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.
Give Horace Deidu a bunch of Hollywood data and he’ll make some great charts that test your hunches.
John and Craig reach into the listener mailbag and come up with questions about laying out lyrics, foreign dialogue, overall deals and title trademarks.
Linda Holmes worries that 30 Rock has infantilized Liz Lemon. I disagree.
I’ve only just started reading Danny Rubin’s How to Write Groundhog Day, but it’s promising enough that I think many screenwriters will want to take a look at it this weekend.
When I criticized Rob Ager’s analysis of spatial impossibilities in The Shining, I didn’t realize the extent of wild theories about Kubrick’s film.
Craig and John discuss the screenwriter’s role in casting, then segue to the New York Times profile of producer/executive Lindsay Doran’s approach to story.
All movies exist in unreal time, not because of cuts and gimmickry, but because the experience of watching a movie involves surrendering to that film’s reality. We go into dream mode, especially when watching something on a giant screen in a dark theater.
Standardization is good. Differentiation is good. But they’re competing forces. You can only differentiate your product by moving away from a standard.
Lauren Bagby offers an office PA’s perspective how it feels when your show gets cancelled.
Over at Tom the Dancing Bug, Ruben Bolling looks at how journalists have a faulty memory when it comes to past award seasons.
Craig and I talk a bit about the effects of first-sale doctrine in this week’s podcast, but we don’t define it. So let’s do that here.
I’d missed this piece from November by Jesse Lasky in which he describes his first experience pitching a TV show.
The second season of Downton Abbey debuts Sunday in the U.S. As I’ve discussed on the podcast, I couldn’t wait and bought it off the UK iTunes Store. I’ve already watched the whole second season and the Christmas episode.
So, for American audiences, here’s a non-spoilery preview of what I found notable about this season.
Pivoting of the discussion Craig and I had about Charlie Kaufman’s speech, Josh Barkey outlines a path that may lead screenwriters to resent their audiences.
Redbox, the DVD rental kiosk company, sent out a press release with a list of their most-rented titles for 2011. The winners are not who you’d expect.
Theresa Couchman wishes Pixar hadn’t played into princess tropes for their first female-driven movie.
Craig and John explain what producers do — at least, what they’re supposed to do — and discuss the myriad subclasses of producers that litter the opening titles of many movies.
For work this afternoon, I needed to read a screenplay written in the early 1970s. I think it’s the earliest-dated script I’ve read that wasn’t reprinted in a book.
Musical numbers are a lot like action sequences: you’re trying to convey how it’s going to feel in the final movie, not beat out every little moment.