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.
Craig loves the 1990 blockbuster Ghost. John? Ditto. Written by Bruce Joel Rubin and directed by Jerry Zucker, Ghost set the template for the modern romantic drama. It was Twilight before Twilight, Titanic before Titanic. It won hearts, weekends and Oscars, including best screenplay.
This week, Craig and John tackle listener questions.
To celebrate the third anniversary of Scriptnotes, John and Craig invite Aline Brosh McKenna and her limitless analogies back to discuss box-office journalism, scene geography, emotional IQ and flipping the script.
John and Craig spend the hour discussing the number one topic whenever screenwriters are done complaining about studio notes: the end of the world, and how to get ready for it.
John and Craig take a look at four new entries in the Three Page Challenge, ranging from galactic drama to medieval comedy. Along the way, they talk about the nature of one-hour teasers, trust, plausibility, and how to properly address religious authorities.
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.
Craig and John discuss the accusations of plagiarism surrounding True Detective — and what plagiarism even means in the context of filmed entertainment. Movies don’t have footnotes, so how should screenwriters give attribution?
The news from New York has been rather dire these last few weeks, cher public; La Cieca is the first to admit that.
John and Craig revisit one of their favorite episodes, in which they sit down with screenwriter-turned-psychotherapist Dennis Palumbo to discuss writer’s block, procrastination, partnerships and more. It’s a can’t-miss episode for aspiring writers and professionals alike.
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?
I have banged on and on about doing an "Abscheulicher" quiz for years.
Wow: We are admittedly still making our way through this incredible, essential paper by Patrick Durgin, but please set your reading-marks on it, too. Currently at Jacket2 and written for the new French edition of Clairvoyant Journal, to be published by Bat Editions, these introductory remarks on Hannah Weiner’s most well-known work illuminate the typescripts [...]
John and Craig talk structure and escalation. Structure is simply what happens when. Escalation is how things get tougher.
One of the late Mike Richter's most endearing traits was his fascination with rare or downright offbeat recordings, such as this complete 1963 performance of Verdi's Don Carlos in Russian by artists of the Bolshoi.
In their first-ever live streaming episode, John and Craig open the mailbag to answer a bunch of listener questions.
strong>Mike Richter, via CD-ROM, takes us back to the golden age of concert opera in New York City with Il pirata starring Montserrat Caballé.
Aline Brosh McKenna joins Craig and John to talk about the difficult journey through pages 70-90 of your feature. After that, we talk about procrastination, the Panic Monster and our inner Instant Gratification Monkeys.
John and Craig discuss why most characters are liars, and how that’s actually a good thing. John offers seven suggestions for picking character names that will help your readers. Then we look at a three page challenge that’s been filmed to see what worked on the page versus on screen.
Craig and John take a swing at several of the week’s hyperbolic headlines, from conflict-free comedy to Fitzgerald’s failures to Strong Female Characters with nothing to do. In each case, there’s a valid idea lurking beneath the overstated claim, but it’s important to separate good examples from bad.