In response to the discussion Craig and I recently had about the perceptions of nepotism and wealth in the film industry, a listener wrote in to share his experience of being quite literally a trust-fund screenwriter.
Greg Tung applied for my Director of Digital Things position. His blog post about not getting the job is a good lesson on why it always hurts and it’s never the end of the story.
While we wait for the Mac App Store to enable a system for volume licensing, we’ve created a special version of Bronson Watermarker for business wanting to buy 100 or more copies.
Celebrating Leap Day, John and Craig play the game of “What If?” Specifically, what if we each were handed the reins of a major Hollywood studio?
Our new screenwriting utility, Highland, converts between three major formats screenwriters use: PDF, Fountain and Final Draft. It’s in beta today.
A reader writes in with a clever workflow for opening old .fdr files without the full version of Final Draft. But it’s a laborious pain in the ass.
Last week, I ran an experiment to see what would happen if I took one of my existing Kindle titles (Snake People) and made it free for three days. Here are the results.
Amazon’s new KDP Select program allows self-publishers to run free-book promotions. I’m running an experiment to see what that means for one of my older titles, Snake People.
When I criticized Rob Ager’s analysis of spatial impossibilities in The Shining, I didn’t realize the extent of wild theories about Kubrick’s film.
Jeremy Dylan doesn’t share my zeal for renting movies. He’d rather own, and worries of a future in which he won’t be able to.
Reader Scott argues that Charlie Kaufman is in fact thinking of the audience.
Pivoting of the discussion Craig and I had about Charlie Kaufman’s speech, Josh Barkey outlines a path that may lead screenwriters to resent their audiences.
Looking at the uptick in visitors, I speculated that it might be because of Twitter. I had Ryan pull some numbers, and my new theory is much simpler: more posts means more visitors.
If two writers share a credit slot (like screenplay), that portion of residuals is split squarely between them.
In the eight years I’ve been running this blog, I’ve had a number of popular and/or controversial posts that generated a lot of comments. But I’ve never experienced the kind of patronizing sneer that came from this weekend’s No Trombones.
Comparing Archer’s actual script to my transcript-y approximation shows a little bit more about how Adam Reed’s show works.
Following up on last week’s podcast about the economics of the film industry, more details on the business from the exhibitor’s perspective.
Apple has updated Final Cut Pro X to address some of editors’ biggest concerns (XML, shared media) and now offers a free trial version. It’s worth a download.
Apple has resumed selling the old version of Final Cut Pro. But it ain’t cheap, and there’s no guarantee it will be around long.
Remember that guy who’s suing the agencies for not representing him? Jim Vines has an interview with him, and asks one question that kept nagging at me.
Nicole Iizuka takes issue with my assertion that “All the interns in Los Angeles could get Raptured tomorrow and the town would function just fine.”
With Mac OS X Lion due any moment, Final Draft has released version 8.0.2, which should allow it to launch under the new OS.
Justin Samuels, the aspiring screenwriter who filed a lawsuit against two agencies for not representing him, wrote in with comments on my original post about his case.
Dan Gerson writes that more often than not, page counts are a little higher in animation than live action.
Broadcast networks basically want their own cable-quality shows, so they consciously (or subconsciously) gravitate towards writing they perceive as edgy, even though a lot of what attracted them will have to be excised.