John and Craig take a look at four new entries in the Three Page Challenge, ranging from galactic drama to medieval comedy. Along the way, they talk about the nature of one-hour teasers, trust, plausibility, and how to properly address religious authorities.
John and Craig talk structure and escalation. Structure is simply what happens when. Escalation is how things get tougher.
Aline Brosh McKenna joins Craig and John to talk about the difficult journey through pages 70-90 of your feature. After that, we talk about procrastination, the Panic Monster and our inner Instant Gratification Monkeys.
John and Craig discuss why most characters are liars, and how that’s actually a good thing. John offers seven suggestions for picking character names that will help your readers. Then we look at a three page challenge that’s been filmed to see what worked on the page versus on screen.
Writer-Director David Wain joins John and Craig to talk about the long journey to bring They Came Together to the screen (on June 27th), the changing nature of spoofs, and the seminal summer camp film Wet Hot American Summer.
Screenwriter Kelly Marcel joins John and Craig to play Fiasco, resulting in a tale of art, murder and sexual blackmail in the Hollywood Hills.
Any time you refer to a place — be it “the supermarket,” “school,” or “Boston” — you create a natural expectation that we will visit that place at some point in the story.
Michael Arndt explains some of the things he learned while working on the screenplay for Toy Story 3.
John and Craig pay their respects to Harold Ramis with an episode devoted entirely to Groundhog Day.
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.
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.
‘Twas the Holiday Scriptnotes and at our behest, Craig and John were joined by our six favorite guests.
Craig and John talk readers and coverage, centering their discussion on profound_whatever’s infographic charting 300 submissions and the lessons screenwriters can take from it.
Aline Brosh McKenna joins John and Craig to discuss watching movies with an open mind and why it’s important to befriend other writers.
Craig and John love women and jeopardy, but folks, we gotta stop kidnapping girlfriends as plot devices. We discuss ways to avoid this trope.
Craig and John head to the Austin Film Festival for another live edition of Scriptnotes. Everything is bigger in Texas, including the crowd for this packed show featuring Looper writer/director Rian Johnson and Saving Mr. Banks screenwriter Kelly Marcel.
Craig and John go back to basics with an all advice episode, looking at the Dear J.J. recommendations for Star Wars, Tony Gilroy’s advice to screenwriters and whatever’s up with Max Landis.
John and Craig welcome their largest live audience yet for a conversation about Kickstarter, movie pilots and musicals. Joined by special guest Andrew Lippa, they talk about the special challenges and opportunities that arise when characters break into song.
John and Craig discuss the impact of author Orson Scott Card’s personal toxicity on Ender’s Game, and what it means for that movie and how it will this affect studio decisions moving forward.
John and Craig discuss Damon Lindelof’s interview about how plot stakes have escalated lockstep with budget, perhaps to the point of absurdity.
In this special bonus episode, John and Craig answer listener questions from the 100th episode with help from guests Rawson Thurber and Aline Brosh McKenna.
John and Craig are joined by Aline Brosh McKenna and Rawson Thurber for the 100th episode of Scriptnotes, recorded live at the Academy Lab in Hollywood. It was a great night with an amazing audience.
John and Craig discuss the Apple ebook price-fixing lawsuit and its lessons for Hollywood, before segueing to the new credits system for producers. Then: Have movies gotten too long, and would making them shorter really save money?
Have first acts gotten shorter, or does it just feel that way? John and Craig discuss the pressure on screenwriters to “get to it” faster, and why that’s often the wrong goal.
Craig and John spend an entire episode discussing and dissecting 1989′s THE LITTLE MERMAID, looking at both its structure and scene work.