Genre directors research

When considering the vast scope of the drama genre, we concluded that the best way to tackle an analysis would be to focus on a small handful of films in a genre neatly summarised as "multi-character, all connected" by The Stop Button.
In consideration of this, we realise it's important to recognise that this would not allow us to correctly identify all the different conventions of a drama film, so as well as this we sought to also discuss a more straightforward and mainstream drama film. (The Godfather)
These 'ensemble' films can be found in a variety of genres, from action (such as the winner of the "why not?" film of all time: The Expendables) to the films of Richard Curtis (Love Actually, The Boat that Rocked). Romantic comedy ensemble films have their own cult followings (read: Me) however in drama these films are sadly few and far between.

The two leading names in the filmmaking industry for drama ensembles are - to the best of our knowledge - Paul Thomas Anderson and Alejandro González Iñárritu.
This genre is not confided to motion-picture alone, it is also relevant to mention the sheer amount of television dramas cropping up in recent years (particular American imports including Lost, The Walking Dead and Game of Thrones).

Although several different acclaimed writers and directors have tried their hand at ensemble dramas, it is rare for a filmmaker to revisit the idea, perhaps due to the enormity of the task. However, both Paul Thomas Anderson (Boogie Nights, Magnolia) and Alejandro González Iñárritu (21 Grams, Babel) have each released several of these types, specialising in the genre. These films are typical of the genre and feature story lines of sex, drugs and certain death. Also important is the fastpaced style both these director's excel in. Contrastingly, Miranda July released her free-form take on the style in the film Me and You and Everyone We Know and Richard Linklater's early works Slacker and Dazed and Confused both take a slower pace style yet still encompass a half dozen characters at least. These films seek to weave several different stories and characters with no singular plot taking priority over others, but are more likely to be classified as comedy films rather than drama.