Scriptnotes

In preparation for our live show with screenwriter Lawrence Kasdan, we’re re-running this episode from the Scriptnotes archive.

Doc McStuffins creator Chris Nee joins Craig and John to answer listener questions that have nothing to do with screenwriting.

John and Craig welcome special guests Malcolm Spellman, Natasha Leggero, Riki Lindhome and Alan Yang to the third annual Scriptnotes Holiday show, recorded live on December 9th, 2015 in Hollywood.

Craig and John discuss three new entries in the Three Page Challenge, looking at how simple mistakes and confusing word choices can hurt the read.

Craig and John discuss epic world-building, and the promises and pitfalls for writers attempting to create fictional universes.

John and Craig talk romantic comedies with screenwriter Tess Morris, whose film Man Up is unapologetically part of the genre.

John and Craig take an in-depth look at two scenes in Damien Chazelle’s WHIPLASH to see how conflicts were structured — and what changed from script to shooting.

John and Craig look at some of the least helpful notes screenwriters receive, and strategies for dealing with them.

Craig and John return to the Austin Film Festival for a supersize live show with guests Nicole Perlman and Steve Zissis.

Craig and John get to the bottom of William Goldman’s famous quotation about Hollywood, which is so often misapplied. Then it’s a discussion of zombie cars, wind-tunnels, blockbusters, and the paradox of choice.

John and Craig discuss the trend of hiring multiple writers to work concurrently on tentpole features. Can movies be written like television, and should they?

Aline Brosh McKenna joins us to talk through the launch of Crazy Ex-Girlfriend, and what she’s learned since she introduced us to the show nearly a year ago. Brian Lowry of Variety raves that it is “one of the fall’s most promising hours.” We’re not surprised at all.

John and Craig look at how writing feature films is fundamentally different than writing television, and how that difference begins at the point of story inception. It’s not just that movies are longer; they’re also built to be unique events, with characters embarking on once-in-a-lifetime journeys. We discuss how to decide whether an idea is better suited for features or series, and lessons learned from properties that have existed in both worlds.

John and Craig discuss the WGA election results, and take a look at the issues that dominated the campaigns. What is a paper team? Do screenwriters really retire? And why does it take us so long to get paid?

Craig and John take an extensive look at best practices when coming in to rewrite an existing script. How do you take the reins when you weren’t the first screenwriter? Whether you’re starting over at page one or executing some surgical fixes, we discuss the psychology and reality of being the subsequent writer.

John and Craig discuss the PG-13 rating, its effects and what screenwriters have to keep in mind when dealing with it. Then it’s a conversation about healthy and unhealthy relationships between writers and their representatives.

Craig and John tackle another installment of “How would this be a movie?” with a look at the Kentucky clerk, the French train bros, Uber and Deflategate. Who are the heroes and villains, and would there be enough plot to support the running time?

Craig and John open the mailbag to answer questions on acronyms in dialogue, off-the-air specs and international WGA jurisdiction. Plus we look at the growing trend of non-disclosure agreements on studio projects, and whether the nature of film requires less complex characters.

John and Craig sit down with Marielle Heller, the writer and director of the acclaimed feature Diary of a Teenage Girl, to talk about the journey of getting her movie made, from optioning the novel to the Sundance Labs through production.

Craig and John look at how movies are translated, including an interview with a guy who does subtitles for a living. Plus, how Pixar and other companies are localizing movies for international audiences, and what happens when China becomes the largest film market.