Films

screenwriting for cinema

 Christopher McKittrick

“What guides me is the real person.” Mike Mills on 20th Century Women

“What guides me is the real person.” Mike Mills on 20th Century Women

Mike Mills discusses writing from personal experience, why plot is not that important to him, and how to know when a script is ready.

Mike Mills discusses writing from personal experience, why plot is not that important to him, and how to know when a script is ready.

 Ramona Zacharias

Giving Up and Letting Go: Erin Cressida Wilson on Adapting The Girl on the Train

Giving Up and Letting Go: Erin Cressida Wilson on Adapting The Girl on the Train

Erin Cressida Wilson discusses her process of adaptation, embracing writer’s block, and the importance of embarrassing yourself when writing.

Erin Cressida Wilson discusses her process of adaptation, embracing writer’s block, and the importance of embarrassing yourself when writing.

 Christopher McKittrick

Roger Corman on Death Race 2050

Roger Corman on Death Race 2050

In our latest video interview, Roger Corman discusses what makes a good screenplay, how Death Race 2000 influenced Mad Max and The Hunger Games, and why killing pedestrians was important.

Roger Corman discusses what makes a good screenplay, how Death Race 2000 influenced Mad Max and The Hunger Games, and why killing pedestrians was important.

 Brianne Hogan

Shared Inspiration: Claire in Motion

Shared Inspiration: Claire in Motion

Lisa Robinson and Annie J. Howell on learning from your actors, a unique way of writing as a duo, and what makes a partnership work.

Lisa Robinson and Annie J. Howell on learning from your actors, a unique way of writing as a duo, and what makes a partnership work.

 Ramona Zacharias

Communicating through Fiction: Tom Ford on Nocturnal Animals

Communicating through Fiction: Tom Ford on Nocturnal Animals

Tom Ford on why all his scenes have their own 3-act structure, writing as catharsis, the value of a strict schedule and the importance of photo research.

Tom Ford on why all his scenes have their own 3-act structure, writing as catharsis, the value of a strict schedule and the importance of photo research.

 Brianne Hogan

“Don’t draw the line at good enough.” Diane Drake on Screenwriting

“Don’t draw the line at good enough.” Diane Drake on Screenwriting

Diane Drake on giving yourself permission to be bad, the essentials of a first act, and what to do with your script when it is written.

Diane Drake on giving yourself permission to be bad, the essentials of a first act, and what to do with your script when it is written.

 Tom Stempel

Understanding Screenwriting #153

Understanding Screenwriting #153

Tom Stempel on The Birth of a Nation, The Accountant, Inferno, Denial, Arrival, Beauty Shop, and All the President’s Men.

Tom Stempel on The Birth of a Nation, The Accountant, Inferno, Denial, Arrival, Beauty Shop, and All the President’s Men.

 Michael Welles Schock

Charles Dickens’ A Christmas Carol: A Cinematic Prototype

Charles Dickens’ A Christmas Carol: A Cinematic Prototype

Michael Welles Schock reveals what A Christmas Carol can teach us about plot structure, and how it illustrates the relationship between narrative conflict and the character arc.

Michael Welles Schock reveals what A Christmas Carol can teach us about plot structure, and how it illustrates the relationship between narrative conflict and the character arc.

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Deep Feedback

Joss Whedon on Screenwriting

MFA in Screenwriting