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.
Khoi Vinh argues the Blu-ray format is demonstrably worse than what came before it.
I’m perpetually amazed by mega-edits like this one, which combines pieces of 270 movies from this past year.
While you can intuit a bit about producers’ taste by the films they’ve made, don’t assume producers only get certain genres. And never turn down a chance for a read.
A screenwriter colleague recently vented her frustration with always getting paid late for her studio jobs. I didn’t have any particularly good advice for her — what she describes is hardly unique. In fact, the situation is so much the norm that I asked if she would write up a post about her experiences, since I’ve never really discussed it on the blog.
If Amazon Studios were a simple finance and production outfit like Relativity or Morgan Creek, there would be nothing more to say. But Amazon Studios has an unusual strategy that combines competition, crowdsourcing and a lot of question marks.
I have to believe she was misquoted, or excerpted in some unflattering way, because Jessica Alba couldn’t have actually said this.
Any work you’re not getting paid for should be yours and yours alone. That’s why aspiring screenwriters write spec scripts. That’s what you should focus on writing. Still, there may be situations in which it makes sense to write a script for someone else without getting paid.
What’s a reasonable amount of time to give your manager to read a draft of your script? It sometimes takes this screenwriter’s manager up to a month.
General meetings aside, how many pushes merits cause for concern regarding interest in you/your idea?
Based on some printed scripts I’ve seen recently, a related skill may be on verge of being lost forever: writing on the spine of a script. Here’s a quick tutorial.
Could a Canadian screenwriter with a criminal record sell specs in Hollywood?
“Unsheets” are posters made after the movie by talented fans — in many cases, decades later. They’re not trying to make a movie look appealing. They’re celebrating movies that are already beloved.
A Slinky movie parody is all too real.
Most screenwriters are broke at some point. Better it happens at the start of your career than the end.
When a novel is adapted into a film or television series, how does compensation to the writer of the original novel work?
Reader Logan is dispirited by Hollywood’s zeal to turn every toy and board game into a franchise.