John and Craig discuss the small, currently leaderless world of Walt Disney Studios, along with its challenges and opportunities.
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.
Clear a half hour from your schedule, because the Academy has a six-part video series on screenwriters talking about the craft.
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.
Burn one minute and twenty-seven seconds with this nice motion graphic by Ryan Perera.
Craig and John just have to talk about the double-barrel craziness of the Joe Eszterhas/Mel Gibson spat. How often do you have screenwriters lobbing incendiary accusations at movie stars?
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.
Ongoing TV shows often develop their own esoteric writing styles, which you notice in scene description.
Pricing issues are the main reason HBO doesn’t offer HBO Go as a stand-alone service.
Craig and John take a look at Toph Eggers’s apology, which segues to a discussion of apologies in general and laugh tracks.
To some degree it’s a self-fulfilling prophecy: if you make most of your blockbusters PG-13, most blockbusters will be PG-13.
A reader forwarded a link to this structural analysis of Big Fish, which attempts to break down my screenplay down into five plot points
Rob Reid’s “Copyright Math” presentation for TED is a great reminder of how misleading numbers can undermine an argument.
Craig and John tackle five listener questions on topics ranging from greedy managers and lazy agents to throwing in the towel.
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?
Jane Espenson wants more women TV writers, but not for “a female point of view.”
Robin Schiff and Winnie Holzman’s great discussion series “Anatomy of a Script” is starting up again in March, and highly recommended for film and TV writers wanting to learn more about the craft.
Matthew Watts, a producer on both The First 48 and Swamp People, discusses three kinds of producers in reality television.
This week, Craig and John get all Miss Manners to talk about best practices, bad behavior and throwing writers under the bus.
For their 25th podcast, John and Craig tackle listener questions. How does a screenwriter option a novel he wants to adapt? When can a writer say he “wrote” a movie — particularly if there are other credited writers? Finally, should an aspiring writer focus on television or features?
Ryan McGee argues that the success of HBO’s drama series has come at the cost of individual episodes.
Sometimes I worry that my site has gotten too inside-baseball with its discussions of esoteric screenwriting terms, software tools and film industry economics. Is this stuff even accessible to a newbie? A quick visit to the mailbag is reassuring. They don’t seem intimidated.