John August

Transcribed

Casting and positive outcomes

Episode - 21

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Producers, Scriptnotes, Story and Plot, Transcribed

Craig and John discuss the screenwriter’s role in casting, then segue to the New York Times profile of producer/executive Lindsay Doran and her approach to story.

Doran argues (persuasively) that successful movies are often less about whether the hero wins or loses, but rather how his achievements are measured. For example, a character’s victory is much more satisfying when there is someone to share it with — the real moment isn’t the game-winning touchdown, but when the quarterback kisses his wife afterwards.

She’s not pitching happy endings, but rather positive outcomes. It’s an interesting way to look not just at how we tell stories, but also which stories we tell.

We also touch on the advantages of mentally casting your movie as you write, writing (or rewriting) for the cast you are given, and the delicate art of making someone think he came up with an idea on his own after you plant it in his head.

This and more mind-control tips on the 21st episode of Scriptnotes.

LINKS:

You can download the episode here: AAC.

UPDATE 1-26-12: The transcript of this episode can be found here.

56 Days Later

Awards, Scriptnotes, Transcribed

Craig and John take a look the week’s news, including the WGA nominations, Warner’s shift to a 56-day video window, the folly of SOPA and the launch of Bronson Watermarker.

Along the way, we discuss Hoda Kotb, Marcus Bachman, and how great HBO Go is. (Really, it’s great, and other studios should follow its lead.)

All this and more in episode 19 of Scriptnotes.

LINKS:

You can download the episode here: AAC.

UPDATE 1-11-12: The transcript of this episode can be found here.

Zen and the Angst of Kaufman

Scriptnotes, Transcribed

Craig and John look at the year ahead, from resolutions (we don’t have any) to reunions (20th!). Along the way, we discuss archery, piano and left-hand weakness.

The bulk of the episode is a discussion of Charlie Kaufman’s BAFTA speech about screenwriting and screenwriters, artistry and artifice. Which of us comes down on the side of self-examination and the purity of intentions? The answer may surprise you!

LINKS:

You can download the episode here: AAC.

UPDATE 1-9-12: The transcript of this episode can be found here.

What do producers do?

News, Producers, Scriptnotes, Transcribed

Craig and John explain what producers do — at least, what they’re supposed to do — and discuss the myriad subclasses of producers that litter the opening titles of many movies.

Which is the more impressive credit — producer or executive producer? In film, it’s the former. In TV, it’s the latter. But whatever the title, producers are integral to getting a movie or TV show made.

Craig feels producers can be either anxiety buffers or anxiety conductors. John breaks down four essential roles you find producers filling:

  1. The general. This producer keeps things moving forward and protects the production. She forces you to make decisions.
  2. The diplomat. This producer makes sure crazy people feel respected, even when they’re being giant pains-in-the-ass. He talks the actress out of her trailer.
  3. The creative. This producer reminds everyone what kind of movie they’re trying to make. She performs quality control for the production.
  4. The bulldozer. This producer will smash down a phone booth to help the director get his shot. (This actually happened.)

Some producers can fill multiple roles (like diplomat-creative), but you’ll often find these qualities spread out among several people on a production, regardless of the size.

Who’s that fat cat, and how did he afford such a fancy cigar? Find out on episode seventeen of Scriptnotes.

LINKS:

You can download the episode here: AAC.

UPDATE 1-4-12: The transcript of this episode can be found here.