OSCARS 2017

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

 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.

1 2 3

Video Store

Joss Whedon on Screenwriting

MFA in Screenwriting