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.
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.
Craig and I are doing a live episode benefiting the Writers Guild Foundation on December 19th.
John and Craig reveal their Myers-Briggs secrets as they discuss Kevin Spacey’s comments on the state of television, Eric Garcetti’s plans to address runaway production, and the WGA election.
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 I will be doing two live shows in LA this summer: June 29th and July 25. They’re vastly different, but both should be cool.
John and Craig return from the holidays to look at the WGA nominations, the perennially high costs of movies, scene headers and acceptable fonts for treatments.
Craig and John look at the logic and fallacies of one-step deals for screenwriters, along with advice on reading screenplays and enjoying Skyfall.
Eight members were elected to the WGAW’s Board of Directors: Chip Johannessen, Katherine Fugate, Michael Oates Palmer, John Aboud, Scott Alexander, David A. Goodman, Marjorie David, Kathy Kiernan.
By now, WGA members should have received their ballots for the 2012 election. This year, I’m a little more connected the process than usual, because I served on the nominating committee, helping to choose the 15 candidates running for the eight open seats on the board.
Screenwriters are often not the healthiest folk. We do our work at computers, surrounded by snacks, so it’s no surprise many of us get fat. But it doesn’t have to be that way.
Craig and John look at the results of the WGA screenwriter survey, which found widespread reports of bake-offs, prewriting and other shenanigans.
It’s two parts craft and one part business as Craig and John discuss the alarming earnings report coming out of the WGA, plus a deeper look at setting and POV.
John and Craig open the listener mailbag and sprint through twenty questions in just under an hour.
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.
John and Craig take an in-depth look at how screenwriting credits are determined. In some ways, credit arbitration is a luxury problem — the movie you wrote got made! — but it’s one of the most controversial, contentious and misunderstood parts of a screenwriter’s career.
If two writers share a credit slot (like screenplay), that portion of residuals is split squarely between them.
Craig and John take a look at awards-season screeners before going deep into a discussion of how residuals work and why they’re so important to screenwriters. Plus, a visit from Craig’s cleaning lady, who thinks he’s insane.
John and Craig tackle reader questions about self distribution, pseudonyms, separated rights, and studios’ feelings about international versus domestic box office.
In episode five of Scriptnotes, Craig and I dive deep into the esoterica of the WGA, copyright and separated rights as prelude to a discussion of two ongoing lawsuits: Jessica Bendinger vs. the Bring It On musical and Harlan Ellison vs. In Time.
Today marks the inaugural episode of Scriptnotes, a podcast that Craig Mazin and I are trying out. It’s meant to be a weekly-or-so conversation about items of interest to screenwriters, from getting stuff written to dealing with insane producers.
WGA members should have received ballots this week for the 2011 election. You’ll see my name listed on several endorsements for candidates I think are terrific, but I also want to give a more general overview of the issues and personalities involved.
Every year, the Writers Guild Foundation holds a series of discussions with film and television writers focusing on one of their past or current projects. This year, I’ll be a guest, talking about Big Fish.
A screenwriter colleague recently vented her frustration with always getting paid late for her studio jobs. I didn’t have any particularly good advice for her — what she describes is hardly unique. In fact, the situation is so much the norm that I asked if she would write up a post about her experiences, since I’ve never really discussed it on the blog.
The votes have been counted in the WGAw Board election.