George Lucas

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

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

What scene-writing tools can be learned from martial arts?

In this slightly unusual episode of Draft Zero (but also incredibly on brand), Stu and philosopher-swordsperson Damon Young discuss how the lessons they have learned from martial arts can be applied to scenes. In particular, they discuss how approaching an opponent in a sword fight can be analogous to how characters approach conflict, such as: the distance between the characters, who chooses to engage first, how to feint, how to lure an attack by leaving yourself vulnerable, etc… →

How do audience questions shape scenes?

Inspired by our earlier episodes on sequences, Chas and Stu narrow their focus to look at the atomic unit of screen storytelling: the scene. In particular, we breakdown how question and answers prompted in the audience structure individual scenes… →

What is the difference between choice and decision when it comes to characters?

In order to better understand dramatising of character, Chas and Stu take a very draft zero look at very specific tool: choices and decisions. We analyse three films through the decisions made by their characters. In particular, how the audience understanding of: the choice available, the considered decision itself, and the consequence changes how we feel about these characters. And how separating those three things can create different emotional effects on your audience… →

What to do when a reader says "I don't buy that he/she would do that"?

Chas & Stu look at examples of good character motivation. We’ve all watched movies where we don’t believe the motivation of a character or characters. We may have even written scripts where readers don’t buy the character’s choices. And that’s often a real problem because most of these choices coincide with key structural moments — e.g. the moments where the characters decide to do something “out of character” in order to progress to the next part of the story. To help us solve the problem of how to improve our character motivations, in this episode we explore great examples of character motivation and how they have helped the audience believe a character’s decision… →

Does manipulating time on the page make your script feel more cinematic?

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

Is the MacGuffin truly interchangable, and how does it impact on your character writing?

Stu and Chas are joined by a special guest - Scriptmag contributor Brad Johnson - to discuss how the choice of the MacGuffin can impact on the quality of an action/adventure film. To test this thesis, our heroes compare the auspicious originals of two iconic franchise with their, um, less-than-auspicious 4th instalments (in other words we compare RAIDERS OF THE LOST ARK with KINGDOM OF THE CRYSTAL SKULL and THE CURSE OF THE BLACK PEARL with ON STRANGER TIDES) as well as look at two recent & original entries into the genre, namely NATIONAL TREASURE and PRINCE OF PERSIA… →

How can the middle of your film pivot so much that it pulls the rug out of your audience?

Stu and Chas embark on the first of a series of explorations into the dreaded Second Act. Their first stop is midpoint reversals or shifts, a plot point bang in the middle of ACT II that changes the protagonist’s goal, raises the stakes and potentially leaves your audience leaning forward and asking “How the hell is this going to end?&rdquo… →