This week, John and Craig go big to look all things blockbuster. First, Anita Elberse’s new book Blockbuster argues that giant movies are a comparatively safe bet for Hollywood. Meanwhile, Gravity is the movie on everyone’s lips, but will we learn the right lessons, or just try to put more movie stars in space?
Explicit language warning! Even the titles of this week’s Three Page Challenge entries are filthy, so John and Craig let the f-bombs fly.
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 discuss what it feels like to finish a project — the combination of excitement and relief, joy and sadness — as Craig advises John which project he should write next now that Big Fish is set to open.
In this bonus episode, Craig and John and special guest Andrew Lippa answer audience questions after the New York live show, addressing topics ranging from sustaining your passion for a project to dealing with difficult gatekeepers. We had a great crowd with great questions, and Craig especially rose to the challenge.
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 debate the perils and possibilities of bringing iPads into movie theaters. Is Disney’s Little Mermaid iPad app a way to breathe new life into a classic, or a slippery slope towards cinematic ruin? It’s a conversation with plenty of umbrage — but from an unexpected source.
John and Craig discuss the difference between character intention and motivation, before segueing to conversations on working with actors and on-set writing.
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.
John and Craig tackle three new entries in the Three Page Challenge, ranging from space drama to killer hookers to brassy defense attorneys. Along the way, they find some awkward scene description and a few misused semi-colons.
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.
Craig and John take a look at one investor’s campaign against Sony Pictures, and George Clooney’s strong reaction. From there, we examine why studios have multiple labels — TriStar is back! — and how that affects writers.
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 sit down with screenwriter-turned-psychotherapist Dennis Palumbo to discuss writer’s block, procrastination, partnerships and more. It’s a can’t-miss episode for aspiring writers and professionals alike.
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.
Live from WGF Craft Day, Craig and John tackle three new Three Page Challenge entries…with the writers on hand!
John and Craig discuss the death of the film industry as foretold by four prominent filmmakers. Is the way we make movies unsustainable? Is the system fundamentally broken, or just changing into something new? And why don’t we make romantic comedies anymore?