Archives

Follow Up

Diary of a First-Time Director

John and Craig sit down with Marielle Heller, the writer and director of the acclaimed feature Diary of a Teenage Girl, to talk about the journey of getting her movie made, from optioning the novel to the Sundance Labs through production.

The International Episode

Craig and John look at how movies are translated, including an interview with a guy who does subtitles for a living. Plus, how Pixar and other companies are localizing movies for international audiences, and what happens when China becomes the largest film market.

How to Not Be a Jerk

Craig and John look at best practices for screenwriters promoting their films, both in traditional media and online. We’re not subtweeting anyone, and neither should you.

How descriptive audio works

John and Craig take a deep look at how descriptive audio for the blind works, with clips from Daredevil and an interview with a woman who does it for a living. It’s a fascinating form of writing, with many of the same challenges screenwriters face.

How descriptive narration gets written

On this week’s episode of Scriptnotes, I asked whether listeners had any experience with how descriptive narration for the blind was written, and whether those writers consulted the screenplay. Several listeners quickly pointed me to WGBH, and this FAQ.

Why movies have reshoots

Reshoots used to be a sign that something had gone horribly wrong. But not anymore. John and Craig look at the reasons why Hollywood movies often go back for additional photography, and how the writer is involved.

Everything but the dialogue

John and Craig take a deep dive into scene description, looking at how seven produced screenplays arranged the words on the page. With samples from Aliens, Erin Brockovich, Oceans 11, Unforgiven, Wall-E, Wanted and Whip It, we tackle verbs and metaphors, ellipses and underlining.

The One with Alec Berg

Craig sits down with Silicon Valley writer/director Alec Berg to talk about set ups and payoffs, editing comedy and how writing teams get screwed.

No one makes those movies anymore

Craig and John look at why certain genres of movies — mid-budget thrillers, adult dramas and romantic comedies — aren’t getting made, and whether there’s any way to get them back.

Nobody Eats Four Marshmallows

John and Craig take an in-depth look at turnaround and reversion, and how screenwriters get their scripts back from a studio.

Everyman vs. Superman

From Wolverine to The Rock, male action heroes have literally gotten bigger over the last decade. Craig and John look at how that impacts story. Is there hope for the the ordinary man in an extraordinary situation? Will we ever get back to Kurt and Keanu?

Second Draft Doldrums

Craig and John discuss finding your way back to your story — and your enthusiasm — when writing your second draft. Craig has tips and suggestions. John has sympathy and war stories.

The long and short of it

John and Craig dig into the listener mailbag and take questions on TV producer credits, jealousy over other writers’ success, writing tight vs writing long and plenty of other follow up.

Poking the bear

This week, Craig and John discuss recent events that seem custom-designed to make Craig furious.

You can’t train a cobra to do that

Craig and John discuss backup plans, camera directions, and becoming so good they can’t ignore you. Plus we answer two listener questions about specificity in scene headers and how to indicate that a script is intended for animation.

This Is Working

For the first time ever, John and Craig spend an entire episode on a full-length original screenplay, K.C. Scott’s THIS IS WORKING.

K.C. Scott’s “This Is Working”

On Tuesday’s episode of Scriptnotes, we’ll be looking at K.C. Scott’s original screenplay “This Is Working,” a former Three Page Challenge entry. Listeners can download the script now so they can read it over the weekend.

Midseason Finale

Craig and John wrap up many plotlines from previous episodes, with follow-up on Three Page Challenges, diversity numbers, Road Runner and other rules, plus the Gravity lawsuit in light of the Blurred Lines verdict.

Hardy Boys, in outline form

It’s fascinating to look at something so old yet so familiar. Most modern televison writing goes through an outline stage, at which point the studio and network signs off on the story — or sends it back with notes.

The Rules (or, the Paradox of the Outlier)

John and Craig discuss this year’s screenplay Oscar winners, including the success of Birdman’s outside-the-box approach and Graham Moore’s speech.

Go Set a Spider-Man

From Harper Lee to Sony to the Wheel of Time, it was a big week for studios trying to hold onto intellectual property. John and Craig discuss why those deals take such strange turns, including 1:30 a.m. airings on cable.

The One with Rebel Wilson and Dan Savage

John and Craig discuss exploding scripts and stock scenes. Then in the second half of the show, we welcome two very special guests.

INT. THE WOODS – NIGHT

John and Craig pick up loose ends, with follow-up on previous episodes about “friends,” conflict, improv, Kindles, and defibrillation.

Screenplays on the Kindle, 2015 edition

A screenwriter friend just emailed me to ask how she could get one of her scripts to look good on the Kindle. You can’t. It’s the wrong tool for the job.

Doing, not thinking

John and Craig start the new year by discussing Chuck Palahniuk’s advice to avoid thinking verbs. Then it’s a new round of the Three Page Challenge.