John and Craig examine why almost all of the top-grossing movies are part of a franchise — and the chicken-or-egg question at the heart of it. You don’t get Minions without Despicable Me.
Michael Tabb takes a deep look at defining the premise of your story, but “premise” might not be the best word for what he’s describing.
With a live audience in downtown Los Angeles, Craig and John welcome actor/director Jason Bateman to discuss what he looks for when considering a script, and how to best work with a writer on a script.
I don’t have reason to write many of jokes. Most of the projects I work on are either dramas or premise-funny rather than punchline-funny. But I always admire well-crafted jokes. They’re tiny works of magic.
Over lunch, I wondered aloud how many of the 100 top grossing movies were either sequels or the first film in a franchise.
Anyone who claims to have developed a mathematical system for picking hits is either delusional or willfully deceptive.
Every year, Andy Baio tracks online leaks of Oscar-nominated films, looking for trends.
As an animated film moves from screenplay to storyboards to scratch reels, you see the story coming to life — and the problems front-and-center.
Craig and John play “How Would This Be a Movie?” looking at three articles in the news.
We throw these terms around on the podcast without ever defining them.
Craig and John discuss the impact of Star Wars knocking down all the records, both for the industry and big-screen sci-fi.
With Craig out of town, John invites Aline Brosh McKenna and Rawson Marshall Thurber over to discuss three of the best-picture contenders and their unusual scripts. None of them have classic protagonist-antagonist setups, and all three upend expectations of narrative structure. We talk about both how they work and why they work.
In preparation for our live show with screenwriter Lawrence Kasdan, we’re re-running this episode from the Scriptnotes archive.
Doc McStuffins creator Chris Nee joins Craig and John to answer listener questions that have nothing to do with screenwriting.
John and Craig welcome special guests Malcolm Spellman, Natasha Leggero, Riki Lindhome and Alan Yang to the third annual Scriptnotes Holiday show, recorded live on December 9th, 2015 in Hollywood.
Craig and John discuss three new entries in the Three Page Challenge, looking at how simple mistakes and confusing word choices can hurt the read.
Craig and John discuss epic world-building, and the promises and pitfalls for writers attempting to create fictional universes.
John and Craig talk romantic comedies with screenwriter Tess Morris, whose film Man Up is unapologetically part of the genre.
John and Craig take an in-depth look at two scenes in Damien Chazelle’s WHIPLASH to see how conflicts were structured — and what changed from script to shooting.
John and Craig look at some of the least helpful notes screenwriters receive, and strategies for dealing with them.
Craig and John return to the Austin Film Festival for a supersize live show with guests Nicole Perlman and Steve Zissis.
Craig and John get to the bottom of William Goldman’s famous quotation about Hollywood, which is so often misapplied. Then it’s a discussion of zombie cars, wind-tunnels, blockbusters, and the paradox of choice.
Highland’s forced action syntax is a useful way to format unusual patterns in your screenplay.
Jana Kinsman worked as an apprentice beekeeper and goat-tender, but a lot of her advice applies well to anyone in their first job.
John and Craig discuss the trend of hiring multiple writers to work concurrently on tentpole features. Can movies be written like television, and should they?