John and Craig consider a new master class in screenwriting taught by Aaron Sorkin, and a very old Greek word (anagnorisis) championed by Aristotle. Both are useful!
John and Craig welcome Kate McLennan and Kate McCartney, the Australian creator/stars of The Katering Show (a previous One Cool Thing).
There’s not much to learn from “we have to stop the evil genius before he blows up the world.” But drama, both in the real world and in fiction, comes from interaction with characters who are theoretically on our side.
It’s a craft episode, with Craig and John discussing allies and allegiances in film and television. Enemies are easy; friends are difficult. We talk through the types relationships characters find themselves in, and strategies for making the most of them.
John and Craig look at how the push to increase diversity in TV writing rooms impacts writers looking to staff for the first time.
Remember the live show in Austin, when we promised we’d read one lucky listener’s script and talk about it on the air? This is that episode.
John and Craig discuss open writing assignments, and how to best pitch to producers and studios looking to hire a writer for a specific property. Most of the work happens before you set foot in the room, so proper planning is essential.
John and Craig welcome writer-director Lorene Scafaria to talk about her new movie The Meddler and some of the unique challenges faced by female directors.
John and Craig look at the non-screenplay things screenwriters end up writing, most notably outlines and treatments. We discuss some of the ones we’ve written (with examples), and offer advice on writing your own.
Phil Hay and Matt Manfredi join us to talk about their new movie The Invitation, and what’s it’s like to go from writing tentpole action films (like Clash of the Titans) to comedies (like Ride Along) to chamber-drama thrillers.
Craig and John look at three stories in the news for another installment of “How Would This Be a Movie?” From fake scientists to figure skaters, we pitch our takes before some actor’s production company buys the rights. Speaking of rights, a new lawsuit targets the makers of Creed for stealing the idea. The case […]
Dana Fox joins John and Craig to discuss her role as both screenwriter and producer of How to Be Single. Like Simon Kinberg and Chris Morgan, Dana is one of a handful of feature writers taking responsibility for delivering not just the script, but the finished movie. We look at how and why she made […]
John and Craig look at how to introduce characters in a screenplay — and how to avoid being mocked by a Twitter feed for it. We go back through previous Three Page Challenges and several of the screenplays nominated for awards this year to examine trends and techniques.
Where do screenplays go when they die? John and Craig take a look at their movies that never were, looking for patterns among dozens of their unproduced works. What can screenwriters learn from the dead, and is it ever worth trying to resurrect these flatliners?
Craig and John play “How Would This Be a Movie?” looking at three articles in the news.
Craig and John discuss the impact of Star Wars knocking down all the records, both for the industry and big-screen sci-fi.
Craig and John discuss three new entries in the Three Page Challenge, looking at how simple mistakes and confusing word choices can hurt the read.
Craig and John discuss epic world-building, and the promises and pitfalls for writers attempting to create fictional universes.
John and Craig talk romantic comedies with screenwriter Tess Morris, whose film Man Up is unapologetically part of the genre.
John and Craig take an in-depth look at two scenes in Damien Chazelle’s WHIPLASH to see how conflicts were structured — and what changed from script to shooting.
John and Craig look at some of the least helpful notes screenwriters receive, and strategies for dealing with them.
Craig and John return to the Austin Film Festival for a supersize live show with guests Nicole Perlman and Steve Zissis.
Craig and John get to the bottom of William Goldman’s famous quotation about Hollywood, which is so often misapplied. Then it’s a discussion of zombie cars, wind-tunnels, blockbusters, and the paradox of choice.
John and Craig discuss the trend of hiring multiple writers to work concurrently on tentpole features. Can movies be written like television, and should they?
In 12 months we went from an idea to shipping thousands of decks to writers and schools around the world. But writing is a process of discovery, and sometimes that causes you to question your central thesis.