Born out of isolation madness, this episode is an edited version of Draft Zero’s first YouTube livestream. Stu and Chas both watched KNIVES OUT and – together with our listeners – broke down each sequence and turning point by reference to what the audience knows in relation to the characters (aka narrative point of view). hey then answer listener questions on KNIVES OUT and much else besides live on air.
If you want to listen in on the next live recording, find details here: https://www.patreon.com/posts/dz-livesolation-35770237 and/or subscribe to us on YouTube via http://www.draft-zero.com/YouTube
If you want to watch along instead of listen, the video of the episode can be found here: https://youtu.be/EsqoCVu-oX8?t=188
As always: SPOILERS ABOUND
Waaaaaaaaaay back in DZ-5, Stu and Chas examined how shifting narrative point of view (i.e. what the audience knows in relation to the characters on screen) heightens emotions in any given scene. We’ve now taken that micro idea and applied it to the macro: how can deciding what the audience knows and when in relation to the characters organise your story? Are whole sequences or even acts driven by the audience following a character, feeling concerned about a character, empathising with a character or being absorbed in the irony of knowing more than all the characters interacting on screen.
To tackle this topic, Stu and Chas dive in to films that make very conscious structural choices in relation to narrative POV, namely: GET OUT, DUNKIRK and the underrated German film THE LIVES OF OTHERS (with honourable mentions to LA CONFIDENTIAL and MANCHESTER BY THE SEA).
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 […]