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Inception (2010)
Featured In
DZ-92: Insightful Recognition in Powerful Endings
How can endings prompt an audience to reflect on your story?
Stu & Chas set out to explore what makes certain endings powerful, in particular those of LA LA LAND, INCEPTION, NO COUNTRY FOR OLD MEN and TURNING RED. The lens they bring to those endings is Aristotle’s moment of “anagnorisis” (don’t worry - we can’t pronounce it either), traditionally when a character moves from ignorance to knowledge (particularly of self)… →
Listen if you want to write endings that make audiences pause and ponder (in a good way, obvs)
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Stu & Chas set out to explore what makes certain endings powerful, in particular those of LA LA LAND, INCEPTION, NO COUNTRY FOR OLD MEN and TURNING RED. The lens they bring to those endings is Aristotle’s moment of “anagnorisis” (don’t worry - we can’t pronounce it either), traditionally when a character moves from ignorance to knowledge (particularly of self)… →
DZ-15: World Building Rules, Okay?
How does setting up rules help you build a world?
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… →
Listen when your opening pages feel like exposition dumps (which is bad, okay?)
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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)