John and Craig welcome Isaac Aptaker and Elizabeth Berger, the writing team that showruns This Is Us and just made history with Love, Simon. We discuss their experience of breaking into the industry, writing with a partner, running a hit show, adapting YA novels for the screen, and the broccoli/marinara/pudding meals that got them here. […]
John and Aline welcome Peter Spears, producer of Call Me by Your Name, to discuss how the film came to be, from optioning the novel through its long development and multiple roadblocks. Through the lens of Call Me by Your Name, we discuss the difficulties of preproduction for an indie film, the process of securing […]
John and Craig ponder worst case scenarios that might usher the end of screenwriting as we know it. What are the odds that screenwriters lose work because an economic crash keeps movies from getting made? That screenwriting gets outsourced? That human screenwriters are replaced by AI? That film as a medium gets replaced? That the […]
John and Craig tackle that tricky stretch of screenplay between crystalizing what the story is going to be and the protagonist actually embarking upon it: the end of Act 1. We also answer listener questions about writing for new media, why working outside of a WGA contract hurts everyone, what people want when asking for […]
John and Craig discuss showrunning, remaking existing IP, staffing, and fan behavior with Julie Plec (Vampire Diaries, The Originals), Michael Green (Bladerunner 2049, American Gods, Murder on the Orient Express, Logan), and Justin Marks (Jungle Book, Counterpart). In light of the big Fox/Disney merger, we contemplate which other podcasts we should consider teaming with to […]
Craig and John open the overflowing listener mailbag to tackle questions on everything from montages to life rights to passive heroes. Plus, we have a definitive answer on whether to number minor characters. (Don’t.) We also finally address a major controversy: Craig’s missing cover of “Killing the Blues” from Episode 109. It exists, and you […]
This quote from Dennis Lehane on the difference between writing books and movies is spot-on, but worth a few clarifications.
Boris Kachka takes an in-depth look at how the final episode of The Leftovers was written, shot and edited.
A writing team finds their work held hostage by a friend who brought them the concept.
With a live audience in downtown Los Angeles, Craig and John welcome actor/director Jason Bateman to discuss what he looks for when considering a script, and how to best work with a writer on a script.
We throw these terms around on the podcast without ever defining them.
With Craig out of town, John invites Aline Brosh McKenna and Rawson Marshall Thurber over to discuss three of the best-picture contenders and their unusual scripts. None of them have classic protagonist-antagonist setups, and all three upend expectations of narrative structure. We talk about both how they work and why they work.
John and Craig look at some of the least helpful notes screenwriters receive, and strategies for dealing with them.
The Martian is marketed as a story of survival and ingenuity, but on a screenwriting level it’s a series of carefully-structured hopes denied.
In addition to today’s normal Scriptnotes episode, premium subscribers can find a half-hour interview I did with Black Mass screenwriter Mark Mallouk. We discuss the film’s long journey from book to screen, including how the sudden reappearance of Whitey Bulger in 2011 changed both the script and the production.
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 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.
John and Craig take a deep look at how descriptive audio for the blind works, with clips from Daredevil and an interview with a woman who does it for a living. It’s a fascinating form of writing, with many of the same challenges screenwriters face.
Craig, John, and Aline record the 200th episode of Scriptnotes live with a worldwide audience listening in — and chiming in — as they discuss TV showrunning and whether quality really counts at the box office.
B.J. Novak is all about lists. He asked me to write this one about issues I frequently see in scripts written by beginning screenwriters. 1. Starting with a concept rather than a character We don’t want a movie about a lost relic. We want a movie about Indiana Jones. 2. Being too nice to the […]
Canadian screenwriter Ryan Knighton joins John and Craig to discuss how you sustain a career writing for Hollywood studios while living a flight away. Knighton’s first screenplay was the adaptation of his memoir about going blind. He’s since written for several studios, including a new project for Ridley Scott.
John and Craig dig into the overstuffed mail bag to answer listener questions about scenes, stagnation, subtitles and script breakdowns. Plus we reveal the consensus opinions on whether we should have ads, and look at possibilities for the Full Script Challenge.
Linda Holmes examines what we mean when talk about Cinderella.
John and Craig do a deep dive on Tess Gerritsen’s lawsuit concerning Gravity, using the case as a way to talk about contracts, chain of title, adaptation and corporate ownership. Spoiler: It’s really complicated, but it’s really interesting too.
Craig and John talk with Guardians co-writer Nicole Perlman about the development of this summer’s blockbuster, and her two years as part of Marvel’s in-house writing program. It’s a great look at how movies get started, and the dozens of drafts you didn’t see on the big screen.
