John and Craig look at how writing feature films is fundamentally different than writing television, and how that difference begins at the point of story inception. It’s not just that movies are longer; they’re also built to be unique events, with characters embarking on once-in-a-lifetime journeys. Show More Summary
You can’t play the part of Hamlet, only parts of Hamlet. And the bits Benedict Cumberbatch offers us are of… The post Nice work appeared first on The Spectator.
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?
La Cieca guesses we will have to make these quizzes more challenging.
Craig and John take an extensive look at best practices when coming in to rewrite an existing script. How do you take the reins when you weren’t the first screenwriter? Whether you’re starting over at page one or executing some surgical fixes, we discuss the psychology and reality of being the subsequent writer.
The image above shows a full-size facsimile of the original Proclamation (made from a scan of the copy at the Providence Public Library, Rhode Island, USA) propped against the stonework of one of the northern gateways to the yard of Dublin Castle, which was the centre of political administration in Ireland for many hundreds of years. Show More Summary
John and Craig discuss the PG-13 rating, its effects and what screenwriters have to keep in mind when dealing with it. Then it’s a conversation about healthy and unhealthy relationships between writers and their representatives.
In honor of the upcoming Met Opening Night, here's a singer identification quiz featuring, for a change, music for a tenor: the climactic phrase from Otello's third act monologue.
Craig and John tackle another installment of “How would this be a movie?” with a look at the Kentucky clerk, the French train bros, Uber and Deflategate. Who are the heroes and villains, and would there be enough plot to support the running time?
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.
[ download this episode ] Song Exploder is a podcast where musicians deconstruct their songs and tell the stories behind how they were made. In the past, it's explored tracks from The Postal Service toThe Microphones, and even House of Cards composer, Jeff Beal. Show More Summary
John and Craig sit down with Marielle Heller, the writer and director of the acclaimed feature Diary of a Teenage Girl, to talk about the journey of getting her movie made, from optioning the novel to the Sundance Labs through production.
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.
Images courtesy of Song Exploder Song Exploder is a podcast where musicians deconstruct their songs and tell the stories behind how they were made. In the past, it's explored tracks from Thundercat, to U2, and more. In the newest episode,...Show More Summary
John and Craig discuss why movie heroes — unlike those in novels or musicals -- generally don’t profess internally conflicting views. In reality, our feelings on a topic are likely shades of gray. On the big screen, characters tend to articulate a single point firmly.
Many live treasures (and some duds) began to take up more and more space—first in my dorm room, then in my first little studio apartment thanks to a group of quite special men, none of whom I ever met face to face.
Craig and John look at best practices for screenwriters promoting their films, both in traditional media and online. We’re not subtweeting anyone, and neither should you.
It never occurred to me that each tape had to be individually dubbed or that others, maybe many, many others, might also be ordering tapes at the same time.
Back when I was a good boy, I told my parents that my goal in getting my first job was to earn money for college; however, my real motive was to make my secret wish come true—to be able to consort with “pirates.”
Madeline Kahn's 1968 interpretation of "Glitter and Be Gay" has been widely disseminated.