Saturday Hot Links

Time for the 295th installment of Saturday Hot Links, your week’s essential reading about movies, TV, streaming, Hollywood, and other things of writerly interest.

‘Star Wars’: Han Solo Film Loses Directors.

‘Star Wars’: Why the Han Solo Directors Were Fired.

Han Solo Firing Proves Studios’ Franchises Don’t Want Directors To Be Storytellers.

Han Solo Film Firing May Force Directors Guild to Make Tough Choices.

Ron Howard Steps in to Direct Han Solo Movie.

Was the Han Solo Movie a Good Idea for a ‘Star Wars’ Spinoff?

Inside Warner Bros. Pictures Chief Toby Emmerich’s Vision for the Studio and DC Universe.

Warner Bros. Eyes Slimmed-Down Movie Budgets Under Toby Emmerich.

No, Gal Gadot Isn’t Making 46 Times Less Than Henry Cavill.

As ‘Wonder Woman’ Soars, Movies Starring Men Fail to Connect at Box Office.

The Lessons Universal (and Hollywood) Should Learn From ‘The Mummy’.

Finding Meaning in ‘The Book of Henry’, the Best Worst Movie of the Year.

How Sony Learned to Cede Control to Marvel on ‘Spider-Man: Homecoming’.

‘Cars 3’ Is a Surprising Step Forward for Pixar Diversity.

‘Cars 3’ Ending: Brian Fee Reveals the Film’s Alternate Conclusions.

Can ‘Coco’ breathe new life into Pixar — and make audiences tackle death?

Child Development Expert Claims Disney Stole Idea for ‘Inside Out’.

Study: CAA Finds That Diverse Films of All Budgets Fare Better at Box Office.

Why Hollywood Still Underestimates Black Films.

California Today: Hollywood’s Comeback.

Writers Guild of America, West Announces Candidates for 2017 Officers and Board of Directors Election.

5 Hollywood Power Players Who Are Testing the Digital World.

The Moves Tech Giants Just Made That Should Terrify Hollywood.

Interactive Moviemaking Technology to Be Unveiled in July in Hollywood.

A New Rating for TV and Movies Tries to Combat Gender Stereotypes.

China Film Finance Model Evolving In Reaction to Market Shakeup.

Why ‘A Dog’s Purpose’ Soared in China While ‘Lego Batman’ Flopped.

Federal Government Says Popular Hollywood Films Were Made With Illegal Money.

The Upwards Failing of Colin Trevorrow and Why It Matters.

‘La La Land’ Director Damien Chazelle on Ageism and Dumb Studio Notes.

How Eleanor Perry Changed the Way We Saw Women in the Movies.

An Oral History of Quentin Tarantino as Told to Me By Men I’ve Dated.

My Wild Summer With Tom Cruise: Women, Sean Penn and the Making of ‘Risky Business’.

The Original Plot For ‘Anchorman’ Was Too Weird For Paul Thomas Anderson.

Ira Glass on Donald Trump, ‘Serial’ Season 3 and Why He Hates Producing Movies.

Drive-in movies thrive in a streaming world.

BAFTA Unveils Winners of Student Film Awards.

Why watching tragic movies like ‘Logan’ is actually good for you.

How the Summer Blockbuster Was Born.

Emmys: TV Outpaces Oscar Campaigning With More Content to Promote Than Ever.

Emmys 2017: TV’s Top Showrunners Pick Their Favorite Shows.

‘Better Call Saul’ Writer Gennifer Hutchison on Season Three’s Grim Finale.

‘Watchmen’ TV Series From Damon Lindelof in the Works at HBO.

‘The Leftovers’: The Best Shots of the Final Season, Chosen by Director Mimi Leder.

‘GLOW’ Bosses on Why They Wanted to Make a Female Wrestling Comedy.

The Coen Brothers Western TV Series Reportedly Starts Shooting Next Month.

Breaking the Screen: Direct Address in ‘House of Cards’ and ‘Fleabag’.

How Netflix Ticks: Five Key Insights From the Company’s New Corporate Culture Manifesto.

‘Oh, Hello’ and the Netflix Comedy Bubble.

Netflix’s Next Big Move? Hacking the Oscars.

Amazon Studios Moving Into Culver Studios’ Famed ‘Gone With The Wind’ Mansion?

Hulu Users Lead the Way as Cord-Cutting Accelerates.

The Apple Phase of Peak TV Has Arrived. Maybe.

Time Warner Signs $100 Million, 10 Show Deal With Snap.

Twitch and Blizzard Announce Two-Year Worldwide Collaboration.

Sizing Up BuzzFeed: Could This Unicorn Ever Go Public?

Cracked Founder Exits to Create Comedy Division at HowStuffWorks.

YouTube Reaches 1.5 Billion Monthly Viewers.

The 25 Most Anticipated Tours of Summer 2017.

Chuck Wendig: Some Thoughts On Writing A Scene.

Scriptnotes: Episode 305.

Watch: Spielberg Suspense.

Screenwriting Master Class tip of the week

Prep-writing is essential to the success of page-writing.

As I say: There is no right way to write. Each writer is different. Each story is different. There is no single universal approach that works for everyone.

However in my view, it is impossible to overstate the importance of prep-writing. Brainstorming. Character development. Research. Plotting. Index cards. Outline. However you do whatever you do leading up to FADE IN, do it and do it an immersive, thoughtful way.

In other words, break your story in prep.

I understand writers have an itch to get into the page-writing, which is great because that can help overcome the single greatest challenge of writing: depositing one’s ass onto one’s chair to actually write.

However we have to balance that out with finding the story.

Some writers absolutely loathe and can’t handle any sort of prep. They simply have to type FADE IN (or if a novel, crack open that file) and have a go at it. Nothing wrong with that… if it works.

Repeat: You may be a writer who either cannot abide the process of prep-writing or find it actually inhibits your creativity. Whatever approach you discover that works for you, even if it involves little or not prep work, good luck and go with God.

First, in my experience a writer is much less likely to finish a script if they haven’t figured out at least the major plot points before they type FADE IN. If they get lost, confusion sets in. If they are not finding the story, their enthusiasm wanes. At some point, frustration enters, then bitterness, then rejection. Another script on the Died On The Vine pile.

Second, even if they do manage to get to FADE OUT — and acknowledging that a first draft is always going to be rough — unless they do 10–15 drafts, I doubt they will ever find the story they could have discovered if they had fully immersed themselves in it in prep. That is one of the big values of brainstorming and character development especially, giving yourself the freedom to explore and test out a wide variety of narrative options as opposed to narrowing the field of choices before surfacing other possibilities.

Third, if a writer wants to have a realistic chance at succeeding as a professional writer, they have to be able to turn around stories in an efficient manner. You sign a contract on a writing assignment giving you ten weeks to deliver, you’d better be prepared to do precisely that. Having figured out whatever sort of approach to prep you use is a big plus in that regard rather than watching the ink dry on your contract, then going, “Uh, what do I do now?”

On a side note, if you have any interest in writing TV, whether you like prep-writing or not, you are simply going to have to embrace it. For example in one-hour dramas with narrative arcs that extend over the course of one or more seasons, they break all or almost all of that out before divvying out scripts to individual writers. In fact, I think it’s safe to say a majority of time in the writers room is devoted to breaking stories (after shooting the shit and eating snacks, of course).

So different strokes for different folks and all that. And yes, we all want and need to leave room for the mysteries and surprises of stories to reveal themselves. If a full outline stifles your creativity, don’t do a full outline.

However for writers not of that ilk, my point is you need to figure out the story somehow. Why not do it in prep? Then you can concern yourself in page-writing with all the fun stuff of writing — scene description, character interaction, scene construction, transitions, atmospherics — rather than desperately attempting to sort out what goes where, does this work, oh my God, I’m lost.

Finally let me say this. I have seen writers get ‘converted’ on this point. Many who had never done much in the way of prep, some who said they knew it wouldn’t work for them. After I got done working with them, it was like the heavens opened and the light of revelation shone down upon them. I’m not kidding. I have dozens of testimonials to that effect.

The essence of prep-writing is really quite simple: Get curious about your characters. Engage them, get to know them, interact with them, listen to them, ponder their personal histories, delve into their personalities, dig, dig, and dig some more. If you do that in a thoughtful way, the story, indeed the plot itself will emerge as a natural part of the prep process.

I’ve seen it happen over and over and over and over again, which is why I say to most writers…

Break your story in prep.

If you are interested in learning a proven, professional approach to story prep, consider taking my Prep: From Concept to Outline workshop. I’m only offering one more online session in 2017, beginning July 17.

The beauty of this approach is three-fold:

• You can go into the page-writing part of the process with confidence because you’ve already broken the story.
• Since you won’t be overwhelmed with finding the story when writing pages, you can focus your creativity where it should be — characters, dialogue, themes, mood, pace, etc.
• By devoting six weeks to prep, you will almost assuredly cut the overall amount of time you spend writing your script and increase the odds you will finish your draft.

Here are a few testimonials from writers who have participated in the Prep: From Concept to Outline online workshop:

“‘From Concept to Outline’ is a course I wish I had known about a couple of years ago. I would recommend this whole-heartedly for anyone who is about to embark on their first script or ANY script. This lays the foundation stone to your story.” — Camilla Castree

“This has been an outstanding class. I’ve taken a few from other sources and most don’t live up to their promises (they shall remain nameless). But here, I’ve learned so much and gotten way more than my money’s worth.” — Daniel O’Donahue

“I went into Scott’s Prep class doubting I’d ever finish a script; I came out with the tools, confidence and inspiration to power through a complete first draft in just a few months. Amazing!” — Jessica Sada

Hurry. I’m limiting the number of roster spots to ensure I have enough time to provide the extensive feedback in I do for each writer’s weekly assignments and overall story development.

To learn more or enroll, go here.