Craig and John tackle another installment of “How would this be a movie?” with a look at the Kentucky clerk, the French train bros, Uber and Deflategate. Who are the heroes and villains, and would there be enough plot to support the running time?
We also explore the happy-sad feeling of finishing a screenplay.
Only two-weeks left to pre-order a Scriptnotes t-shirt. Don’t miss out!
Craig and John open the mailbag to answer questions on acronyms in dialogue, off-the-air specs and international WGA jurisdiction. Plus we look at the growing trend of non-disclosure agreements on studio projects, and whether the nature of film requires less complex characters.
The big news: we have new Scriptnotes t-shirts! They’re available only by pre-order, and only for a short time. Join us at the store as we talk through the three designs, ranging from the classic logo, to vintage Camp Scriptnotes to an all-new Three-Act Structure blueprint by listener Taino Soba. Orders must be in by THURSDAY, SEPTEMBER 17th. (Link below)
John and Craig sit down with Marielle Heller, the writer and director of the acclaimed feature The Diary of a Teenage Girl, to talk about the journey of getting her movie made, from optioning the novel to the Sundance Labs through production.
We discuss sex scenes and ’70s wallpaper, anamorphic lenses and leaving subplots on the cutting room floor. Plus there’s a lot of MacGruber.
Heller’s film is in US theaters now, and expanding week-by-week. Don’t miss it.
Craig and John look at how movies are translated, including an interview with a guy who does subtitles for a living. Plus, how Pixar and other companies are localizing movies for international audiences, and what happens when China becomes the largest film market.
The USB drives are back in the store, and we’re close to announcing our picks for the next Scriptnotes t-shirt. (You can see some of the entries on our Facebook page.)
John and Craig discuss why movie heroes — unlike those in novels or musicals – generally don’t profess internally conflicting views. In reality, our feelings on a topic are likely shades of gray. On the big screen, characters tend to articulate a single point firmly.
We also discuss the last few things we do when getting ready to submit a script.
Then it’s time for three new entries in the Three Page Challenge, with Nazis, nukes and noir.
Craig and John look at best practices for screenwriters promoting their films, both in traditional media and online. We’re not subtweeting anyone, and neither should you.
Also this week: more on reshoots, Stretch Armstrong and selective editing of quotes in movie reviews.
John and Craig take a deep look at how descriptive audio for the blind works, with clips from Daredevil and an interview with a woman who does it for a living. It’s a fascinating form of writing, with many of the same challenges screenwriters face.
Also this week: Capitals, capitalization, the WGA financial numbers, and answers to a bunch of listener questions.
If you have a Scriptnotes t-shirt design, the deadline is August 11th. Click the link below for details.
Reshoots used to be a sign that something had gone horribly wrong. But not anymore. John and Craig look at the reasons why Hollywood movies often go back for additional photography, and how the writer is involved.
Also this week, arbitration esoterica about the “final shooting script,” descriptive text for the blind, and news about the Austin Film Festival. (We’re going.)
It’s been almost a year since the last round of Scriptnotes t-shirts. So let’s print some more. We likely have amazing artists among our listeners, so if you have a design for a shirt you want to see, follow the link below for details. (The deadline for submissions is August 11th.)
John and Craig take a deep dive into scene description, looking at how seven produced screenplays arranged the words on the page. With samples from Aliens, Erin Brockovich, Oceans 11, Unforgiven, Wall-E, Wanted and Whip It, we tackle verbs and metaphors, ellipses and underlining.
You can look at the show notes to see the exact scenes we’re discussing.
Also this week, Paramount has cut a deal with two exhibitors to greatly shorten the window between theatrical and home video on two upcoming releases. We look at why, and what this experiment means for writers in the near and long-term.
Craig sits down with Silicon Valley writer/director Alec Berg to talk about set ups and payoffs, editing comedy and how writing teams get screwed.
Also this week: Tess Gerritsen gives up, but that’s not the end of you-stole-my-idea lawsuits.
The 200-episode USB drives are in the store, but for how long? If you want one, don’t wait.