Craig and guest host Mike Birbiglia discuss Mike’s new film, Don’t Think Twice, a comedy about life as an improv performer. The two explore the current state of independent film and the challenges facing aspiring filmmakers.
John and Craig implore screenwriters to think twice before using the phrase “begs the question.” We know it’s a losing battle, but if we learned anything from 300, sometimes those are still worth having.
In the season finale of Scriptnotes, John and Craig reveal big changes to the podcast.
Craig and John look at unforgettable villains, screenwriter billions, and a parallel world with two Nathan Fillions. (The last part is not true.)
John and Craig consider a new master class in screenwriting taught by Aaron Sorkin, and a very old Greek word (anagnorisis) championed by Aristotle. Both are useful!
Craig and John discuss the impact of Star Wars knocking down all the records, both for the industry and big-screen sci-fi.
Craig and John get to the bottom of William Goldman’s famous quotation about Hollywood, which is so often misapplied. Then it’s a discussion of zombie cars, wind-tunnels, blockbusters, and the paradox of choice.
From Wolverine to The Rock, male action heroes have literally gotten bigger over the last decade. Craig and John look at how that impacts story. Is there hope for the the ordinary man in an extraordinary situation? Will we ever get back to Kurt and Keanu?
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 […]
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.
This week, Craig and John discuss recent events that seem custom-designed to make Craig furious.
Craig and John wrap up many plotlines from previous episodes, with follow-up on Three Page Challenges, diversity numbers, Road Runner and other rules, plus the Gravity lawsuit in light of the Blurred Lines verdict.
John and Craig discuss this year’s screenplay Oscar winners, including the success of Birdman’s outside-the-box approach and Graham Moore’s speech.
John and Craig pick up loose ends, with follow-up on previous episodes about “friends,” conflict, improv, Kindles, and defibrillation.
From Amazon to animation, there’s drama this week about prices for books and movies and even internships. John and Craig take a look at what happens when companies wrestle over how much things cost, and the effect it has on people trying to make a living as writers.
John and Craig look at the trend towards hiring two writers to work on separate drafts of the same project. Is it better to have writers working in parallel than serially? Or does it end up with studios ordering off a Chinese menu: this scene, that character, that other set piece?
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.
Has a statistician cracked the code on successful screenplay formulas? John and Craig cast a skeptical eye at a New York Times article on Vinny Bruzzese, who claims to have done exactly that.
Franklin Leonard, creator of The Black List, has announced a new incarnation of his site that allows screenwriters to upload their scripts for review and rating — for a fee.
I don’t read books on how to write screenplays, but Stuart does, so I occasionally ask him to write up his impressions. For this round, he tackled the three Save the Cat! books by Blake Snyder.
A reader forwarded a link to this structural analysis of Big Fish, which attempts to break down my screenplay down into five plot points
The fact is that very few people who write screenwriting how-to books have meaningful writing credits. They make a living selling advice to aspiring screenwriters, either one-on-one or at seminars.
Try replacing the question of what the character wants/needs with, “Why is the character doing what he’s doing?”
Nine second answers to nine burning questions. Ready…go!
Often, the best answer is the simplest: something physical and achievable.