John and Craig take a deep look at how descriptive audio for the blind works, with clips from Daredevil and an interview with a woman who does it for a living. It’s a fascinating form of writing, with many of the same challenges screenwriters face.
Craig, John, and Aline record the 200th episode of Scriptnotes live with a worldwide audience listening in — and chiming in — as they discuss TV showrunning and whether quality really counts at the box office.
B.J. Novak is all about lists. He asked me to write this one about issues I frequently see in scripts written by beginning screenwriters. 1. Starting with a concept rather than a character We don’t want a movie about a lost relic. We want a movie about Indiana Jones. 2. Being too nice to the […]
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.
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.
Linda Holmes examines what we mean when talk about Cinderella.
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.
Craig and John talk with Guardians co-writer Nicole Perlman about the development of this summer’s blockbuster, and her two years as part of Marvel’s in-house writing program. It’s a great look at how movies get started, and the dozens of drafts you didn’t see on the big screen.
This week, Craig and John tackle listener questions.
Craig and John take a swing at several of the week’s hyperbolic headlines, from conflict-free comedy to Fitzgerald’s failures to Strong Female Characters with nothing to do. In each case, there’s a valid idea lurking beneath the overstated claim, but it’s important to separate good examples from bad.
Nothing is cut-and-dried this week. John and Craig talk Game of Thrones rape, allegations against director Bryan Singer and the new report showing the same low employment numbers for female writers in film and TV.
John, Craig, and guests take questions from the audience at the Scriptnotes Holiday Spectacular. Topics include TV writing careers, what to do once you have an agent, overcoming gender stereotypes, rewriting Dodgeball, and more.
Writer/director/actor/comedian Mike Birbiglia joins John and Craig to talk about writing for yourself, and how his one-man shows have translated into his films Sleepwalk With Me and My Girlfriend’s Boyfriend. We talk movies and television, stand-up and screenplays, and the upside of failure.
John and Craig discuss the impact of author Orson Scott Card’s personal toxicity on Ender’s Game, and what it means for that movie and how it will this affect studio decisions moving forward.
John and Craig talk about everything that comes after the oft-discussed First Three Pages, speculating on the kinds of issues they’d spot if they were looking at full scripts.
Novelist Daniel Wallace looks at how books become movies.
Figuring out what the audience needs to know — and when they need to know it — is one of the trickiest aspects of screenwriting.
Reader Logan is dispirited by Hollywood’s zeal to turn every toy and board game into a franchise.
No! Stop and re-assess. There are at least three options, but simply stealing the plot and characters isn’t one of them.
MakingOf has an interview up with me in which I talk a bit about my writing process, the challenge of adaptations, and why one’s career is often as much about the scripts you didn’t write.
Story lessons from Star Trek, from the mouths and minds of the writers.
You shouldn’t just answer questions. Get rid of them before they’re asked.
With an adapted screenplay, it’s not altogether obvious what awesomeness came from the screenwriter, and what came from the underlying material.
I might as well confirm the news: I’m writing a big-screen version of Preacher.
Let’s look at what we can learn from the first batch of summer movies.