How can we use dramatisation to create tone?

In this episode, Chas and Stu continue their deep dive into how to write tone by examining films with "light" (we use the phrase loosely) tones: LADY BIRD, EMILY THE CRIMINAL, THE BALLAD OF BUSTER SCRUGGS, and SPONTANEOUS. We also talk a surprising amount about DUNE and CRAZY STUPID LOVE.

We focus on the relationship between character & tone and how the writers of these films use dramatisation to create their unique tones. We talk minimalism vs maximalism, dialogue, character actions & reactions, emotional dynamic range, and rules of the world vs given circumstances.

Stu proposes a new triangle to help us understand the dials we as writers have to affect tone: the given circumstances of the story, how that effects character actions & reactions, and how the audience are told about those elements.

Thanks to Chris Walker for his excellent editing this episode.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

CHAPTERS:

00:00:00 - Cold Open
00:00:23 - Tone & Character
00:15:26 - Ladybird
00:33:20 - Emily The Criminal
00:57:43 - The Ballad of Buster Scruggs
01:17:28 - Spontaneous
01:39:38 - Key Learnings & Wrap Up
01:51:58 - Many thanks to our Patreons

RELATED EPISODES:

RELATED LINKS:

Tom Vaughan / Story and Plot: Controlling the tone in your screenwriting

How can we forget our awesome Patreons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

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DZ-107: Establishing Tone Through Character

Draft Zero: a screenwriting podcast