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Making The Midnight Coterie of Sinister Intruders

November 18, 2013 Directors, Television

Saturday Night Live’s Alex Buono details how they shot one of my favorite bits this year, the Wes Anderson-ian parody trailer for “The Midnight Coterie of Sinister Intruders.” Good ideas [only get you so far](http://www.alex-buono.com/how-we-did-it-snl-the-midnight-coterie-of-sinister-intruders/):

> Wes Anderson is one of the most idiosyncratic filmmakers of our time; his style is so unique that you might think it would be easy to satirize. But here’s the problem: turns out everyone has a different opinion about what MOST distinguishes Wes Anderson’s style. Is it the limited color palette? Flat space camera moves? Symmetrical compositions? Snap-zooms? Twee, hand-crafted art direction? Slow-motion walking shots? Clearly it’s all of those things and more, but within the limited context of a trailer, which are the most important signatures to include? And within a subculture as film-literate as the writers and producers of SNL, we were surrounded by astute Wes Anderson connoisseurs. Suddenly this spot had morphed from something I was dying to shoot into something I was terrified to shoot!

It’s a great example of how an idea that starts with the writing (in this case by John Solomon, Rob Klein, Chris Kelly and Sarah Schneider) has to be matched by execution at every step. I always urge screenwriters to read American Cinematographer for how-they-did-it details. Buono’s recap provides a nice snapshot of how challenging it really is, particularly when you’re facing a hard deadline.

> If I haven’t adequately expressed how long and complicated this shoot had become, let me headline it: I was on stage at 10am Friday morning with Rhys (director) and Justus McLarty (producer) along with Andrea (art director) to walk through/tweak the sets as they were being painted. The animation unit started their day at 3pm and (somehow) had a finished shot by 3am. Meanwhile our night exterior crew arrived at 2pm, our stage crew arrived at 5pm and we all finally wrapped at 7am. Saturday morning. As in: the day of the show.

The final result is worth it:

How to convert a PDF to Final Draft

November 15, 2013 Formatting, Fountain, Geek Alert, Highland, How-To, Scriptcast, Software

Screenwriters often find themselves with PDF of a screenplay when what they actually need a Final Draft (.fdx) file that they can edit.

Some common scenarios:

* Your hard drive crashed, and the only copy of your screenplay is an old PDF you sent to a friend.
* You’ve been hired to rewrite a project, but the producers only have a PDF of the script.
* The script only exists on paper. Now it’s been scanned to a PDF — but that still doesn’t get you a script you can edit.

However it happens, it happens a lot. Among my working screenwriter friends, it’s one of the questions I get most.

There are basically three ways to convert from a PDF to Final Draft:

1. Retype it.
2. Copy and Paste and Reformat every line.
3. Use Highland.

**Update:** The folks at Final Draft emailed me to suggest an additional workflow, which I’ll detail after the section on copy-and-paste.

###Retyping it

This is the worst option, but back in the days of paper scripts, it was the only option. It’s as awful as it sounds. If you do it yourself, it’s exhausting. If you pay someone to do it, it’s expensive.

Retyping inevitably introduces mistakes. Spellcheck will catch some typos, but words will get omitted.

The only scenario in which I can envision retyping a script is if it’s so bad you really do want to rewrite it scene by scene. But in these cases, I think you’re better off putting the old script aside and starting at page one.

###Copy and Paste and Reformat every line

PDFs come in two basic types. Some PDFs are essentially photos of pages. You see the text, but it’s really an image. Other PDFs include the text itself. In Acrobat or Preview, you can select the text.

Most PDFs these days have selectable text, so there’s a good chance you’ll be able to copy the text out. If you paste it into Final Draft, you’ll end up with a mess that will take quite a bit of work (and time) to sort out. But it’s doable.

Here’s a [screencast](http://youtu.be/dElQe8_xf9E) to show you this workflow:

As you can see, reformatting a script this way sucks. It’s better than retyping, but there are many ways things can go wrong. Final Draft is not well-suited to this kind of brute force. You will learn to despise the Reformat box.

But if you only have a PC, this may be your best option, because the next solution only exists on the Mac.

###Use Adobe Reader to save as text, then open in Final Draft

After I posted this entry, the folks Final Draft pointed me to an alternate workflow. Here’s what they [recommend](http://kb.finaldraft.com/article.aspx?cid=1001&aid=519):

> If you have a recent version of the Adobe Acrobat Reader you can go to File > Save As > Text and save the document as a text file.

> Import this text file into Final Draft (File > Open) as a script but you may need to do some reformatting.

Here’s a [screencast](https://www.youtube.com/watch?v=opOsTknLZJ4):

In my testing, it’s only a little better than copy-and-paste. Elements were more likely to be recognized correctly, but line breaks and spacing glitches were daunting. The script also swelled from 114 to 343 pages. I had similar results with all the PDFs I tried.

So while it’s generally an improvement over copy-and-paste, you’d still need to spend quite a bit of time getting a useful script out of this workflow

###Use Highland

If you have a Mac, or a friend who has a Mac, this is your best choice. Hell, if you have a mortal enemy who has a Mac, it’s worth kissing up to him for the five minutes this will take.

[Highland](http://highland.quoteunquoteapps.com/screencast-pdf-fdx) is a paid app in the Mac App Store. It’s actually a full-on screenwriting app, but its ability to melt down PDFs was its original claim to fame, and is still unrivaled.

With Highland, you just drag in the PDF. Highland sucks out the text and does all the reformating. From there, you can edit it right there in Highland, or export it to Final Draft.

Here’s a [screencast](http://youtu.be/4ECADQtAvUg) showing the process:

Can Highland convert every PDF to Final Draft? No.

If a PDF is really just a stack of images, there’s no text to suck out. You may come across these kinds of PDFs when dealing with scanned paper scripts. However, many screenwriters report success running PDFs through optical character recognition software like [Prizmo 2](https://itunes.apple.com/us/app/prizmo-2-scanning-ocr-speech/id546392952?mt=12) first. That’s certainly an option.

PDFs created by Fade In don’t convert well. It’s because of the odd PDF-building code Fade In uses. It’s not something Highland is going to be able to fix.

### Built to be used

My company created Highland because I needed it. While it’s not a huge moneymaker, ((Highland revenues could probably support a single coder with a love of ramen noodles and penchant for tent living.)) it serves a crucial need for screenwriters.

We used to offer a free demo version of Highland, but it confused users more than it helped. (Support emails like, “How do I get rid of the watermark that says ‘Highland Demo?'”)

Also, the demo version was always lagging behind. We update Highland frequently, often twice a month. Maintaining both the paid and demo versions was slowing down development, and the feature sets kept getting out of sync. It’s not easy or rewarding to build deliberately crippled versions of your apps.

So rather than a demo version, I’m planning more screencasts like these to show features and workflows. In the meantime, if you find yourself with a PDF to convert, head over to the Mac App Store and [grab Highland](http://highland.quoteunquoteapps.com/screencast-pdf-fdx). For $30, it will save you untold hours of frustration.

Not Just Dialogue

Episode - 117

Go to Archive

November 12, 2013 Scriptnotes, Transcribed, Words on the page

John and Craig take an extended look at how sound works in movies, and how screenwriters can take advantage of it on the page.

Also this week, advice on naming characters, and what to do when the first cut of your movie is not at all what you had in mind.

Links:

  • Order your Scriptnotes shirts from The John August Store before Friday
  • Get your tickets now for the Big Fish talkback on November 23rd and let us know you’ll be there
  • Previous One Cool Thing WinesTilSoldOut did a cool thing for Craig
  • John’s 2010 Jessica Alba blog post
  • Dolby’s Atmos is one example of why your home theater sound doesn’t compare to the movie theater experience
  • Foley on Wikipedia
  • Behind the Name breaks down first name popularity by country and year
  • Saving Mr. Banks is in theaters this December
  • Knock to Unlock lets you unlock your Mac by knocking your iPhone
  • Register as an organ donor today
  • And register for the Be The Match bone marrow database, too
  • Outro by Scriptnotes listener Jonas Bech

You can download the episode here: AAC | mp3.

UPDATE 11-16-13: The transcript of this episode can be found here.

Damsels in distress

November 5, 2013 Film Industry, QandA, Scriptnotes, Story and Plot, Transcribed

Craig and John love women and jeopardy, but folks, we gotta stop kidnapping girlfriends as plot devices. We discuss ways to avoid this trope.

In other news, T-Bone Burnett has a great name and strong words about copyright and making a living. Readers have questions about pseudonyms, second acts and breaking the back of a new project. Plus, more terrible managers.

T-shirts are back, starting today! But pre-orders stop November 15th, so don’t dally.

John is hosting a Big Fish talkback on Saturday, November 23rd after the matinee, so use your SCRIPT code to get tickets now.

Links:

* The [John August Store](http://store.johnaugust.com/) is open for business!
* [Get your Big Fish tickets now](http://www.bigfishthemusical.com/), and use discount code SCRIPT (for November 23rd or otherwise)
* John’s post on [how we record Scriptnotes](http://johnaugust.com/2013/how-we-record-scriptnotes)
* T-Bone Burnett [in the Hollywood Reporter](http://www.hollywoodreporter.com/earshot/t-bone-burnett-silicon-valley-652114)
* [Anita Sarkeesian](http://www.feministfrequency.com/) and her Tropes vs Women in Video Games project
* Complex’s [The 15 Hottest Damsels In Distress In Movies](http://www.complex.com/pop-culture/2012/07/the-15-hottest-damsels-in-distress-in-movies)
* TV Tropes on [damsels in distress](http://tvtropes.org/pmwiki/pmwiki.php/Main/DamselInDistress?from=Main.DistressedDamsel)
* MacGuffins on [TV Tropes](http://tvtropes.org/pmwiki/pmwiki.php/Main/MacGuffin) and [Screenwriting.io](http://screenwriting.io/what-is-a-mcguffin/)
* [Planet Money podcast](https://itunes.apple.com/us/podcast/npr-planet-money-podcast/id290783428?mt=2)
* Planet Money on the [American check system](http://www.npr.org/blogs/money/2013/10/04/229224964/episode-489-the-invisible-plumbing-of-our-economy)
* Craig’s [One Cool Thing](http://johnaugust.com/onecoolthings) is [John August](http://johnaugust.com/)
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) by Scriptnotes listener Matthew Chielli

You can download the episode here: [AAC](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_116.m4a) | [mp3](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_116.mp3).

**UPDATE** 11-9-13: The transcript of this episode can be found [here](http://johnaugust.com/2013/scriptnotes-ep-116-damsels-in-distress-transcript).

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