John and Craig look at how the push to increase diversity in TV writing rooms impacts writers looking to staff for the first time.
John talks with Rachel Bloom and Aline Brosh McKenna, co-creators of Crazy Ex-Girlfriend, about how they pitched and wrote their critically-acclaimed show.
John and Craig discuss open writing assignments, and how to best pitch to producers and studios looking to hire a writer for a specific property. Most of the work happens before you set foot in the room, so proper planning is essential.
John and Craig sit down with screenwriting legend Lawrence Kasdan to discuss Star Wars, Raiders, The Bodyguard and how he’s shaped some of the most iconic big-screen stories and characters of our lifetime.
John and Craig welcome writer-director Lorene Scafaria to talk about her new movie The Meddler and some of the unique challenges faced by female directors.
John and Craig look at the non-screenplay things screenwriters end up writing, most notably outlines and treatments. We discuss some of the ones we’ve written (with examples), and offer advice on writing your own.
Phil Hay and Matt Manfredi join us to talk about their new movie The Invitation, and what’s it’s like to go from writing tentpole action films (like Clash of the Titans) to comedies (like Ride Along) to chamber-drama thrillers.
Craig and John welcome back Aline Brosh McKenna to discuss what she learned going from writing features to show-running Crazy Ex-Girlfriend — and what’s waiting for her back in movie-land. The three of us came into the business at the height of the spec market, but everything is different now.
Craig and John look at three stories in the news for another installment of “How Would This Be a Movie?” From fake scientists to figure skaters, we pitch our takes before some actor’s production company buys the rights. Speaking of rights, a new lawsuit targets the makers of Creed for stealing the idea. The case […]
Dana Fox joins John and Craig to discuss her role as both screenwriter and producer of How to Be Single. Like Simon Kinberg and Chris Morgan, Dana is one of a handful of feature writers taking responsibility for delivering not just the script, but the finished movie. We look at how and why she made […]
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.
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?