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.
A reader asks for an update on my first experiment with publishing on the Kindle platform.
Readers spotted issues with roughly one-third of our 1,440 posts, which we’ll be resolving over the next few weeks.
Several readers questioned my advice to write a TV spec, even if feature screenwriting is your primary goal.
Because of a travel situation, I had to swap dates for my Anatomy of a Script session on Big Fish. I’ll be coming two weeks later.
“Young” is often used in Hollywood when “new,” “green” or “inexpensive” would be better choices.
For screenwriters, printers have become better, faster, cheaper — and much less important.
When it was announced in November, one of the bold new ideas of Amazon Studios was letting any user rewrite any screenplay in the competition. I thought that was a terrible idea, and users agreed.
I’ve asked Ryan Nelson to give a walk-through of developing and releasing our popular browser extension.
Our browser extension to de-clutter IMDb is now available for Safari, Chrome and Firefox.