Writers' Workshop - Why write a film designed to be made in the 'one-shot style? What can '1917' teach us about the storytelling benefits that can result from this approach?

This week's intro contains some thoughts on joining a writers' group. The main topic is a screenplay breakdown of Sam Mendes and Krysty Wilson-Cairns' '1917', exploring how the narrative rules work in a real-time sequential story, the themes of remembrance and the metaphor of the unknown soldier, and plenty of observations and writing tips along the way.

Bonus: Hear the epigraphs included on the first page of the screenplay!

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Episode navigation:

Writers' groups (2:21)

Introduction to 1917 (9:56)

This week's big question (14:11)

Why is one-shot filmmaking considered a gimmick? (18:09)

One-shot is how we experience life (20:14)

Blake/Schofield as the Unknown Soldier and universal protagonist (22:59)

Hook the audience from the first page (25:29)

The narrative rules of sequential screenwriting (27:26)

How we interpret time in film (30:23)

1917's opening structure (32:53)

Entry into the unfamiliar world: No Man's Land (37:01)

Approaching the midpoint (41:23)

Telling two stories on-screen simultaneously (42:32)

Key points of learning from the midpoint (44:55)

How to continue after *that* midpoint (48:42)

Breaking the film's own 'one-shot' rule, and why (51:13)

The final sequences: resurrection (53:49)

Key points from the ending (57:37)

Conclusion (59:39)