Archives

WGA

The Post-Weinstein Era

John and Craig welcome Daley Haggar and Dara Resnik to examine the potential impacts of the Harvey Weinstein revelations on Hollywood. What should have been done? And what should happen next to foster a safer, saner and more inclusive industry culture? We also explore gender dynamics in a television writers room, discuss ways to address […]

Movies Dodged a Bullet

John and Craig speculate about why the film industry fared better in the transition to digital while the music industry struggled. We also follow up on the WGA elections, hearing John’s priorities as a new board member. Lured back into the intrigue of MoviePass, we discuss new information on this business model. Then it’s another […]

I’m joining the WGA board

On Monday, I was elected to the board of directors for the Writers Guild of America, West. I’ll be serving a two-year term. Here are some of my plans.

First Day on the Job

Craig and John debut a new segment: This Kind of Scene, looking at how different movies handle similar situations. The Hudsucker Proxy, The Devil Wears Prada, Hidden Figures and Training Day all need to introduce their heroes to their new workplaces. We examine how those scenes work, both on the page and on screen. We […]

Distracted Boyfriend Is All of Us

John and Craig dive into another round of How Would This Be a Movie, looking at stories (and memes!) from around the world to figure out which ones might lend themselves to big-screen treatment.

The Magic Word Is In This Episode

Craig and John tackle a bunch of listener questions, along with follow-up on previous discussions.

What’s in the WGA Deal

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.

Generic Trigger Warning

John and Craig take a look at three new entries in the Three Page Challenge, with scripts tackling kidnapping, dystopia and parkour hackers. We look at both how the writing works on the page, and what the writers seem to be trying to say.

Flaws are features

Craig and John look at unforgettable villains, screenwriter billions, and a parallel world with two Nathan Fillions. (The last part is not true.)

New and Old Hollywood

With credits ranging from Captain Phillips to The Hunger Games, plus several stints in WGA contract negotiations, Billy Ray knows as much as any screenwriter about the realities of working writers and the turmoil in the industry. He joins us to talk about his new Amazon pilot, The Last Tycoon, which charts the behind-the-scenes drama at a 1930s Hollywood studio.

Why I’m voting no on Amendment 1

Amendment 1 lengthens the term of officers and board members from two years to three. The more I think about it, the less I like that idea. I’m voting no.

Fun with Numbers

Craig and John discuss the impact of Star Wars knocking down all the records, both for the industry and big-screen sci-fi.

Campaign statements and residual statements

John and Craig discuss the WGA election results, and take a look at the issues that dominated the campaigns. What is a paper team? Do screenwriters really retire? And why does it take us so long to get paid?

NDAs and other acronyms

Craig and John open the mailbag to answer questions on acronyms in dialogue, off-the-air specs and international WGA jurisdiction. Plus we look at the growing trend of non-disclosure agreements on studio projects, and whether the nature of film requires less complex characters.

The International Episode

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.

How descriptive audio works

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.

Why movies have reshoots

Reshoots used to be a sign that something had gone horribly wrong. But not anymore. John and Craig look at the reasons why Hollywood movies often go back for additional photography, and how the writer is involved.

No one makes those movies anymore

Craig and John look at why certain genres of movies — mid-budget thrillers, adult dramas and romantic comedies — aren’t getting made, and whether there’s any way to get them back.

Nobody Eats Four Marshmallows

John and Craig take an in-depth look at turnaround and reversion, and how screenwriters get their scripts back from a studio.

The long and short of it

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.

Poking the bear

This week, Craig and John discuss recent events that seem custom-designed to make Craig furious.

How writing credits work

Craig and John do a deep-dive into the world of screenwriting credits, explaining the entire process from the Notice of Tentative Writing Credits, to arbitration to review boards. The system can be confusing, but most produced screenwriters will find themselves facing it at some point, so it’s important to understand how it works.

Midseason Finale

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.

The Coyote Could Stop Any Time

John and Craig take a look at the self-imposed rules behind the Road Runner cartoons, and how limiting one’s choices is different than following dogma.

Go Set a Spider-Man

From Harper Lee to Sony to the Wheel of Time, it was a big week for studios trying to hold onto intellectual property. John and Craig discuss why those deals take such strange turns, including 1:30 a.m. airings on cable.