At a screenwriting panel last week, Robin Swicord said something that reframed the issue in a very helpful way.
Jonny Sommers has a job many readers want — or at least, think they want: the assistant to a successful and busy TV showrunner.
I flew up to Oakland yesterday for lunchtime lecture and Q&A at Pixar. And wow. It’s really nice up there.
Story lessons from Star Trek, from the mouths and minds of the writers.
What makes one high-concept idea more execution-dependent than another?
They filed with SEC, noting “substantial doubt” about their ability to continue.
An article about Redbox, whose kiosks rent DVDs for a dollar a day, isn’t quite the beacon of doom it’s made out to be.
Don’t turn up your nose to actual paid writing for a company that makes movies.
Is one reader’s frustration indicative of the Hollywood culture, or specific to him? Likely both.
I’ve been asking around to find more information about studios’ anti-piracy efforts.
The New Yorker has a terrific piece about screenwriter-director Tony Gilroy.
Lessons on screenwriting in action, straight from George, Steven and Larry.
Taking generals: how to turn a get to know you meeting into paid work.
Terms that will save you some embarrassment on set, unless — writer — you start throwing them around like you know what you’re talking about.
Matt gives the full report from a WGA panel about the film industry.
WGA hosts a panel and Q&A on studio feature development.
The Kevin Williamson Problem, explained.
The thin line between unlimited DVR and video-on-demand.
Hey SAG, back away from the crazy.
How technology could upend the economics of filmed entertainment.
If it were optional, the studio would make sure you didn’t take that option.
What a mash-up indicates about genres and modern storytelling.
Thanks and good riddance.
Read this before you cash that first check.
Sometimes there’s good reasons why original writers leave and return to their projects.