DZ-05: Shifting audience point of view and heightened emotions

Listen to learn about the most powerful tool in screenwriting: narrative POV. Stu and Chas delve into audience point of view - not character point of view! Does your audience know more, less or the same as your characters? And does changing this within a scene trigger or heighten the desired emotional response? To test this theory, we look to the genre that changes the audience's point of view the most: thrillers. So we analyse scenes and sequences from THE BOURNE SUPREMACY, ZERO DARK THIRTY and ARGO. As usual though, we can't help ourselves and also consider scenes from GROUNDHOG DAY, PHILOMENA and - of course - Stu refers to STAR WARS. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. LIKE THIS EPISODE? Send us feedback. Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily. ——— FILMS THE BOURNE SUPREMACY (2004) — (w) Robert Ludlum, Tony Gilroy (d) Paul Greengrass ZERO DARK THIRTY (2012) — (w) Mark Boal (d) Kathryn Bigelow ARGO (2012) — (w) Chris Terrio (d) Ben Affleck SCRIPTS Study the script: THE BOURNE SUPREMACY (2004) — Robert Ludlum, Tony Gilroy Study the script: ZERO DARK THIRTY (2012) — Mark Boal Study the script: ARGO (2012) — Chris Terrio LINKS YouTube: Hitchcock on Mastering Cinematic Tension Read: Lumina: New Thoughts in Screenwriting Prompted by the Thriller by Stephen Cleary YouTube: Beach and Goa car chase from THE BOURNE SUPREMACY YouTube: The bomb goes off from ZERO DARK THIRTY YouTube: Third checkpoint from ARGO airport sequence ——— More Draft Zero is brought to you by our awesome Patreons. If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser. We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. Full show notes at: https://draft-zero.com/2014/dz-05/