Over the weekend, I was talking with a fifteen-year-old. She had no immediate plans to get her permit, or her license. She felt no urgency whatsoever. She just didn’t see the need.
Bragging about efficiency plays into the worst stereotypes of California: smug, self-righteous and self-congratulatory. Yet conspicuous underconsumption has actual public benefits. You’re showing what’s possible, and helping to nudge trend lines and public policy in the right direction.
Canadian screenwriter Ryan Knighton joins John and Craig to discuss how you sustain a career writing for Hollywood studios while living a flight away. Knighton’s first screenplay was the adaptation of his memoir about going blind. He’s since written for several studios, including a new project for Ridley Scott.
Over the last eight years, I’ve become more famous within a subset of people. Because of Scriptnotes, my voice is actually recognized as often as my face. Because of Twitter, I end up interacting with strangers much more often. And because of both outlets, people who recognize me know a lot more about me — at least, a version of me who hosts a popular podcast about screenwriting.
We’ve re-opened the John August Store with new shirts for Scriptnotes and Highland, plus our first ever hoodie.
Craig and I are doing a live episode benefiting the Writers Guild Foundation on December 19th.
John and Craig discuss what it feels like to finish a project — the combination of excitement and relief, joy and sadness — as Craig advises John which project he should write next now that Big Fish is set to open.
John and Craig reveal their Myers-Briggs secrets as they discuss Kevin Spacey’s comments on the state of television, Eric Garcetti’s plans to address runaway production, and the WGA election.
As promised, John and Craig answer a bunch of listener questions on everything except screenwriting, on topics ranging from sex to science to sushi.
How you get from one scene to the next can be just as important as the scenes themselves. Craig and John talk techniques and tactics for making those cuts count.
I’m hosting a panel for the Academy next Wednesday, May 15th, to discuss how technology impacts cinema — both the kinds of stories we tell, and how we tell those stories.
John and Craig return from the holidays to look at the WGA nominations, the perennially high costs of movies, scene headers and acceptable fonts for treatments.
Adam Davis wrote one of the original First Person posts for the site back in 2007, when he first moved to LA. Five years later, it’s time for an update.
My last house-sitting gig was in 1995, taking care of Vincent Price’s old house in the hills. I lasted one sleepless night. Despite the promise of easy escape — the master bedroom had sliding glass doors to the patio — the accumulated creaks and bumps and footsteps in the dark were too much for my fertile imagination.
John and Craig open the listener mailbag and sprint through twenty questions in just under an hour.
Writer/comedians Bryan Safi and Erin Gibson explain their workflow.
Matthew Hickman was born and raised in rural Georgia. After dropping out of law school, he started working an hourly-wage job at a UPS store, and saved money for a year in hopes of moving to Los Angeles to begin a screenwriting career.
To date, most of the First Person posts have come from white just-post-college guys. While that’s a huge chunk of the aspiring screenwriter demographic, we’re sorely lacking some diversity, not just in background but ambition.
Bradley Jackson is trying to start a Hollywood screenwriting career while staying put in Austin. He writes in with his experience trying to work LA as a visiting screenwriter.
Starting your new job in Hollywood isn’t much different than getting hired as an investment banker in New York, as a coder at a start-up in San Francisco or as a fighter pilot for the Air Force. It’s long hours and a lot of stress, regardless of the actual field you’re working in. It can take its toll on relationships.
Perhaps because of freak crimes like the Ronni Chasen murder, Americans perceive Los Angeles as being much more dangerous than it is.
George Sloan is a writers’ assistant on “How I Met Your Mother.” He graciously agreed to write up a primer for recent college grads considering making the move to Hollywood.
I follow the keys rule: only if they take possession of my car keys.
The Academy is hosting a Monday night screening series focusing on film noir of the 1940’s. I’ll be handling “The Dark Mirror” on July 12. (Olivia de Havilland! Twins! Murder!)
Should Nick repair or replace his 93 Oldsmobile Ciera before heading to Los Angeles?