Maybe I’m hyper-aware because yesterday was the 15th anniversary of Go, but I’m encountering sorts of references to past projects this week.
John and Craig talk with WGA President Chris Keyser about the tentative deal reached between writers and the studios, and why it’s more groundbreaking than it might appear at first glance.
Michael Arndt explains some of the things he learned while working on the screenplay for Toy Story 3.
RJ Andrews turned Currey’s data on creative work hours into infographics, because that’s what we do in 2014.
Craig delights as John gets @-napped in a Twitter thread about copyright infringement. Then they talk disruption in television, and how it affects writers.
John and Craig talk Lab Rats, multi-cam, and what scenes might mean in their imaginary screenplay format. Craig clarifies what “spec writing” is, and when it’s permitted, both legally and ethically.
For a writer, being jerked out of the process by a ringing phone or car alarm or a question from a well-meaning spouse can be devastating.
John and Craig discuss how you create a fictional universe for your story, and the limits of how much can fit on the page. From location to language to wardrobe, choosing which details to make explicit is a crucial early decision. Too little detail and the reader doesn’t know how your story is special; too much detail and the story gets lost.
David Shariatmadari looks at several of the reasons English has shifted, both in spelling and pronunciation.
John has questions about the questions Craig answered on his Reddit AMA, but that’s just the tip of the iceberg as we answer six great listener questions.
John and Craig pay their respects to Harold Ramis with an episode devoted entirely to Groundhog Day.
John and Craig look at the implicit contract made between screenwriters and readers — and ultimately, movies and their audience. That’s a natural introduction to our Three Page Challenge and the three new entries we look at this week.
A screenwriter sees a trailer that matches the premise of something he wrote ten years earlier. Was it idea theft, or just a good idea.
Craig and John get in your head to talk procrastination, pageorexia and generalized anxiety. They also move beyond the psychopathology to discuss all the changes in the industry, from cable mergers to lawsuits to disruptive technologies. You’re not as paranoid as you think you are.
Megan McArdle wonders if procrastination stems largely from a fear of failure.
Last night, I had the pleasure of hosting a Q&A with Alfonso Cuarón for Film Independent. I looked at it as an opportunity to get all my questions answered from a longtime talent crush. In particular, I wanted to know about Cuarón’s lengthy, technically-sophisticated shots.
John and Craig tackle the greatest controversy in screenwriting: how many spaces to put after the period. From there, it’s follow-up on the Final Draft episode, including some behind-the-scene details.
The makers of Final Draft pay us a visit to clear up John and Craig’s misconceptions of, well, everything. It’s double the umbrage for your money.
In the tradition of the Raiders and Little Mermaid episodes, John and guest host Aline Brosh McKenna discuss and dissect the award-winning, record-setting, paradigm-shifting Frozen. But this time, we have the writer on hand to answer our questions.
Carolyn Strauss, executive producer of Game of Thrones, joins John and Craig to discuss female directors and the death of pilot season. In one short hour, they solve all the intractable problems facing the film and television industry. (Not true. Not even remotely.)
This morning, the Oscar nominations came out. Like every year, I was excited to see some of my favorite films nominated. Like every year, I was disappointed by which films — and which filmmakers — got overlooked. So I thought I’d look at the mental process of nominating movies.
Merrill Barr explains why Nikita’s final six-episode season is mostly for Netflix: The old model was simple: start a show, make 100 episodes, sell-off the syndication rights, continue producing episodes until it’s no longer cost-effective and cancel the series. That was it. In that model, endings mean nothing; they’re just convenient wrap-ups to a story […]
It’s a week of big egos as Craig and John take a look at when (or whether) filmmakers will be able to pull a Beyoncé and surprise-release a feature film, and what Mrs. Carter’s tussle with Amazon and Target means for the future of retail DVD.
John, Craig, and guests take questions from the audience at the Scriptnotes Holiday Spectacular. Topics include TV writing careers, what to do once you have an agent, overcoming gender stereotypes, rewriting Dodgeball, and more.
‘Twas the Holiday Scriptnotes and at our behest, Craig and John were joined by our six favorite guests.