Following on from episodes on filmmakers talking directly to the audience as well as previous exploration into choices and decisions (and hopefully serving as a prelude to our episode on Hero’s Choice), Mel and Chas explore the choices the characters make in that final moment, what happens when filmmakers obscure character motivation, and ultimately how that final moment in CHALLENGERS impacts theme.

This conversation ends up being a deep exploration of what is the experience on the audience (and its impact on the perceived theme) when a story cuts out at the climax without further resolution.

DZ-113: Tools for filmmakers to talk to the audience

In our final (ha!) episode looking at Talking Directly to the Audience, we turn away from character-and-text based craft tools to look at other ways that filmmakers – whether they be directors, writers, editors, or anyone else – can make the audience feel their hand more.

To that end, Mel, Stu and Chas dive into ADAPTATION, STORIES WE TELL and THE FORTY-YEAR-OLD VERSION.