Chapters
Transcript
Episode notes
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38
Introduction
00:00 • 2min
Black Widow: A Movie Plus Another Hour
01:42 • 2min
The Drop Off of Homecoming
03:51 • 2min
Space Jam 3: The Origin Story
05:31 • 2min
The Prologue to Trink
07:14 • 2min
Space Jam's Credit Sequence
09:24 • 2min
Johnny Quest: A Non-Ppremise Pilot
11:12 • 6min
The Catalyst in Taskmaster
17:11 • 3min
The Double Bump Catalyst in Jaws
20:18 • 3min
The 16 Minute Prologue
23:36 • 3min
The Lock in in a Marvel Movie
26:32 • 2min
The McGuffin
28:30 • 2min
The Problem With McGuffins
30:24 • 2min
The Lame Duck McGuffin
32:38 • 2min
The Problem With Writing a Sequel and a Prequel at the Same Time
34:31 • 4min
How to Write a Short Film
38:25 • 2min
The Sequence Method
40:12 • 2min
How to Write a Short Film
42:24 • 2min
Elena's Change
44:41 • 2min
Red Guardian: A Simple Man and a Simple Mom
47:06 • 2min
The Rise and Fall of Natasha
48:38 • 2min
The All Is Lost Moment
50:34 • 1min
The Pros and Cons of Choosing an Audience Contract
51:53 • 5min
The All Is Lost
56:54 • 3min
The Journey and the Destination
01:00:21 • 2min
The Pros and Cons of Making This to Sit
01:02:47 • 3min
The Importance of Genre Expectations in Spy Movies
01:05:20 • 3min
The Importance of Premise Delivery in Movies
01:07:51 • 6min
The Importance of Touchstones
01:13:29 • 4min
How to Use a Touchstone Effectively
01:17:19 • 3min
The Good News Bad News Technique
01:20:03 • 2min
How to Get From the Beginning of a Scene to the Climax of the Scene
01:22:27 • 3min
Mumbo Jumbo: A Movie Critique
01:25:51 • 3min
The Red Guardian: The Best Part of the Movie
01:28:22 • 3min
How to Use a Comic Obsession for Comp to Make the Character Funny
01:31:03 • 2min
How to Write a Comic Obsession
01:32:39 • 2min
Captain Marvel vs. Captain Marvel
01:34:18 • 2min
The Importance of Props in Movies
01:36:18 • 3min