Go Into The Story

As always, one of the first things I did when opening the script for Tár was to see how long it is.

Normally, the opposite is true: Long scripts with shorter run times. For example, The Social Network is 163 pages. Its run time: 2 hours.

Story and Self-Identity

Every story raises this question about the Protagonist: “Who are you?”

Deadline’s Strike Talk Podcast With Billy Ray And Todd Garner

Episode 5: Featured guests independent movie producers Julie Lynn & Bonnie Curtis.

Read ‘The Last Of Us’ Script “Long Long Time”

With an introduction from the episode’s writer Craig Mazin.

Page One: “Disobedience” (2017)

Written by Sebastián Lelio & Rebecca Lenkiewicz, based on the novel by Naomi Alderman

“The hard is what makes it great”

Wisdom about writing and creativity from the movie A League of Their Own.

Screenwriting: Alexander Payne on appealing characters vs. sympathetic characters

“I hate when movie people say, ‘Your lead character has to be sympathetic,’ which for them means ‘likable.’ I don’t give a shit about…

Black List Suspends Studio Memberships

Lowers scribes’ fees in support of WGA strike

Interview (Written): Amy Holden Jones

Screenwriter Cole Haddon’s in-depth conversation with writer-director-producer whose credits include Mystic Pizza, Indecent Proposal, and…

Page One: “Die Hard with a Vengeance” (1995)

Written by Jonathan Hensleigh, certain original characters by Roderick Thorp

Know Movies

You hear this a lot in script meetings: “It’s like that scene in…”

Script Analysis: “Tár” — Part 5: Dialogue

A week-long analysis of the screenplay for the award-winning drama. Download. Read. Discuss.

TV’s Streaming Model Is Broken. It’s Also Not Going Away.

For Hollywood, figuring that out will be a horror show.

Is the key to creativity “unlearning”?

What if everything we have learned in our lives has actually diminished our creativity?

Page One: “Die Hard 2” (1990)

Screenplay by Steven E. de Souza and Doug Richardson, based upon the novel “58 Minutes” by Walter Wager, certain original characters by…

What Is an “Operational Theme” and Why Don’t I Have One?

An excellent article by Javier Grillo-Marxuach whose TV writing-producing credits include Charmed, Boomtown, Lost, Medium, and Cowboy…

Script Analysis: “Tár” — Part 4: Themes

A week-long analysis of the screenplay for the award-winning drama. Download. Read. Discuss.

How streaming caused the TV writers strike

A video featuring four writers talking about how the way scripted television is made nowadays has transformed the careers of writers.

The Ins and Outs of Writing Credits

“Are screen credits that important or have the writers been paid upfront and the credit system is more for show and a the resume?”

Page One: “Demolition Man” (1993)

Screenplay by Daniel Waters and Robert Reneau and Peter M. Lenkov, story by Peter M. Lenkov and Robert Reneau

Psychology and Storytelling: The Nemesis as the Protagonist’s ‘Shadow’

Ask your Protagonist: What do you fear the most? Their Shadow. Then put them in a story where they have to confront that fear: Their…

Script Analysis: “Tár” — Part 3: Characters

A week-long analysis of the screenplay for the award-winning drama. Download. Read. Discuss.

TV Shows Affected By WGA Strike

The list includes Stranger Things, Cobra Kai, Yellowjackets, and Abbott Elementary.

Script To Screen: “Toy Story”

“Alright everyone, this is a stick-up! Don’t anybody move! Now empty  that safe!”

Page One: “Date Night” (2010)

Written by Josh Klausner