OSCARS 2017

interviews with the screenwriters of this year’s Oscar-nominated films

 John Davis

Screenwriters at the Oscars 2017

Screenwriters at the Oscars 2017

Interviews and articles featuring all ten of the 89th Academy Award screenwriting nominees and their scripts.

Interviews and articles featuring all ten of the 89th Academy Award screenwriting nominees and their scripts.

 James Napoli

Dissecting The Lobster

Dissecting The Lobster

James Napoli explores the Oscar-nominated screenplay for The Lobster, and reveals its surprisingly traditional elements.

James Napoli explores the Oscar-nominated screenplay for The Lobster, and reveals its surprisingly traditional elements.

 Christopher McKittrick

“The star of the movie is the screenplay.” August Wilson’s Fences

“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.

 Ramona Zacharias

Damien Chazelle on La La Land

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.

 Ramona Zacharias

Barry Jenkins on Moonlight

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.

 Brianne Hogan

Building a tapestry: Kenneth Lonergan on Manchester by the Sea

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.

 Christopher McKittrick

Hidden Figures: “A Mathematical Juggling Act”

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.

 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

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.

 Matt Mulcahey

Shepherding Arrival to the Screen

Shepherding Arrival to the Screen

Eric Heisserer on wooing your director, working with your source material, and how a screenwriter is like Charlie Brown.

Eric Heisserer on wooing your director, working with your source material, and how a screenwriter is like Charlie Brown.

 Christopher McKittrick

Lion: A Powerful, Primal Childhood Fable

Lion: A Powerful, Primal Childhood Fable

Luke Davies on bringing scenes to life, symmetry and turning points, and why a script has to be both a technical document and also a work of art.

Luke Davies on bringing scenes to life, symmetry and turning points, and why a script has to be both a technical document and also a work of art.

 Christopher McKittrick

The Different Faces of Jackie

The Different Faces of Jackie

Noah Oppenheim on writing a multilayered protagonist, the political mythmaking of the Kennedys, and the importance of narrowing the aperture.

Noah Oppenheim on writing a multilayered protagonist, the political mythmaking of the Kennedys, and the importance of narrowing the aperture.

 Ramona Zacharias

“We didn’t want to put pencils inside any of them!” Aibel & Berger on Trolls

“We didn’t want to put pencils inside any of them!” Aibel & Berger on Trolls

Creating relatable characters, the secret to the success of a decades-long partnership, and great advice for aspiring writers.

Creating relatable characters, the secret to the success of a decades-long partnership, and great advice for aspiring writers.

 Christopher McKittrick

Emotional Trajectories: Jeff Nichols on Loving

Emotional Trajectories: Jeff Nichols on Loving

Jeff Nichols discusses gestational thinking, emotional trajectory in films, writing from a female perspective, and the universality of specificity.

Jeff Nichols discusses gestational thinking, emotional trajectory in films, writing from a female perspective, and the universality of specificity.

 Christopher McKittrick

The Eternal Now: Todd Komarnicki on Sully

The Eternal Now: Todd Komarnicki on Sully

Todd Komarnicki discusses the laziness of flashbacks, explores the theory of ‘the eternal now’, and reveals what he learned from Clint Eastwood.

Todd Komarnicki discusses the laziness of flashbacks, explores the theory of ‘the eternal now’, and reveals what he learned from Clint Eastwood.

 Christopher McKittrick

Hacksaw Ridge: 10 Years in the Making

Hacksaw Ridge: 10 Years in the Making

Robert Schenkkan on why Hacksaw Ridge took ten years to realize and is “unlike any other war story you have ever seen in your life.”

Robert Schenkkan on why Hacksaw Ridge took ten years to realize and is “unlike any other war story you have ever seen in your life.”

 Brock Swinson

Taylor Sheridan on Sicario and Hell or High Water

Taylor Sheridan on Sicario and Hell or High Water

Taylor Sheridan discusses research, challenging the audience, and the importance of being selfish.

Taylor Sheridan discusses research, challenging the audience, and the importance of being selfish.

 Brock Swinson

Finding the Emotional Core of Zootopia

Finding the Emotional Core of Zootopia

Byron Howard, Rich Moore, and Clark Spencer on pop culture references in Zootopia, the Disney collaboration model, and serious themes in animation.

In Disney Animation, story is king. For the film Zootopia, seven creators worked to shape the story that began in the mind of Byron Howard. In the later portion of their five-year battle to bring the Zootopians to life, major plot changes occurred while they remained true to an idea of discussing prejudices frankly, through […]

 Christopher McKittrick

King of the Swingers: Justin Marks on The Jungle Book

King of the Swingers: Justin Marks on The Jungle Book

Screenwriter Justin Marks on Jon Favreau, how Apocalypse Now and Goodfellas influenced The Jungle Book, and his dream project, Top Gun 2.

By Christopher McKittrick. After the massive box office success of Tim Burton’s Alice in Wonderland, Walt Disney Pictures began exploring producing other feature film versions of the studio’s beloved animated classics. Of the recent live-action remakes perhaps the most surprising was The Jungle Book, which Disney had originally made as an animated film in 1967. […]


Video Store

Joss Whedon on Screenwriting

Richard Walters