Writing for The New Yorker, Oliver Sacks recounts his interactions with monologist Spalding Gray, and how his death was connected with Big Fish.
Danny Manus warns that screenwriters are unwittingly being drawn into cults. Yet most popular podcasts inherently cult-like.
This week, Craig and John discuss recent events that seem custom-designed to make Craig furious.
Craig and John do a deep-dive into the world of screenwriting credits, explaining the entire process from the Notice of Tentative Writing Credits, to arbitration to review boards. The system can be confusing, but most produced screenwriters will find themselves facing it at some point, so it’s important to understand how it works.
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.
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.
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.
John and Craig dig into the overstuffed mail bag to answer listener questions about scenes, stagnation, subtitles and script breakdowns. Plus we reveal the consensus opinions on whether we should have ads, and look at possibilities for the Full Script Challenge.
Jacob T. Swinney built a supercut comparing the first and last shots of 55 notable films.
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.
Linda Holmes examines what we mean when talk about Cinderella.
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.
As longtime readers know, I love me a supercut. This one by Roman Holiday explores the trope of characters sitting up in bed after a nightmare.
John and Craig take a look at the self-imposed rules behind the Road Runner cartoons, and how limiting one’s choices is different than following dogma.
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.
Screenwriter Malcolm Spellman joins Craig and John to talk about his big break, blown opportunities, and getting momentum back. Now part of the smash hit Empire, he talks about the changes and challenges African-American writers face both on the small screen and the big screen.
In some cases, you’ll absolutely want to use (cont’d) to indicate a character is still speaking. But it’s not always the right choice, which is why we don’t do it automatically in Highland.
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.
John and Craig do a deep dive on Tess Gerritsen’s lawsuit concerning Gravity, using the case as a way to talk about contracts, chain of title, adaptation and corporate ownership. Spoiler: It’s really complicated, but it’s really interesting too.
John and Craig discuss exploding scripts and stock scenes. Then in the second half of the show, we welcome two very special guests.
John and Craig pick up loose ends, with follow-up on previous episodes about “friends,” conflict, improv, Kindles, and defibrillation.
Daryn Okada offers a great look at how a cinematographer approaches color-timing a feature in this latest video from The Academy.
Aline Brosh McKenna joins John and Craig to discuss the how movies featuring good mentors (Dead Poet’s Society, To Sir with Love) differ from films with bad mentors (Whiplash, The Devil Wears Prada). It’s not just that the teachers are bad guys; rather, the stories are structured completely differently.
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.
Craig and John discuss conflict — why it’s bad in real life but essential in screenwriting. We define six forms of conflict common in movies, then look at ways to sustain conflict within a scene and throughout a story.