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.
John and Craig open the vault to bring you a never-before-heard episode recorded live at the 2013 Austin Film Festival, where we did a Three Page Challenge and met with the writers.
John and Craig talk about what screenwriters can learn from the structure of classical music, then invite journalist Scott Tobias on to discuss how day-and-date video-on-demand releases make it hard to know how indie films are doing, individually and as a group.
Francisco de Goya, The Duke of Wellington, 1812-1814oil on mahogany, 64.3 x 52.4 cm Judge Arthur Tompkins, who teaches "Art in War" for ARCA's certificate program, appears monthly with Kim Hill on New Zealand's National public radio....Show More Summary
Peter Gelb has single-handedly ravaged the finances of the Met not only during his own incumbency, but in the distant past as well.
John and Craig discuss whether screenwriters are better off pursing writing assignments or working on their own material. They also look at the visual comedy of Edgar Wright, and The Shawshank Redemption’s 20th anniversary.
Barnes & Noble has been a well-known US book brand for many years, and the Nook has consistently been one of the top ebook retailers alongside Amazon, Apple and Kobo in the US. But up until March 2014, non-US authors couldn’t self-publish directly to the Nook platform. We could only reach Nook readers through other […]
Handwritten text shows a personal side of its author, a side that is not easy to put into words and that contrasts with the standardized look of digital communication. This contrast and “aura” is perhaps what makes handwritten fonts so popular. Show More Summary
This week's gem from the Mike Richter collection is all the more precious for its rarity: a performance of Fauré's Pénélope starring ravishing Régine Crespin.
Writer-Director David Wain joins John and Craig to talk about the long journey to bring They Came Together to the screen (on June 27th), the changing nature of spoofs, and the seminal summer camp film Wet Hot American Summer.
By special request of Our Own DeCaffarrelli, and courtesy of Mike Richter, here's a treat: a 1969 performance of La Cenerentola starring the delectable Teresa Berganza.