↓ Skip to main content
DRAFT ZERO
← DZ-107 DZ-109 →
Show Notes Chapters Films Scripts Links Related Key Ideas Recommended

DZ-108: The Emotional Event with Judith Weston

How and why should every scene have an emotional event?

31 MAR 2024

Show Notes

How and why should every scene have an emotional event?

For the first episode of our tenth anniversary year, we are joined by Judith Weston to talk about Emotional Events. What is an emotional event? Well, it’s a way of thinking about scenes through relationships rather than plot. Instead of asking how a scene moves the plot forward, ask how the scene alters the relationship between characters. While emotional events are ostensibly a tool for directors to interpret scenes, we believe that the emotional event starts with the writer(s).

But it is an idea better illustrated through examples and discussion rather than sound bites. To that end, we breakdown scene from OPPENHEIMER, CASINO ROYALE (the Daniel Craig one), and PAST LIVES and explore how the emotional event is written (and not written) on the page.

Through a close reading of each scene, we talk about subtext, power dynamics, status transactions, tactics, beats and much much more. Because Chas, Stu and Judith are also reading the scripts there lot of discussion about table reads and how to get the most out of them.

For those unfamiliar with Judith, she is a famed teacher of writers, directors and actors with a focus on the directing or actors. Her books Directing Actors and The Film Director’s Intuition are basically industry standards.

You can find Judith Weston (and her books!) at her website: https://judithweston.com/web/

Thanks to Chris Walker for his excellent editing this episode.

"I think they’re both testing each other. I think, you know, Oppenheimer wants the job, but he knows that Groves wants somebody who will test him. They want the friction. They like the friction. They both work best with friction."

— Judith Weston  |  DZ-108: The Emotional Event with Judith Weston

Like this episode? Discuss with our Patrons on Patreon.

Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

Resources

Transcript

Read the transcript for this episode.

Chapters

  • 00:00:00 – Cold Open
  • 00:00:30 – What is an emotional event?
  • 00:05:18 – › How the relationship changes defines the scene
  • 00:10:49 – › Reading aloud to let the words live unprepared
  • 00:13:48 – OPPENHEIMER
  • 00:19:01 – › Breaking a scene into beats and emotional wins
  • 00:28:54 – › How beat shifts are physicalized and marked on screen
  • 00:39:53 – › Exposition works when buried in relationship dynamics
  • 00:44:09 – › Core relationships as structural delivery systems for acts
  • 00:46:16 – CASINO ROYALE
  • 00:49:07 – › How actors overrode the script's male gaze
  • 00:52:38 – › Shared vulnerability as the scene's emotional event
  • 00:55:57 – › How stage directions can direct actors from the page
  • 00:59:35 – PAST LIVES
  • 01:06:49 – › Emotional beat changes and the language of scaffolding
  • 01:11:22 – › How each line negotiates a relationship shift
  • 01:27:28 – › Arthur's final act of kindness closes the triangle
  • 01:30:20 – Key Learnings & Wrap Up
  • 01:36:05 – Thanks to our Patreons!

Films

Scripts

KEY IDEAS

Every Scene Needs an Emotional Event

"If you think the scene is just there to give the audience information, then you need to look into it further and find out what the emotional event is."

— Stu Willis (00:08:02) · Emotional Event · Subtext

Gestures as an Emotional Event

"You don't need it. You could just have her leaning on his shoulder, and that says everything about the emotional event. They have come closer, but I do think what it is that Bond has actually offered her that allows her to be closer to him is his complete absence of judgment of her."

— Chas Fisher (00:56:18) · Subtext · Relationships

Mental Preparation as Creative Tool

"It will be part of my toolkit. It will be the kind of thing I listen to in the car driving to set, you know, just to kind of get my brain firing."

— Stu Willis (01:34:49) · Character Motivation · Writing for Actors

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

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