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 )