Words

BLUE MOON is a talky, period-drama that film about an obscure songer-writer in the 1940s. Yet, it attracted world-class talent AND Academy Award nominations, including for it’s script. Join Chas & Mel as they explore how narrative POV, interweaving relationships, hooky dialogue, and even the screenplay format itself make the script for BLUE MOON so great… →

Films: Blue Moon (2026)

Following on from our episodes on establishing tone through action lines and through character, this is what we have been building up to: how to pull off a tonal switch… that does NOT throw the audience out of the film. And, in particular, how to pull that off on the page when writers don’t have framing, lighting, music, editing, etc. at our disposal… →

Films: Shaun Of The Dead (2004) , Sorry To Bother You (2018) , Swiss Army Man (2016)

Mel joins Chas to tackle physical comedy. We limited our homework selection to extended scenes (as opposed to moments and sight gags) in live action projects and – with the help of our Patreons – selected early sequences from BRINGING UP BABY, the pilot for HAPPY ENDINGS and that wonderful food poisoning scene in BRIDESMAIDS… →

Films: Bridesmaids (2011) , Bringing Up Baby (1938) , Game Night (2018) , Happy Endings (2011)

Shows: Happy Endings 1x1

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… →

Films: Adaptation (2002) , Stories We Tell (2012) , The Forty-Year-Old Version (2020)

As part of our series on how filmmakers can directly communicate to the audience, we finally examine the most blatant tool of them all: when character look directly down the barrel of the camera… and thus look directly at us, the viewer. Chas, Stu and Mel take the craft tools/levers they identified in previous episodes and use them to examine the tv-version-of HIGH FIDELITY (“Top Five Breakups”), ABBOTT ELEMENTARY (“Attack Ad)”) and - of course - FLEABAG… →

Films: High Fidelity (2020) , Abbott Elementary (2022) , Fleabag (2016)

Shows: High Fidelity 1x1 , Abbott Elementary 2x7 , Fleabag 2x4

In this episode, Stu and Mel (sans Chas!) take a deep dive into FIGHT CLUB and its use of the unreliable narrator. This is a bridging episode between our previous episode on VOICEOVER and our forthcoming episode on TALKING TO CAMERA as Fight Club does both.… →

Films: Fight Club (1999)

How can you use Voiceover without it feeling like a cheat?… →

Films: The Emperor's New Groove (2000) , Pain & Gain (2013) , Veronica Mars (2004)

Shows: Veronica Mars 1x1

What are the different ways a filmmaker can ask something of the audience… →

Films: Fight Club (1999) , Fleabag (2016) , The Big Short (2015) , F for Fake (1973) , Star Wars (1977)

In their annual full backwater episode, Stu and Chas let out their pandemic hair, drop the ruse of objectivity, and allow themselves to have even more options about writing and the business of writing… →

Films: Die Hard (1988)

In this final podcast release of last year’s run of LiveSoLation episodes, Chas and Stu are joined by Uber-geek Mel Killingsworth (who else?) in an epic exploration of how Dave Gibbons’ and Alan Moore’s seminal graphic novel WATCHMEN is adapted differently in Zack Snyder’s 2009 film and Damon Lindelof’s 2019 HBO television show… →

Films: Watchmen (2009) , Watchmen (2019)

Shows: Watchmen

Following the success of the Tips from Tarantino episode, we have again decided to look at three different scripts from over the course of a long screenwriting career from a single writer to see what we can learn. Our beloved patreons not only selected Sofia Coppola as said writer, but also selected the scripts to analyse: LOST IN TRANSLATION, THE BLING RING and THE BEGUILED… →

Films: Lost in Translation (2003) , The Bling Ring (2013) , The Beguiled (2017)

Stu and Chas are joined by filmmaker, podcaster and writer Lia Matthew Brownn to deep dive into FURY ROAD and its astounding visual storytelling, both on the page and on screen. We talk about setups and payoffs, given circumstances, image systems, environmental storytelling, and how the relationship between Furiosa and Max is built over the course of the story with very little dialogue (besides Tom Hardy’s grunts and the odd bellow of “MEDIOCRE!”). You can also watch the complete live stream on YouTube or just the breakdown of the Furiosa/Max fight (which isn’t in the podcast) here: https://www.youtube.com/watch?v=f8uYAbEcQeQ&feature=youtu.be… →

Films: Mad Max: Fury Road (2015)

In this third and final part of our series on unfilmables, Chas and Stu turn their critical eye to... each other’s work! They take their key learnings from the previous episodes and apply them to rewriting scenes from their own projects. They discuss metaphors, emotional context, and how you can write tone on the page without resorting to unfilmables… →

Films: Payload (2011) , Restoration (2016)

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… →

Films: You Were Never Really Here (2017) , Searching for Bobby Fischer (1993) , The Invitation (2016) , Moonlight (2016)

*AKA Why your screenwriting guru is wrong *… →

Films: Lethal Weapon (1987) , Hereditary (2018) , A Quiet Place (2018) , Killing Them Softly (2012) , Spartan (2004) , The Girl on the Train (2016) , The Nice Guys (2016) , Drive (2011) , Michael Clayton (2007) , The Tree of Life (2011) , Three Billboards Outside Ebbing, Missouri (2017) , Killing Eve (2018) , Fleabag (2016) , Sharp Objects (2018) , Battlestar Galactica (2004)

Shows: Killing Eve 1x1 , Fleabag 1x1 , Sharp Objects 1x1 , Battlestar Galactica

In watching Season 7 (and the first three episodes of Season 8) of Game of Thrones, Stu noticed that there were lots of scenes where characters either met for the first time or were reunited after a long time apart. In these scenes, the audience knows (or thinks they know) more than either character. And so the fascination, power and subversion comes from what the characters choose to reveal... or not… →

Films: Game of Thrones (2011)

Shows: Game of Thrones

It’s time. The Epic Deep Dive(TM) into Antagonists has reached its shuddering conclusion. And for this Part V - by choosing films that have no obvious singular antagonist (and in some cases no obvious narrative either) - Stu and Chas realised there was indeed a final category of antagonists: the films themselves. Where the film (and the filmmaker) are engaging directly with the audience. Where the films are... VERSUS AUDIENCE… →

Films: Ocean's Eight (2018) , The Second (2018) , F for Fake (1973) , Sans Soleil (1983) , Forrest Gump (1994)

First Acts are hard. They have to set so much in motion, especially setting up characters. To help them understand how to write effective first acts better, Stu and Chas turn their analytical gaze to a franchise that has been refining and reiterating its first act “schema” for over a decade... THE MARVEL CINEMATIC UNIVERSE… →

Films: Iron Man (2008) , Guardians of the Galaxy (2014) , Doctor Strange (2016)

In another backmatter-only episode, Stu & Chas zig-zag through a range of topics. We talk about Chas’ experience(s) hitting both Los Angeles and the Austin Film Festival, effective networking, career capital, the art of receiving feedback, and Stu’s harsh Three Strikes Rule. We look back at the most important lessons we’ve learned about storytelling in 2016 and that leads us to talk about character choices in a little-known and little-talked about film called ROGUE ONE… →

Films: Rogue One: A Star Wars Story (2016)

In the second part of Draft Zero’s two-part episode on “Exposition”, Stu & Chas take an even deeper look at this notoriously challenging part of screenwriting. For many stories there are pre-existing facts (or given circumstances) that need to be communicated to an audience, and often we rely on dialogue to do it. But exposition can do more than just communicate, it can serve as dramatic revelation that twists a story into a new direction or provides an emotional payoff - or both!. So how do great writers make exposition work for the story, rather than just tell audience stuff they need to know? And how can writers go wrong… →

Films: Gone Girl (2014) , Shutter Island (2010) , Ghostbusters (2016) , The Matrix (1999) , The Matrix Reloaded (2003) , Captain America: The Winter Soldier (2014)

In Draft Zero’s first two part episode, Stu & Chas take an in-depth look at one of screenwriting’s most common challenges: EXPOSITION. For many stories there are pre-existing facts that need to be communicated to the audience — whether those facts be about the rules of the world, the nature of a location, character motivations, character backstories or just character names. So how have great writers made exposition move the story forward, rather than stopping it to tell the audience stuff they need to know… →

Films: Pirates of the Caribbean: The Curse of the Black Pearl (2003) , Short Term 12 (2013) , Inside Out (2015) , The World's End (2013) , The Big Short (2015) , It Follows (2015) , Jurassic Park (1993) , Jurassic World (2015)

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… →

Films: Analyze This (1999) , Notting Hill (1999) , The Remains of the Day (1993) , The Avengers (2012)

Chas & Stu are joined by Bamboo Killer (aka Emily Blake) - one of the co-hosts of the Chicks Who Script podcast. They take a critical look at secondary female characters in mainstream movies through the lens of the oft-cited Bechdel test and the new, less-cited, Trinity Syndrome. The Trinity Syndrome berates movies for creating a “Strong Female Character With Nothing To Do” (like Trinity in the Matrix sequels) and raises a list of questions for filmmakers to ask themselves about their (female) characters… →

Films: Mission: Impossible - Ghost Protocol (2011) , Edge of Tomorrow (2014) , Dawn of the Planet of the Apes (2014) , How to Train Your Dragon 2 (2014)

Chas and Stu are joined by Khrob Edmonds - an award-winning filmmaker - to discuss manipulation of time… →

Films: Pulp Fiction (1994) , Raiders of the Lost Ark (1981) , The Bourne Identity (2002) , The Bourne Ultimatum (2007) , The Untouchables (1987) , The Woman in Black (2012) , Up (2009) , Whiplash (2014)

In our most epic/longest episode yet, Chas and Stu tackle world building in films. Specifically, how the rules make something a world and not just a setting. Starting with world-centric genres like sci-fi and fantasy, we also cover horror, crime drama and - er - “other”. We discuss a variety of techniques for setting up the rules of the world, including cold opens, voiceover, title cards and outsider characters! We’ve limited ourselves to the opening 3-5 pages... mostly... because (so the theory goes) they’re the pages that teach the audience how to read/watch your story/film… →

Films: The Matrix (1999) , Inception (2010) , The Lord of the Rings: The Fellowship of the Ring (2001) , Jurassic Park (1993) , Pan's Labyrinth (2006)

In this episode, Chas and Stu are joined by a very special guest, SARAH SNOOK - star of Succession, Predestination, Jessabelle, and Oddball, amongst many others - to discuss ACTING and it’s relationship with WRITING… →

Films: August: Osage County (2013) , Predestination (2014)