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.
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.
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.
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 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.
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?
Aline Brosh McKenna joins us to talk through the launch of Crazy Ex-Girlfriend, and what she’s learned since she introduced us to the show nearly a year ago. Brian Lowry of Variety raves that it is “one of the fall’s most promising hours.” We’re not surprised at all.
John and Craig discuss the WGA election results, and take a look at the issues that dominated the campaigns. What is a paper team? Do screenwriters really retire? And why does it take us so long to get paid?
Craig and John take an extensive look at best practices when coming in to rewrite an existing script. How do you take the reins when you weren’t the first screenwriter? Whether you’re starting over at page one or executing some surgical fixes, we discuss the psychology and reality of being the subsequent writer.
John and Craig discuss the PG-13 rating, its effects and what screenwriters have to keep in mind when dealing with it. Then it’s a conversation about healthy and unhealthy relationships between writers and their representatives.
Craig and John open the mailbag to answer questions on acronyms in dialogue, off-the-air specs and international WGA jurisdiction. Plus we look at the growing trend of non-disclosure agreements on studio projects, and whether the nature of film requires less complex characters.
John and Craig sit down with Marielle Heller, the writer and director of the acclaimed feature Diary of a Teenage Girl, to talk about the journey of getting her movie made, from optioning the novel to the Sundance Labs through production.
Craig and John look at how movies are translated, including an interview with a guy who does subtitles for a living. Plus, how Pixar and other companies are localizing movies for international audiences, and what happens when China becomes the largest film market.
Craig and John look at best practices for screenwriters promoting their films, both in traditional media and online. We’re not subtweeting anyone, and neither should you.
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.
On this week’s episode of Scriptnotes, I asked whether listeners had any experience with how descriptive narration for the blind was written, and whether those writers consulted the screenplay. Several listeners quickly pointed me to WGBH, and this FAQ.
Reshoots used to be a sign that something had gone horribly wrong. But not anymore. John and Craig look at the reasons why Hollywood movies often go back for additional photography, and how the writer is involved.