Scott Myers

Spec Script Deal: “Set It Up”

MGM acquires romantic comedy spec script “Set It Up” written by Katie Silberman. From Deadline: The script carves a nice little romantic comedy niche in the The Devil Wears Prada corporate world. The logline: two overworked assistants with nasty bosses try to get their supervisors out of their hair, by

Daily Dialogue — February 19, 2016

Sy Parrish: Are you a family man, Detective? Detective James Van Der Zee: That’s none of your business, Sy. Sy Parrish: You’re right, it’s not. But I can see by your response and the ring on your finger that you are. That makes you a fortunate man.

Reader Question: Are there differences between seeking representation with a manager versus an agent?

An email from Dave M: Hey Scott, There’s a lot of talk about getting an agent and all that but what about managers? To me, they seem to be especially important for newbies. What are your thoughts on this and are the rules of pursuit the same or different,

The Toughest Scene I Wrote: “The Martian”

Once again, Vulture does screenwriters a solid: Vulture is speaking to the screenwriters behind 2015’s most acclaimed movies about the scenes they found most difficult to crack. In an article about the movie The Martian, screenwriter Drew Goddard talks about the challenge of handling exposition in a key scene:

Script Analysis: “Gone Girl” — Part 4: Themes

Reading scripts. Absolutely critical to learn the craft of screenwriting. The focus of this weekly series is a deep structural and thematic analysis of each script we read. Our daily schedule: Monday: Scene-By-Scene Breakdown Tuesday: Plot Wednesday: Characters Thursday: Themes Friday: Dialogue Saturday: Takeaways Today: Themes. I have

2016 Dialogue-Writing Challenge: Day 14

Last year at this time, we did a month-long Dialogue-Writing Challenge. It was a big success with dozens of writers participating. We all learned quite a bit about this important aspect of the craft plus we had some fun in the process. So I’ve decided to bring

The Business of Screenwriting: Commencement of principal photography

There are several significant days in a screenwriter’s life. There’s the phone call. Your first big paycheck. Your first day on a movie set. The day your movie premieres. Yes, those are some mighty fine days. And your own fantasies about breaking in as a screenwriter may well

Daily Dialogue — February 18, 2016

TAI LUNG: I have come home, Master. SHIFU: This is no longer your home, and I am no longer your master. TAI LUNG: Oh, yes, you have a new favorite. So, where is this “Po”? Did I scare him off? SHIFU: This battle is between you and me. TAI LUNG:

Athena Film Festival Black List Mini-Lab Class

I will be in New York City for the next few days for a number of events related to the Athena Film Festival. One event I’m excited about is this presentation on Thursday: This year for the first time the Athena Film Festival is partnering with the Black List

The Toughest Scene I Wrote: “Straight Outta Compton”

Once again, Vulture does screenwriters a solid: Vulture is speaking to the screenwriters behind 2015’s most acclaimed movies about the scenes they found most difficult to crack. In an article about the movie Straight Outta Compton, Oscar-nominated screenwriters Jonathan Herman and Andrea Berloff reveal the logistical hurdles they

Script Analysis: “Gone Girl” — Part 3: Characters

Reading scripts. Absolutely critical to learn the craft of screenwriting. The focus of this weekly series is a deep structural and thematic analysis of each script we read. Our daily schedule: Monday: Scene-By-Scene Breakdown Tuesday: Plot Wednesday: Characters Thursday: Themes Friday: Dialogue Saturday: Takeaways Today: Characters. Characters are

2016 Dialogue-Writing Challenge: Day 13

Last year at this time, we did a month-long Dialogue-Writing Challenge. It was a big success with dozens of writers participating. We all learned quite a bit about this important aspect of the craft plus we had some fun in the process. So I’ve decided to bring

Great Scene: “Night Shift”

One of the classic 80’s comedies is Night Shift (1982), written by the prolific screenwriting team Lowell Ganz & Babaloo Mandel, and directed by Ron Howard. And if asked if you remember one scene from that movie, it’s most likely this one: The “prostitution” scene, where Bill Blazejowski

Daily Dialogue — February 17, 2016

“It’s ours. Ours!” — The Lord of the Rings: The Return of the King (2003), screenplay by Fran Walsh & Philippa Boyens & Peter Jackson, novel by J.R.R. Tolkien The Daily Dialogue theme for the week: Obsession, suggested by Angie Soliman. Trivia: Gollum says the word “precious” seventeen

Ticket Giveaway: “The Psychology of Story-Telling” with Lindsay Doran

She’s known as “The Script Whisperer” and unlike so-called screenwriting gurus, Lindsay Doran has the street cred to back it up. To wit: Back by Popular Demand! On March 3rd at 7:30 pm at the Writers Guild Theater, Lindsay Doran may change everything you think you know

Interview (Written): Alex Garland (“Ex Machina”)

A Creative Screenwriting interview with Alex Garland, nominated as co-writer for a 2016 Academy Award for Best Original screenplay for Ex Machina: How did you describe Ava’s physicality on the page? Let me find it on my phone…It says: “We see Ava, a robot girl. She’s

Script Analysis: “Gone Girl” — Part 2: Plot

Reading scripts. Absolutely critical to learn the craft of screenwriting. The focus of this weekly series is a deep structural and thematic analysis of each script we read. Our daily schedule: Monday: Scene-By-Scene Breakdown Tuesday: Plot Wednesday: Characters Thursday: Themes Friday: Dialogue Saturday: Takeaways Today: Plot. In every

2016 Dialogue-Writing Challenge: Day 12

Last year at this time, we did a month-long Dialogue-Writing Challenge. It was a big success with dozens of writers participating. We all learned quite a bit about this important aspect of the craft plus we had some fun in the process. So I’ve decided to bring

Screenwriting 101: David Fincher

“The thing I always say to any writer that I’m working with is: Just make sure that in any argument, EVERYONE is right. I want every single person arguing a righteous side of the argument. That makes interesting drama.” — David Fincher Via Film Savvy Comment Archive

Daily Dialogue — February 16, 2016

“You think I’m crazy? Well, listen up, there’s a storm coming like nothing you’ve ever seen, and not a one of you is prepared for it.” — Take Shelter (2011), written by Jeff Nichols The Daily Dialogue theme for the week: Obsession, suggested by Angie Soliman. Trivia: Michael

How good are you at handling exposition?

In Hollywood, there is a saying I’ve heard more than once: “Exposition = Death.” Why? Because nothing can bore readers more than the delivery of setting, information, data and backstory. Yet every script, play or story you write requires you to include exposition. That’s why I created the Screenwriting

Interview (Written): Matt Charman (“Bridge of Spies”)

A Creative Screenwriting interview with Matt Charman, nominated as co-writer for a 2016 Academy Award for Best Original screenplay for Bridge of Spies: As a Brit, what was it about James Donovan’s American story that captured your interest? A great character is a great character, wherever they’re

Script Analysis: “Gone Girl” — Part 1: Scene By Scene Breakdown

Reading scripts. Absolutely critical to learn the craft of screenwriting. The focus of this weekly series is a deep structural and thematic analysis of each script we read. Our daily schedule: Monday: Scene-By-Scene Breakdown Tuesday: Plot Wednesday: Characters Thursday: Themes Friday: Dialogue Saturday: Takeaways Today: Scene-By-Scene

2016 Dialogue-Writing Challenge: Day 11

Last year at this time, we did a month-long Dialogue-Writing Challenge. It was a big success with dozens of writers participating. We all learned quite a bit about this important aspect of the craft plus we had some fun in the process. So I’ve decided to bring

On Writing

“What you want is practice, practice, practice. It doesn’t matter what we write (at least this is my view) at our age, so long as we write continually as well as we can. I feel that every time I write a page either of prose or of verse, with