Tasha Robinson offers a strong defense of DVDs and Blu-rays.
Celebrating Leap Day, John and Craig play the game of “What If?” Specifically, what if we each were handed the reins of a major Hollywood studio?
Give Horace Deidu a bunch of Hollywood data and he’ll make some great charts that test your hunches.
I’ve only just started reading Danny Rubin’s How to Write Groundhog Day, but it’s promising enough that I think many screenwriters will want to take a look at it this weekend.
Standardization is good. Differentiation is good. But they’re competing forces. You can only differentiate your product by moving away from a standard.
Craig and I talk a bit about the effects of first-sale doctrine in this week’s podcast, but we don’t define it. So let’s do that here.
Redbox, the DVD rental kiosk company, sent out a press release with a list of their most-rented titles for 2011. The winners are not who you’d expect.
Following up on last week’s podcast about the economics of the film industry, more details on the business from the exhibitor’s perspective.
When you read articles claiming every Hollywood movie loses money, an obvious question arises: “Why do they keep making them, then?” In this installment, John and Craig explain how the film industry spends and makes money.
Witney Seibold has an extremely useful explanation of what a projectionist does, and why filmmakers should care.
The three major manufactures of motion picture cameras have stopped making new film cameras.
Remember that guy who’s suing the agencies for not representing him? Jim Vines has an interview with him, and asks one question that kept nagging at me.
Aspiring screenwriter leaves locked suitcase at talent agency. Bomb squad destroys it.
Superhero movies continue to make money, but the rise of very profitable R-rated comedies is the box office story of the summer.
Nicole Iizuka takes issue with my assertion that “All the interns in Los Angeles could get Raptured tomorrow and the town would function just fine.”
Justin Samuels, the aspiring screenwriter who filed a lawsuit against two agencies for not representing him, wrote in with comments on my original post about his case.
Cory Doctorow revisits a 2009 Harry Potter participation statement, marveling at how the hugely successful fifth installment manages to lose $167 million.
Justin Marks argues on behalf of literary managers.
Following up on an email exchange, I sat down for a conversation with writer/director Jay Duplass to talk about his Kickstarter-backed indie documentary, and the larger questions of balance indie projects with studio features.
As a screenwriter, with no aspirations of getting behind the camera, how hard is it, or would it be to sell a spec script, that could possibly be a 100-110 min movie, but only a 65-70 page script? Understanding that execution is key, is it even possible to get your screenplay looked at, with it being so short?
I’m the guest on the most recent installment of the New Mediacracy podcast, discussing The Remnants, this blog, and the shifting role of the screenwriter.
I wrote a lot of coverage during my first few years in Los Angeles. Sometimes, the only way I could get through 120 terrible pages was imagining what I’d get to write about it.
An agent may ask to see “everything you’ve ever written.” Don’t take that too seriously. Show him your best screenwriting.
Copyright is a bundle of protections granted to the creator of a work. It doesn’t cover the pure idea (“Save the Last Dance with dinosaurs”); it covers the expression of the idea (your original, 120-page screenplay Dinosalsa: The Jurassic Dance).
When it was announced in November, one of the bold new ideas of Amazon Studios was letting any user rewrite any screenplay in the competition. I thought that was a terrible idea, and users agreed.