Somewhat remarkably, the top two movies in America have subtitles. Lots and lots of subtitles.
It’s the wrong kind of question, but you don’t know that at the start.
An LA Times article about the island of Pagasa makes a great case study in the difference between an interesting setting and an actual movie idea.
Brian Lowry cautions against [taking Comic-Con buzz too seriously.
The Supreme Court refused to hear an appeal on the Cablevision case, allowing the Second Circuit Court’s decision to stand. Cablevision can begin introducing its service.
Indies have high per-screen averages because they’re on so few screens, not despite it.
Any sort of application, whether it’s for a grant, for college or for a job, needs to do exactly three things.
Film is a hundred different skills and disciplines, and no one person is going to be great at all of them.
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.