How can films maintain audience interest without stakes or plot questions? Continuing their focus on “character”, Stuart and Chas take a close look at films that may be considered character-driven… or rather character studies… or just plot-lite films? Whatever you call them, these films —CHEF, HAPPY-GO-LUCKY, and AMOUR — let their plots take a back seat to a […]
How does dialogue serve to reveal character?
Chas & Stu are joined once again by the renowned script developer and producer, Stephen Cleary. In the first part of our series on writing better dialogue (there will be more!), we take a close look at how dialogue serves character: individuating characters, revealing characterisation, shifting status, and much more.
Together, they (well, mostly Stephen) break down scenes from ANALYSE THIS, NOTTING HILL, REMAINS OF THE DAY and THE AVENGERS. In a first for Draft Zero, we include audio excerpts to make everything even clearer / stop Chas & Stu (mostly Stu) from butchering lines. That, and not everything is on YouTube.
And, in back matter, we continue the discussion into more academic areas of the difference between theatrical, cinematic and television dialogue.