Research and Historical Accuracy in Screenwriting
William Brower explores the fact and fiction behind the characters of James Cameron’s Titanic, and offers a historian’s perspective on research and character development in fact-based drama.
William Brower explores the fact and fiction behind the characters of James Cameron’s Titanic, and offers a historian’s perspective on research and character development in fact-based drama.
Nothing Fake: Amanda Kernell on Sami Blood
Amanda Kernell discusses the importance of conveying how a situation feels, filming in a language only a few hundred people speak, and the extraordinary casting process for her film.
Amanda Kernell discusses the importance of conveying how a situation feels, filming in a language only a few hundred people speak, and the extraordinary casting process for her film.
Cars 3: The Third Act
The screenwriters of Cars 3 discuss catalyst characters, giving your writing emotional weight, and why Pixar offer the best prenatal care for scripts.
The screenwriters of Cars 3 discuss catalyst characters, giving your writing emotional weight, and why Pixar offer the best prenatal care for scripts.
Understanding Screenwriting #158
Tom Stempel on The Fate of the Furious, Baywatch, Pirates of the Caribbean: Dead Men Tell No Tales, Free State of Jones, and Tales of Wells Fargo.
Tom Stempel on The Fate of the Furious, Baywatch, Pirates of the Caribbean: Dead Men Tell No Tales, Free State of Jones, and Tales of Wells Fargo.
Inspired by Sam Elliott: Brett Haley on The Hero
Brett Haley discusses the ideas behind his latest film, the use of dream sequences, and the importance of opening yourself up to criticism.
Brett Haley discusses the ideas behind his latest film, the use of dream sequences, and the importance of opening yourself up to criticism.
“Writing is Free Therapy.” John Butler on Handsome Devil
John Butler discusses the personal origins of his latest film, the distinction between autobiography and emotional truth, and importance of exercise to writing.
John Butler discusses the personal origins of his latest film, the distinction between autobiography and emotional truth, and importance of exercise to writing.
“Telling my story through someone else’s story.” Avi Nesher on Past Life
Avi Nesher discusses his latest film Past Life, mathematical versus poetic elements of structure, and the importance of a personal story to screenwriting success.
Avi Nesher discusses his latest film Past Life, mathematical versus poetic elements of structure, and the importance of a personal story to screenwriting success.
Get the story in your DNA: David Michôd on War Machine
David Michôd discusses developing fiction from non-fiction, use of narration, and why you should treat your brain like an oven.
David Michôd discusses developing fiction from non-fiction, use of narration, and why you should treat your brain like an oven.
Text as pure thought and pure poetry: Julian Rosefeldt on Manifesto
Julian Rosefeldt discusses the inspiration behind Manifesto, characters as messengers of thought, and finding what is original in yourself.
Julian Rosefeldt discusses the inspiration behind Manifesto, characters as messengers of thought, and finding what is original in yourself.
Filmmaking is a Marathon: Robin Swicord on Wakefield
Robin Swicord discusses adapting Doctorow’s short story Wakefield for the big screen, seeing the potential in a story, and why making a movie is like a marathon.
Robin Swicord discusses adapting Doctorow’s short story Wakefield for the big screen, seeing the potential in a story, and why making a movie is like a marathon.
“We wanted to create a really frightening movie!” John Logan on Alien: Covenant
John Logan discusses bringing fear back to the Alien franchise, tackling the big philosophical questions, and the importance of being told to do better.
John Logan discusses bringing fear back to the Alien franchise, tackling the big philosophical questions, and the importance of being told to do better.
Go For The Throat: Amber Tamblyn on Paint It Black
Amber Tamblyn discusses writing about grief, poetic language in film, and the importance of asking for advice.
Amber Tamblyn discusses writing about grief, poetic language in film, and the importance of asking for advice.
James Ivory on Screenwriting
As he celebrates the 30th anniversary of his landmark film Maurice, James Ivory discusses adaptations, collaboration, seeing with a documentarian’s eye, and his plans for filming Shakespeare in 3D.
As he celebrates the 30th anniversary of his landmark film Maurice, James Ivory discusses adaptations, collaboration, seeing with a documentarian’s eye, and his plans for filming Shakespeare in 3D.
A Simple Conversation: Dwain Worrell on The Wall
Dwain Worrell discusses writing naturally in the three-act structure, stripping your protagonist naked, and not worrying about formatting your script.
Dwain Worrell discusses writing naturally in the three-act structure, stripping your protagonist naked, and not worrying about formatting your script.
“Making a film is creating emotion.” Stéphane Brizé on A Woman’s Life
Stéphane Brizé discusses finding just the right time for a project, how to tell a costume designer that you’re going to throw mud on a vintage dress, and what to say to someone who insists films are for the intellect only
Stéphane Brizé discusses finding just the right time for a project, how to tell a costume designer that you’re going to throw mud on a vintage dress, and what to say to someone who insists films are for the intellect only
Jeff Nichols on Screenwriting
Jeff Nichols reveals the source of his ideas, the benefit of leaping into the middle of the narrative, and the importance of making your audience play catch-up.
Jeff Nichols reveals the source of his ideas, the benefit of leaping into the middle of the narrative, and the importance of making your audience play catch-up.
“Tell the Story Through Jokes.” Chris Spain & Jon Zack reveal How to Be a Latin Lover
Chris Spain & Jon Zack on writing comedy, taking a joke to the next level, and gender-flipping.
Chris Spain & Jon Zack on writing comedy, taking a joke to the next level, and gender-flipping.
Understanding Screenwriting #157
Tom Stempel on Personal Shopper, Colossal, Five Came Back, Their Finest, The Intervention, The Son, and the season finale of Big Little Lies.
Tom Stempel on Personal Shopper, Colossal, Five Came Back, Their Finest, The Intervention, The Son, and the season finale of Big Little Lies.
“Filmmaking is a disease.” Steven Shainberg on Rupture and Fur
Steven Shainberg discusses writing female leads, portraying fear, and why movies are like splinters in the eye.
Steven Shainberg discusses writing female leads, portraying fear, and why movies are like splinters in the eye.
“Good Screenwriters are Good Filmmakers.” T.S. Nowlin on Phoenix Forgotten
T.S. Nowlin discusses writing found-footage film Phoenix Forgotten, allowing space for improvisation, and the importance for writers of getting into production.
T.S. Nowlin discusses writing found-footage film Phoenix Forgotten, allowing space for improvisation, and the importance for writers of getting into production.
A Distinctive New Voice: Ben Wheatley on Free Fire
Ben Wheatley discusses genre, writing movies you can actually make, and how to avoid being given script notes
Ben Wheatley discusses genre, writing movies you can actually make, and how to avoid being given script notes
Daniel Pyne on Screenwriting
Bosch showrunner Daniel Pyne discusses writing plot twists, research, and updating novels for the screen, and offers great advice for screenwriters.
Bosch showrunner Daniel Pyne discusses writing plot twists, research, and updating novels for the screen, and offers great advice for screenwriters.
Time, Money and the Invisible Bullshit Line: Chris Morgan on The Fate of the Furious
Chris Morgan discusses The Fate of the Furious, the three things that limit action, and and the heartbreak of losing franchise star, Paul Walker.
Chris Morgan discusses The Fate of the Furious, the three things that limit action, and and the heartbreak of losing franchise star, Paul Walker.
Seeing what the film needs to be: Gareth Edwards on Rogue One
Gareth Edwards discusses never giving up, not letting fear get in the way, and the importance of remaining fluid.
Gareth Edwards discusses never giving up, not letting fear get in the way, and the importance of remaining fluid.
Birth of an Obsession: The Lost City of Z
James Grey on personalising the material, why writing is like cooking, and the challenges of writing period pieces.
James Grey on personalising the material, why writing is like cooking, and the challenges of writing period pieces.
Defying Genres: Nacho Vigalondo on Colossal
Making a monster movie without a big budget, breaking screenwriting rules and tropes, and why a film should be a conversation with the audience.
Making a monster movie without a big budget, breaking screenwriting rules and tropes, and why a film should be a conversation with the audience.
Understanding Screenwriting #156
Tom Stempel on Hidden Figures, Fences, Get Out, Eye in the Sky, Deadpool, and Mid-season Television 2016-2017
Tom Stempel on Hidden Figures, Fences, Get Out, Eye in the Sky, Deadpool, and Mid-season Television 2016-2017
For Here or to Go: Blog Post to Big Screen
Rishi Bhilawadikar on how he learned to write in order to tell this story, communicating through entertainment, and taking an idea from blog post to a finished film.
Rishi Bhilawadikar on how he learned to write in order to tell this story, communicating through entertainment, and taking an idea from blog post to a finished film.
The Discovery: A Big Premise Character Piece
Charlie McDowell on making exposition interesting, the importance of regret, writing for your actors, and news of an upcoming adaptation of Don DeLillo’s novel Zero K.
Charlie McDowell on making exposition interesting, the importance of regret, writing for your actors, and news of an upcoming adaptation of Don DeLillo’s novel Zero K.
Five Origin Stories: John Gatins on Power Rangers
John Gatins discusses writing for teenage characters, the importance of keeping the audience personally invested, and seeking inspiration.
John Gatins discusses writing for teenage characters, the importance of keeping the audience personally invested, and seeking inspiration.
“Polarizing, inspiring, strong and difficult.” The Most Hated Woman in America
Tommy O’Haver and Irene Turner on portraying the essence of the truth, flashbacks, and getting the death right.
Tommy O’Haver and Irene Turner on portraying the essence of the truth, flashbacks, and getting the death right.
Wilson: A Walking Id
Daniel Clowes on writing a gag in five minutes, adapting comics into screenplays, and catching Scarlett Johansson in a bad mood.
Daniel Clowes on writing a gag in five minutes, adapting comics into screenplays, and catching Scarlett Johansson in a bad mood.
Love the Process: Jeff Stockwell on The Ottoman Lieutenant
Jeff Stockwell discusses using research to shape your project, not critiquing your first draft, avoiding the internet, and the importance of enjoying the process.
Jeff Stockwell on using research to shape your project, not critiquing your first draft, avoiding the internet, and the importance of enjoying the process.
Seven Decades of Cinematic Storytelling: Roger Corman on Screenwriting
Roger Corman on what he looks for in a script, telling stories for teenagers, and how to plan a low budget shoot.
In the early 1950s, Roger Corman began his creative career in the film industry as a story reader for 20th Century Fox, but left in order to create his own independent studio with its own distribution. Within only a few years he became the undisputed king of the low-budget movie. In his seven-decade career he […]
“When I write by myself there are no rules.” Martin Koolhoven on Brimstone
Martin Koolhoven discusses writing a Western from the female perspective, the evolution of Brimstone’s non-linear structure, and how his film is spiritually connected to Tarantino’s Django Unchained.
Martin Koolhoven discusses writing a Western from the female perspective, the evolution of Brimstone’s non-linear structure, and how his film is spiritually connected to Tarantino’s Django Unchained.
“Every movie is its own beast.” Max Borenstein on Kong: Skull Island
Max Borenstein on bringing giant-scale movies down to earth, how great actors elevate a screenplay, and making the audience care about your monsters.
Max Borenstein on bringing giant-scale movies down to earth, how great actors elevate a screenplay, and making the audience care about your monsters.
The script doesn’t exist on its own: Ed Gass-Donnelly on Lavender
Ed Gass-Donnelly on what two things a scene has to accomplish, figuring out the ‘why now’ of your story, and the importance of working on many scripts at once.
Ed Gass-Donnelly on what two things a scene has to accomplish, figuring out the ‘why now’ of your story, and the importance of working on many scripts at once.
Myth vs. Man: James Mangold and Scott Frank on Logan
Writing an intimate superhero film, the summer blockbuster arms race, writing for children, and dialogue as a delivery system of lies.
Writing an intimate superhero film, the summer blockbuster arms race, writing for children, and dialogue as a delivery system of lies.
Understanding Screenwriting #155
Tom Stempel on Manchester by the Sea, Things to Come, 20th Century Women, La La Land, Sophie and the Rising Sun, Julieta, and Railroad Tigers.
Tom Stempel on Manchester by the Sea, Things to Come, 20th Century Women, La La Land, Sophie and the Rising Sun, Julieta, and Railroad Tigers.
Bitter Harvest: More Than Just a Movie
George Mendeluk on pruning your script, why going to film school is a waste of time, and why writers don’t make good directors.
George Mendeluk on pruning your script, why going to film school is a waste of time, and why writers don’t make good directors.
The Moment of Leaning Forwards: Matthew Newton on From Nowhere
Matthew Newton discusses going home with your characters, the importance of the “leaning forwards” moment, and the constant process of revelation in childhood.
Matthew Newton discusses going home with your characters, the importance of the “leaning forwards” moment, and the constant process of revelation in childhood.
“The star of the movie is the screenplay.” August Wilson’s Fences
Producer Todd Black discusses bringing Wilson’s adaptation to the big screen, letting the screenplay inform every decision, and working with platinum.
Producer Todd Black discusses bringing Wilson’s adaptation to the big screen, letting the screenplay inform every decision, and working with platinum.
Damien Chazelle on La La Land
Damien Chazelle discusses writing two movies in one, the underlying sadness of musicals, and challenging yourself to make it personal.
Damien Chazelle on writing two movies in one, the underlying sadness of musicals, giving your script feeling, and challenging yourself to make it personal.
Barry Jenkins on Moonlight
Barry Jenkins discusses making the audience walk a mile in the character’s shoes, the use of waypoints in adaptations, and the importance of poor first drafts.
Barry Jenkins discusses making the audience walk a mile in the character’s shoes, the use of waypoints in adaptations, and the importance of poor first drafts.
Finding Your Creative Value: Jamal Joseph on Chapter & Verse
Jamal Joseph on writing a film based on your own experience, the importance of comedy in drama, and not waiting for that big studio movie.
Jamal Joseph on writing a film based on your own experience, the importance of comedy in drama, and not waiting for that big studio movie.
Understanding Screenwriting #154
Tom Stempel on The Edge of Seventeen, Moonlight, Elle, Loving, Allied, and Rogue One: A Star Wars Story.
Tom Stempel on The Edge of Seventeen, Moonlight, Elle, Loving, Allied, and Rogue One: A Star Wars Story.
Building a tapestry: Kenneth Lonergan on Manchester by the Sea
Kenneth Lonergan discusses making the story your own, the use of flashbacks, and rooting your script in realism.
Kenneth Lonergan discusses making the story your own, the use of flashbacks, and rooting your script in realism.
Hidden Figures: “A Mathematical Juggling Act”
Allison Schroeder and Theodore Melfi on the importance of repetition, ensuring balance in an ensemble piece, and not getting attached to your first draft.
Allison Schroeder and Theodore Melfi on the importance of repetition, ensuring balance in an ensemble piece, and not getting attached to your first draft.
“Dive Deep and Flush Out Your Craft.” Patrick Massett and John Zinman on Gold
Watching movies with the script in your lap, the rhythm of a scene, and why you should not send out your first script.
Patrick Massett and John Zinman on watching movies with the script in your lap, the rhythm of a scene, not sending out your first script, and why working in Hollywood is like prospecting for gold.
Making Your Protagonist the Antagonist: Robert Siegel on The Founder
Robert Siegel discusses his fascination for outsiders, using research to get into your characters’ heads, and writing what you love.
Robert Siegel discusses his fascination for outsiders, using research to get into your characters’ heads, and writing what you love.
