We have a new app. It’s called Weekend Read. It’s for reading scripts on your iPhone, and it’s free on the App Store right now.
Carolyn Strauss, executive producer of Game of Thrones, joins John and Craig to discuss female directors and the death of pilot season. In one short hour, they solve all the intractable problems facing the film and television industry. (Not true. Not even remotely.)
It’s a week of big egos as Craig and John take a look at when (or whether) filmmakers will be able to pull a Beyoncé and surprise-release a feature film, and what Mrs. Carter’s tussle with Amazon and Target means for the future of retail DVD.
Scriptnotes now has an app for iOS and Android. It’s free for both platforms.
Through Friday, November 15th, we’ll be taking orders for a new batch of shirts. They’ll ship starting December 2nd, in time for the holidays. Like last time, we’ll only print what people order, so if you want a shirt, you need to order now.
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.
Tickets for the live episode of Scriptnotes in New York just went on sale. If you’re worried about missing out, get one and come back.
John and Craig discuss Damon Lindelof’s interview about how plot stakes have escalated lockstep with budget, perhaps to the point of absurdity.
I wanted to share a quick summary of where the podcast has been and where we’re going.
Have first acts gotten shorter, or does it just feel that way? John and Craig discuss the pressure on screenwriters to “get to it” faster, and why that’s often the wrong goal.
Tickets for the live taping of the Scriptnotes 100th episode, July 25th in Hollywood, are now available [on the Academy site].
Now available for a limited time: official Scriptnotes t-shirts. Designed by Ryan Nelson and screenprinted in Los Angeles, the shirts come in Umbrage Orange and Rational Blue-Gray.1 Stuart swears the blue one is the softest shirt he’s ever touched. We offer both men’s and women’s sizes. They’re $19 each, and you can only get them […]
Craig and I will be doing two live shows in LA this summer: June 29th and July 25. They’re vastly different, but both should be cool.
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.
Craig and John look at two recent court decisions that could have a big impact on how movies get sold and resold — and how writers get paid. First-Sale Doctrine is one of those intractable issues that involves freedom and control, bits and atoms, creators and consumers.
Craig and John discuss the big Veronica Mars/Kickstarter news in one of the more contentious podcasts to date. If you like umbrage, this is the show for you.
I spoke with KPCC’s Alex Cohen about Courier Prime last week.
Craig and John discuss a new report that tallies spec script sales for 2012 — with the reminder that selling a spec isn’t necessarily the most important thing for new writers.
Courier Prime is a better version of Courier designed specifically for screenwriters. It’s free and available today.
With last week’s news that home video stopped its free-fall and actually grew a little bit in 2012, John and Craig discuss whether studios might ease off on one-step deals and other development austerity measures.
Big Fish will begin performances September 5 at the Neil Simon Theatre. Opening night is set for October 6.
To commemorate the making and remaking of Karateka, Earl Newton shot a terrific series of behind-the-scenes videos, the first two of which are embedded below.
John and Craig discuss the big movie news of the week: Disney buying Lucasfilm, and with it, the rights to Star Wars.
John and Craig talk about the new show John sold to ABC, which leads to a conversation about the differences between studios and networks, and how writers end up having relationships with both.