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. […]
Craig welcomes Alec Berg, executive producer of two current HBO comedies (Barry and Silicon Valley), to discuss balancing productivity and creative energy, “comedy geometry,” and identifying as a craftsman rather than an artist. We also answer listener questions about committing to a genre, the necessity of act breaks, and how much writers actually get to […]
John welcomes independent producer Keith Calder to discuss what a producer actually does, how financing and distribution strategies have changed with streaming, and how to approach film festivals as a filmmaker. We also answer a listener question about which career path to take after being laid-off: climb the Hollywood ladder or bootstrap and just make […]
John and Craig consider how much a writer should know before going into a scene, looking at the perks and pitfalls of planning and letting oneself discover. We also discuss taking notes from producers and executives. When should you stand your ground? When should you accommodate? What if it’s an excellent drawing of an elephant […]
John and Craig evaluate another set of exceptional news stories for their fitness for the big screen in this week’s How Would This Be a Movie? We consider stories about counterfeit debt collectors, the worst roommate ever (beside’s Craig college roommate), the girl who posed as a grown man online and began exhibiting genuine symptoms […]
John and Craig offer advice to those who suspect their work has been stolen, providing a checklist to help determine if a claim has merit and suggestions for how to best proceed if it does. We also answer listener questions about taxes on agent commission, being a conservative voice in a writers’ room, and using […]
John and Craig talk with uber-screenwriter Scott Frank (Out of Sight, Get Shorty, Minority Report, Logan) about how his feature script Godless ended up as a miniseries at Netflix. We then invite more guests up to discuss what movies can learn from the success of TV: Guinevere Turner (American Psycho, Go Fish) Scott Alexander (Ed […]
John and Craig offer a 101 on how movies make money at theaters, and why a 1948 Supreme Court case changed everything.
Craig and John talk with Chris Keyser, one of the co-chairs of the WGA Negotiating Committee, to learn what gains were achieved in the most recent deal, and what work lies ahead.
Jonathan Groff — the Black-ish writer/producer, not the actor — joins John and Craig to explain the new vocabulary of television and why companies are all about ownership.
Craig and John welcome back Aline Brosh McKenna to discuss what she learned going from writing features to show-running Crazy Ex-Girlfriend — and what’s waiting for her back in movie-land. The three of us came into the business at the height of the spec market, but everything is different now.
In an episode consisting entirely of answers to listener questions, John and Craig discuss David Mamet, internet trolls, post-credit scenes and English actors attempting American accents. Plus, who would win in an all-out brawl to the death? The answer will probably not surprise you. Links: David Mamet’s memo to writers of The Unit Craig’s Twitter […]
Dana Fox joins John and Craig to discuss her role as both screenwriter and producer of How to Be Single. Like Simon Kinberg and Chris Morgan, Dana is one of a handful of feature writers taking responsibility for delivering not just the script, but the finished movie. We look at how and why she made […]
John and Craig look at how to introduce characters in a screenplay — and how to avoid being mocked by a Twitter feed for it. We go back through previous Three Page Challenges and several of the screenplays nominated for awards this year to examine trends and techniques.
This week, we time-travel back to our first centennial, a live show in Hollywood with special guests Aline Brosh McKenna and Rawson Thurber. We discuss the rise of the “writer-plus,” the importance of early mentors, and the emails that outline the very origin of Scriptnotes.
Craig and John tackle a single topic: bad movies and how they happen. Having experienced the process first-hand, they report on how bad ideas make it to the screen, and how good ideas go wrong. There’s no single answer, but a range of patterns that end in terrible movies.
John and Craig dig into the listener mailbag and take questions on TV producer credits, jealousy over other writers’ success, writing tight vs writing long and plenty of other follow up.
Vineet Dewan, who was nice enough to co-star in the Kickstarter video for Writer Emergency Pack, decided to film his own version pitched at development executives.
In their first-ever live streaming episode, John and Craig open the mailbag to answer a bunch of listener questions.
‘Twas the Holiday Scriptnotes and at our behest, Craig and John were joined by our six favorite guests.
John and Craig offer advice for super-rich aspirants about the film and television industry. If you have enough money to do anything, what should you do first? Do you want to make money, or make art? Or do you just want to hang out with famous people? No judgements.
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 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 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?
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?