John and Craig talk homesickness and daddy issues before diving into a discussion on what Rhythm and Hues’s bankruptcy means for the film industry — and similar scenarios screenwriters might face down the road.
Craig and John take a look at the class-action suit over Hollywood’s unpaid interns, then discuss envy and jealousy and other unproductive emotions.
John and Craig discuss spec scripts, pitches and how it feels when your movie gets brutal reviews.
Variety’s David S. Cohen returns from CES with a warning that studios need to invest in R&D — but that’s why they hire screenwriters.
Eric D. Snider looks at patterns in 2012 movies.
Craig and John start the year with a look back at three very early episodes not currently on iTunes, discussing outlines, agents and the Good Boy Syndrome.
Craig and John chat with Lindsay Doran, a producer and former studio exec who’s made terrific movies, ranging from Sense and Sensibility to Stranger than Fiction.
Craig and John look at the logic and fallacies of one-step deals for screenwriters, along with advice on reading screenplays and enjoying Skyfall.
A reader shares his notes on a Amazon Studios panel at this year’s Austin Film Festival.
Franklin Leonard, creator of The Black List, has announced a new incarnation of his site that allows screenwriters to upload their scripts for review and rating — for a fee.
A listener wonders if the lack of female screenwriters stems in part from the social part of the profession, specifically confidence in one’s ability.
Dustin Rowles looks at how studios learned to look beyond the summer release schedule.
Craig and John skip Comic-Con so they can discuss annoying and unproductive habits of development executives, along with advice for working with screenwriters.
Gavin Palone looks at why why so many more writers (and directors and actors) in Hollywood are paying the extra money for a manager.
Employees are suing AMC Theaters, arguing that they should be allowed to sit down.
Chip Street looks at why an offer to be featured on the “consider” list must be considered carefully.
A working screenwriter shares his frustration with how difficult it has become to sustain a career.
John and Craig open the listener mailbag and sprint through twenty questions in just under an hour.
In response to the discussion Craig and I recently had about the perceptions of nepotism and wealth in the film industry, a listener wrote in to share his experience of being quite literally a trust-fund screenwriter.
Gregory Poirier argues that movies have suffered because of misguided cost-cutting, and forgetting that screenwriters are the research and development of the film industry.
Craig and John take a brief look at the misguided Girls backlash and complaints about nepotism in Hollywood, before segueing to a bigger discussion of spec scripts and positioning.
Karin Fong compares a great title sequence to raising the curtain before the show. By planning for opening titles at the script stage, you can help get your story started off right.
Craig and John answer questions about specificity, television and what to do when your great idea sounds too much like a movie that’s already been made.
To some degree it’s a self-fulfilling prophecy: if you make most of your blockbusters PG-13, most blockbusters will be PG-13.
Rob Reid’s “Copyright Math” presentation for TED is a great reminder of how misleading numbers can undermine an argument.