Craig and John welcome special guests Aline Brosh McKenna, Rachel Bloom, B.J. Novak, Jane Espenson and Derek Haas to talk about writing books, movies and especially television.
Craig and John discuss the qualities of the perfect reader, whether it’s a studio professional or your screenwriting buddy. What should a reader look for, and how should she communicate her thoughts?
John and Craig talk about why writers are often reluctant to show their work, and how film journalists love to focus on the director — even when there’s no director in sight.
What are the odds that fivethirtyeight.com’s statistical analysis of screenplays will make Craig angry? Always bet on umbrage. Fortunately, he just finished a script, so we talk about that, and John’s new gig writing Scary Stories to Tell in the Dark (which was the project he described phone-pitching the past few episodes).
John and Craig look at the nature of fluke hits, everything from #alexfromtarget to huge spec sales. Is luck just luck, or is it about how often you play the game? Where does talent fit in?
John and guest host Susannah Grant sit down with Richard Kelly, Cary Fukunaga, Peter Gould, Dan Sterling and Mike Birbiglia to discuss the role of a writer/director, the wonder of television, and the purpose of table reads.
Craig and John discuss the 31 superhero movies slated for the next few years. Is it good business or a trainwreck in the making?
John and Craig were delighted to join the Slate Culture Gabfest on stage to talk about the gulf between critics and creators. We have the audio from that, and additional thoughts on the issue.
Craig and John discuss that delusional period in which you’re convinced your script is the best thing ever written — and the inevitable heartbreak when someone tells you it isn’t. (TPS is close cousins to the Oscar Speech in the Shower.)
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.
To celebrate the third anniversary of Scriptnotes, John and Craig invite Aline Brosh McKenna and her limitless analogies back to discuss box-office journalism, scene geography, emotional IQ and flipping the script.
From Amazon to animation, there’s drama this week about prices for books and movies and even internships. John and Craig take a look at what happens when companies wrestle over how much things cost, and the effect it has on people trying to make a living as writers.
Craig and John discuss the accusations of plagiarism surrounding True Detective — and what plagiarism even means in the context of filmed entertainment. Movies don’t have footnotes, so how should screenwriters give attribution?
John and Craig look at the trend towards hiring two writers to work on separate drafts of the same project. Is it better to have writers working in parallel than serially? Or does it end up with studios ordering off a Chinese menu: this scene, that character, that other set piece?
This graphic from 1957 shows how the various elements of the Walt Disney company fit together. You could make very much the same chart today.
In their first-ever live streaming episode, John and Craig open the mailbag to answer a bunch of listener questions.
Gregory Maguire, author of the novel Wicked, takes a look at screenwriter Noel Langley’s early draft of the script for The Wizard of Oz.
John and Craig talk about what screenwriters can learn from the structure of classical music, then invite journalist Scott Tobias on to discuss how day-and-date video-on-demand releases make it hard to know how indie films are doing, individually and as a group.
John and Craig discuss whether screenwriters are better off pursing writing assignments or working on their own material. They also look at the visual comedy of Edgar Wright, and The Shawshank Redemption’s 20th anniversary.
Craig and John, along with their talented panelists, answer questions from the audience at the May 15, 2014 live show.
Today’s one awesome thing comes from the Internet Archive: Herbert Case Hoagland’s 1912 book How to Write a Photoplay: To write a photoplay requires no skill as a writer, but it does require a “constructionist.” It requires the ability to grasp an idea and graft (please use in the botanical sense) a series of causes […]
I wondered if a filmmaker could pull a beyoncé and release a film without any advance notice. I speculated a filmmaker like JJ Abrams or Joss Whedon probably could pull it off. Then a few weeks ago, Whedon seemed to just that with In Your Eyes. But is it really a beyoncé, or a new variation on direct-to-video?
Hey, come in, come in. Wherever you like. Nice to finally meet you. I’m a big fan. Big fan.
Ben Schott answers all your questions about those uppercase names at the bottom of movie posters.