John and Craig consider a new master class in screenwriting taught by Aaron Sorkin, and a very old Greek word (anagnorisis) championed by Aristotle. Both are useful!
John and Craig discuss open writing assignments, and how to best pitch to producers and studios looking to hire a writer for a specific property. Most of the work happens before you set foot in the room, so proper planning is essential.
Craig and John play “How Would This Be a Movie?” looking at three articles in the news.
Canadian screenwriter Ryan Knighton joins John and Craig to discuss how you sustain a career writing for Hollywood studios while living a flight away. Knighton’s first screenplay was the adaptation of his memoir about going blind. He’s since written for several studios, including a new project for Ridley Scott.
Craig and John discuss the 31 superhero movies slated for the next few years. Is it good business or a trainwreck in the making?
John and Craig discuss whether screenwriters are better off pursing writing assignments or working on their own material. They also look at the visual comedy of Edgar Wright, and The Shawshank Redemption’s 20th anniversary.
John and Craig discuss spec scripts, pitches and how it feels when your movie gets brutal reviews.
What’s the difference between a reader and a producer? Much more than one high-profile online reader seems to believe. John and Craig discuss what producers do, and how one plausibly gets started.
A writing team is getting good response to their first script — but it’s their only script.
Jordan Mechner has posted the game-footage trailer we used when we pitched Prince of Persia to the studios six years ago
An LA Times article about the island of Pagasa makes a great case study in the difference between an interesting setting and an actual movie idea.
Hollywood folk are savvy enough to realize that the guys who wrote Saw aren’t any sicker than most screenwriters.
Knowing when to cut and run.
A play by play of how it should go down.
Not if it will get you read and your expectations are adjusted.
Have it your way first, then compromise if need be.
Check out some great ones to get inspired.
For working writers, Craig Mazin says to pitch.
I’ve heard tales of studio executives buying ideas they heard during a pitch panel, but I don’t know of any verifiable success stories.
Follow up on a pitch I sold.
Don’t do it. Unless that person is writing it with you.
When it’s useful and how to distribute it to gain interest in your movie.
Getting the meeting, but also what to do in the room.
Do stunts work in pitching?
