Two emerging screenwriters – Chas Fisher and Stuart Willis – try to work out what makes great screenplays work. Discovering what it takes by analysing what successful writers put on the page.
http://www.draft-zero.com
episode 68: DZ-68: One-Shot - Using POV to structure Knives Out
How can shifting narrative point of view drive your sequences?
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
Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.
RUNNING ORDER:
- 00:05:19:23 - Summary of narrative point of view and audience expectations
- 00:10:12:23 - Exploring some of Rian Johnson’s word craft
- 00:14:15:11 - Micro POV shifts in the interview montage
- 00:21:16:22 - How POV shifts turn the film
- 00:47:22:02 - When to let your foot off the plot gas
- 00:59:46:20 - Backmatter / Listener Questions
EPISODE LINKS
- Read: Knives Out - A Murder Mystery by Rian Johnson
- Watch: Knives Out
DZ RELATED EPISODES:
- Listen: DZ-46: Structure & Point of View
- Listen: DZ-05: Shifting audience point of view and heightened emotions
Many thanks to all our patrons but particularly to Theis, Jesse, Jack, Chris, Khrob, Sandra, Nick, and Matteo. They’re good humans.
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