Write On: 'Rustin' Writer Julian Breece

Write On: A Screenwriting Podcast

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محتوای ارائه شده توسط Yan Vinterfeld and Final Draft. تمام محتوای پادکست شامل قسمت‌ها، گرافیک‌ها و توضیحات پادکست مستقیماً توسط Yan Vinterfeld and Final Draft یا شریک پلتفرم پادکست آن‌ها آپلود و ارائه می‌شوند. اگر فکر می‌کنید شخصی بدون اجازه شما از اثر دارای حق نسخه‌برداری شما استفاده می‌کند، می‌توانید روندی که در اینجا شرح داده شده است را دنبال کنید.https://fa.player.fm/legal

Silver Linings with The Old Gays

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Our Chosen Family 33:19

16 روز پیش33:19

پخش در آینده

لیست ها

پسندیدن

دوست داشته شد

33:19

What’s the secret to lasting friendships? How does queer community show up through the ebbs and flows of life? And what’s the REAL story behind the “YMCA” song? In the first episode of Silver Linings, The Old Gays dive into an essential part of queer life: chosen family. They discuss the vital love, support, and sense of belonging that community provides, especially during life's toughest moments. They open up about what “queer” means to them, how chosen family has impacted their lives, and how to maintain close bonds over time–including their love for each other! “We’ve come a long way, baby.” Family isn’t just what you’re born with; it’s the people who show up, shape you, and stick around. See omnystudio.com/listener for privacy information.…

۲ سال پیش 29:09

MP3•خانه قسمت

“Be sneaky and read every script that you can get your hands on. If you can work in a studio, read the original draft, read the revisions, see how the script got to the final script. That's what I was doing. I would use the opportunities of working in that system to learn,” says screenwriter Julian Breece on Final Draft’s Write On Podcast.

Julian, along with Dustin Lance Black, wrote Rustin, the new biopic about little-known civil rights activist Bayard Rustin, played exquisitely by actor Colman Domingo. Rustin, alongside Martin Luther King, helped make the 1963 March on Washington a pivotal moment in the Civil Rights Movement, while dealing with racism and homophobia as an out gay Black man in the 1960s.

Julian shares his inspiration for writing the film, Bayard Rustin’s belief in non-violent civil disobedience and what it was like working with Ava DuVernay on the Netflix series When They See Us.

Julian also talks about sneaking his own scripts into the reading pile while he was working at Disney and other risks he took to help jumpstart his career. Take a listen to the podcast to see what you can learn from Justin’s journey.

144 قسمت

#Tech #Filmmaking #Television #Writing #Cinema #Yan Vinterfeld #Final Draft #Screenwriting #Storytelling #Books and Writing

Write On: A Screenwriting Podcast

Write On: 'Rustin' Writer Julian Breece

Write On: A Screenwriting Podcast

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published ۲ سال پیش

اشتراک گذاری

MP3•خانه قسمت

Julian shares his inspiration for writing the film, Bayard Rustin’s belief in non-violent civil disobedience and what it was like working with Ava DuVernay on the Netflix series When They See Us.

144 قسمت

#Tech #Filmmaking #Television #Writing #Cinema #Yan Vinterfeld #Final Draft #Screenwriting #Storytelling #Books and Writing

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Write On: A Screenwriting Podcast

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Write On: 'Running Point' Showrunner David Stassen 34:12

۵ روز پیش34:12

34:12

“It’s not ripped from the headlines. We’re not using any of [the Buss family’s] real-life stories and putting them into our show. Because Mindy [Kaling], Ike [Barinholtz], and I have so many influences like Arrested Development , 30 Rock , The Office and Succession , we’re coming up with our own fun stories and fun situations to put this dysfunctional, very wealthy, successful family into a blender and then have them going back and forth and arguing and solving problems together and against each other,” says David Stassen, showrunner of Running Point , about taking inspiration from Los Angeles Lakers’ President, Jeannie Buss’s family and turning it into a hit TV show. In this episode, we chat with David Stassen, showrunner and co-creator of the Netflix show, Running Point , that’s just been given the greenlight for Season 2. The show centers on Isla Gordon (Kate Hudson), the daughter of a powerful basketball magnate. She’s now taken the helm of the legendary team with the help – or hindrance – of her four well-meaning but unpredictable brothers. While firmly set in the brawny world of basketball, Stassen talks about the true core of Running Point , which revolves around the siblings trying to earn the love of their deceased father. To get this particular narrative right, Stassen says the writers room spent a lot of time focusing on the family dynamics and differentiating each character’s struggles and traits. Much of the comedy in the show comes from the clashes between the siblings and their attempts to live up to their father’s fierce expectations. Stassen also talks about how the character Isla, a woman at the center of a very male-dominated universe, relies on speeches from gangster films to communicate with her basketball team. “Movies transcend our society. So, I think it’s a great way to connect and even if you haven’t seen Casino , most people know that Joe Pesci is viewed as a very scary person on film. We were lucky enough to get the rights to show a scene. So even if you didn’t know anything about it, you got to see the moment. It’s just a fun thing to have this beautiful, airy Kate Hudson taking on these roles of the tough Italian mobster or the contract killer getting revenge for his dead dog, like John Wick . And I guess it probably speaks to something bigger about this show – about a woman in a man’s world. But at the same time, Isla is powerful in her own way, right? She’s powerful 95% of the time just being herself and standing up for herself. And then the fun flourishes are maybe using a movie reference to illustrate a point,” says Stassen. To hear more about Running Point and Stassen’s advice to TV writers, listen to the podcast.…

Write On: A Screenwriting Podcast

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Write On: 'Hurry Up Tomorrow' Director/Co-Writer Trey Edward Shults 39:05

12 روز پیش39:05

39:05

“It was a lot of empathizing. I would do long phone calls with Abel (Tesfaye, aka the Weeknd) after we had met, just basically talking to him and finding out more of his history, where he was at in different phases of his life, where he’s at today, and using those to create a character. And part of creating that character is I’ll find my own personal stuff to attach to it… Portions of his life I can relate to very much. And past all of that, I think this is the deepest I’ve gone with my therapy background and my mom and stepdad being therapists. I tried to make the movie work to where if you just want to watch the movie at surface value and go on a ride with it and experience it and not think about it again, hopefully it works on that level. But also if you want to look at it and interpret it on a whole deeper, hopefully richer level, there’s a lot going on,” says Trey Edward Shults, director and co-writer of the new film Hurry Up Tomorrow on how he took Able “the Weeknd” Tesfaye’s story and made it personal to him. On today’s episode, we sit down with writer/director Trey Edward Shults to discuss his new film Hurry Up Tomorrow that stars the Weeknd, Jenna Ortega and Barry Keoghan, about a rock star who goes on an existential odyssey after losing his voice on stage. Shults shares his journey to becoming a filmmaker, working with visionary director Terrence Malick, making the highly biographical film Krisha (2014), and the shockingly ominous horror film It Comes at Night (2017). He also shares this advice for writing your first film: “It has to be something you are so hungry to tell. And it has to be something you would die to make. You know what I mean? At least to me, my approach was I like to make stuff personal and they always say like, write what you know, write the personal thing. But I just think it needs to be something you’re crazy hungry to do no matter what,” says Shults. To hear more, listen to the podcast.…

Write On: A Screenwriting Podcast

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Write On: 'Nonnas' Screenwriter Liz Maccie and Director Stephen Chbosky 38:25

14 روز پیش38:25

38:25

“Sometimes it’s easier to find and access your truth through ‘pretend’ characters. So I had this embarrassment of riches of this true story but in my heart, I was like, ‘I totally get to tell my truth!’… So my advice is find a way to do it, and if you have to do a mind trick by saying, ‘I’m writing this pretend character’ that’s fine, but put all the stuff that’s real to you into that pretend character, because I find there is an immense amount of freedom in being able to write through these characters because they aren’t exactly my family, they are pieces of them. Writing your truth is possibly the scariest thing, but your truth only belongs to you, you are the person who experienced it in the exact way you experienced it. Know that you are giving a great gift to the world by doing it,” says Liz Maccie, screenwriter for the new film Nonnas , about how to make someone else’s story personal to you. On today’s episode we chat with Nonnas screenwriter Liz Maccie and director Stephen Chbosky about turning this true story into a heartfelt movie about a man who risks everything to honor his late mother by opening an Italian restaurant with actual grandmothers as the chefs. Maccie and Chbosky, a real-life married couple, talk about their own families and how they were able to put pieces of themselves on the screen. They discuss the hilarious Nonnas’ food fight scene and how to balance grief with humor in the writing. “I feel that the other side of grief is hope,” says Maccie, adding, “Because I have lost so much of my family, sometimes you’re drowning in the grief. Then you have that moment when you suddenly feel that spark of hope again… we are all going to lose someone, even losing a pet. When we love something, someone and it goes away it’s a devastating feeling and I think that connects us.” Chbosky shared this advice for writers: “The one bit of solace or encouragement that any writer of any age can find is that sometimes, the more specific you write about your experience the more universal the script and the movie is… I really am a humanist at heart. I believe in using this art form to find ways to unify people, inspire them and certainly give them hope, put on their shoes and go at it the next day, I just think that when you write about your own personal experience it can lead to great things. And it doesn’t mean that it has to be a dramedy or comedy, it could be horror, it could be sci-fi, it could be any genre that you feel as long as it is specific to you.”. To hear more, listen to the podcast. Nonnas is currently streaming on Netflix.…

Write On: A Screenwriting Podcast

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Write On: 'Shadow Force' Director/Co-Writer Joe Carnahan and Co-Writer Leon Chills 28:59

20 روز پیش28:59

28:59

“For me, I don’t know how you could not make [a script] personal. I think drama allows you to hide how personal it is. I think that’s kind of what I like about writing in the genre space. On the outside looking in, it just looks like a big action movie. It doesn’t look like a personal story. But there are personal elements like my mom was a working mom as well. And so that’s why you have Kyra in the movie who has to come back to her son because she’s been working to protect him. That’s a very personal thing… but you would never assume that it’s a personal story because it’s wrapped up in the action,” says Leon Chills, co-writer of the new film Shadow Force , about writing action from a very personal point of view. On today’s episode, we talk with director/co-writer Joe Carnahan and co-writer Leon Chills about the new action flick Shadow Force that puts a family at the center of the action. With a bounty on their heads, Kyra (Kerry Washington) and Isaac (Omar Sy) must go on the run with their young son (Jahleel Kamara) to avoid their former employer, a unit of shadow ops that has been sent to kill them. Carnahan and Chills talk about the challenges of writing action set pieces and the power of giving the story emotional weight. We also discuss trying to push the boundaries of the action genre to invent set pieces that are fresh and inventive, and writing action scenes on the page that are compact and concise. “As an older writer and doing it as long as I have, I’ll tell screenwriters, if I see four or five lines of scene description, I’m telling you, do it in two. Do it in one. Let people spend 40 minutes reading your script. No more. You know what I mean? Get through it with that kind of economy. If you’ve ever read M. Night Shyamalan’s Sixth Sense script – it’s an absolute masterclass in how to do that. Just so sparse and beautiful and pitch perfect the way that things are written,” says Carnahan. To learn more about action writing and hear more advice, listen to the podcast.…

Write On: A Screenwriting Podcast

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Write On: 2024 Big Break Short Film Winner Brandon Osterman and Seed&Spark 42:22

21 روز پیش42:22

42:22

On today’s episode, we speak to writer Brandon Osterman, whose short script ‘The Naughty List’ won last year’s Final Draft Big Break Short Screenplay Category. As part of his prize package, he received a consultation with Sav Rodgers, Marketing Manager for Seed&Spark, the film industry’s most popular crowdfunding platform. Sav joins the conversation to tell us exactly what crowdfunding is and help all writers understand that funding for their project is possible to achieve. “Who is your audience? At Seed&Spark, we always say that great crowdfunding is audience building first and fundraising second. While there is definitely a fundraising need, finding your audience is invaluable… Something that I always tell prospective crowdfunders is you already have the tools you need to do this. You know how to tell a story. You're here because you're a storyteller. You know how to invite people in. You already know how to talk about yourself persuasively,” says Sav Rodgers. Osterman also shares his journey creating his award-winning short script and gives advice to writers who are thinking of creating their own short film project. “I don't think there's been a better time to be making short format content than right now. The demand for it seems to be expanding every time I turn around. I think if that's something that you're interested in, go after it. You know, I think there are more opportunities to distribute that form of content than there have ever been. I think we've got a generation now that's grown up with TikTok and social media and much shorter, digestible content that, whether it's conditioning or just sort of lowering of attention spans, I think more people are more tuned into short form content than they have ever been before. It's a really, really exciting time to be making shorts,” says Osterman. To hear more about the short filmmaking process and crowdfunding, listen to the podcast.…

Write On: A Screenwriting Podcast

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Write On: 'Good American Family' Co-Showrunners Katie Robbins and Sarah Sutherland 43:22

21 روز پیش43:22

43:22

“One of the things we talked a lot about in the room is that very rarely do people set about their day saying, ‘Okay, I’m going to go do some evil.’ But for most people, we’re all sort of the leads in our own stories and we’re all crafting the narrative of who we want the world to see us as. And we do start to believe that. You tell yourself these stories about yourself that you want to be true and you move through the world and you make decisions based on that narrative. And I think that one of the things that as writers, we really try to do is get into the shoes and the heads of the characters that we’re writing and really try to break down why they’re doing what they’re doing and make it feel as real and true as possible. The things that these characters believe – or convince themselves that they believe – have to feel really real and grounded to us,” says Katie Robbins, co-showrunner of Good American Family , on writing flawed characters who prefer to live in fantasy, not reality. On today’s episode of Write On, we speak to Katie Robbins and Sarah Sutherland, co-showrunners on the explosive limited series, Good American Family . The show tells the story of a midwestern couple who adopts what they believe is little girl with dwarfism. Soon they are in the midst of a battle fought in the tabloids, the courtroom and ultimately their marriage. The show is based on the real-life story of Natalia Grace that made many headlines. Robbins and Sutherland talk about the unusual yet brilliant structure of telling various episodes from different characters’ points of view, and how the tone changed when they got to the episodes told from Natalia’s perspective. They also talked about the messiness of writing a dysfunctional family while still keeping the story grounded. “We all know family is this wonderful, beautiful thing, but it’s so complex. And I think that it’s really hard to talk about the complexities of family because we’re afraid to undermine the sacredness of it. It’s my view that if we are actually more open about what is hard about coexisting as a unit who loves each other, but also what’s not perfect, it would make us all better. And I think that that’s true both for family but also even for our enemies. We’re not writing autobiographies, but I think that we take those very real emotional experiences that we all have and then put them into a story that is cinematic, that is more interesting than our lives, but that is deeply steeped in those real moments of heartache and joy and confusion,” says Sutherland. To learn more, listen to the podcast but be aware there are SPOILERS ahead.…

Write On: A Screenwriting Podcast

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Write On: 'NCIS Origins' Showrunners David J. North and Gina Lucita Monreal 37:42

۷ weeks پیش37:42

37:42

“If you can make the twists [in the story] hit your character in an emotional way and set up their emotional arc, then when the case twist intersects with them, if it's hitting them in the deepest way, in the most unexpected way, maybe – then you've done your job. So it's getting that emotional arc to really bounce off of the crime story in the most impactful way,” says Gina Lucita Monreal about the most powerful way to fuse together story and character. On today’s episode, we talk with David J. North and Gina Lucita Monreal, showrunners and creators of the CBS show NCIS: Origins that brings a fresh perspective to one of television’s most beloved franchises as it dives into the early career of a young Leroy Jethro Gibbs (played by Mark Harmon in the original NCIS ). Set in the 90s, NCIS: Origins taps into the nostalgia of the era, from great music from bands like Pearl Jam to life with pagers and payphones. North and Monreal discuss getting to know each other a decade ago writing for the original NCIS , and how now they are pushing the boundaries of procedural television by creating more complex, character-driven storylines. “The biggest challenge for us isn't the going back to the 90s. I mean, I think for a lot of procedural writers, that would have been a challenge, that you're losing the DNA and the fingerprints, all that stuff. But for Gina and I, that's not really ever the way we leaned into NCIS or wrote the show. Our episodes were definitely more about the characters, so that's what we looked forward to. And obviously in each episode of Origins , it's very character based. I would say the most difficult part of going back is just sticking to canon, knowing it. Weaving in and out, trying to, when you hit something and saying, ‘Okay, well, we know this happened in season three of NCIS ,’ so trying to honor it while also using it to our advantage – that's difficult. We get beat up a lot on X, and sometimes we have to just pick a path,” says North about the challenges of writing beloved characters with a lot of well-known history. To learn more about North and Monreal’s writing process and hear their advice for emerging TV writers, listen to the podcast.…

Write On: A Screenwriting Podcast

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Write On: 'Dying for Sex' Co-Creator & Co-Showrunner Kim Rosenstock 46:57

۷ weeks پیش46:57

46:57

On today’s episode of Write On, we chat with Kim Rosenstock, co-creator and co-showrunner for the new limited series, Dying For Sex , starring Michelle Williams, Jenny Slate and Sissy Spacek. Based on a true story, Dying for Sex is about a woman diagnosed with metastatic breast cancer who abandons her husband of 15 years to begin a journey of sexual discovery. Rosenstock talks about her background as a playwright, nearly missing out on the opportunity to write for the hit show New Girl , and navigating the complicated tone of Dying For Sex that balances a woman having unconventional, often hilarious sexual escapades with facing her own mortality. “We need humor the most as human beings, so don’t be afraid of injecting humor and joy and levity into these sort of subject matters… If you have the impulse to make it funny or to make it feel joyful or hopeful, lean into that and don’t be afraid of it. I also think that is what makes it feel real, actually. To me, that makes it feel more honest, not the other way around… I think what's exciting is that audiences are embracing these kinds of stories that can kind of go into darker and lighter places at the same time,” says Rosenstock about mixing joy and sadness in Dying For Sex. To hear more, listen to the podcast. Please be advised the interview includes discussion of sexual abuse. Dying for Sex is currently streaming on Hulu.…

Write On: A Screenwriting Podcast

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Write On: 'The Residence' Creator & Showrunner Paul William Davies 43:07

۹ weeks پیش43:07

43:07

“I didn’t really set out to make Cordelia (Uzo Aduba) quirky. I just wanted to make her distinctive. I just really thought about who I wanted her to be and how I thought [birdwatching] would be an interesting way for her to approach her job. And the very first thing that came to me was just her use of silence and her ability to just be comfortable in situations that might make other people uncomfortable. And it’s a quality that I’ve seen in certain people that I’ve always admired and been fascinated with because there’s nobody quite like Cordelia, but I’ve seen glimmers of it,” says The Residence creator and showrunner Paul William Davies about creating his lead character Cordelia, a detective who uses her birdwatching skills as framework for solving cases. On today’s episode, we talk with Paul William Davies about The Residence , the new Shondaland show streaming on Netflix. Set behind closed doors at the White House, The Residence follows an offbeat detective, Cordelia Cupp (Aduba), as she investigates the murder of a lead member of the White House staff. Davies says the idea came to him watching a hearing on C-SPAN that went into details of the White House’s layout. But the show is more than just a game of Clue set in the upstairs-downstairs world of 1600 Pennsylvania Ave. The show goes deep into character and offers plenty of laughs along the way. Davies talks about what he’s learned working with television revolutionary Shonda Rhimes, the intense work that goes into structuring a murder mystery, and shares his advice for anyone who may be working on their own TV mystery. “I think it’s really important that you think about what the environment is that you’re having this murder mystery in, and making the motive something that feels like it’s related to the world that you’re working in. In most murder mysteries, the murderer is doing it for money or for love or lust. And that’s probably in 98% of the ones that you read. And that’s fine… But I think really giving a lot of thought to, what is the motive here? How do I keep it organic to this world and these people, as opposed to it just being grafted onto it, which I think sometimes does happen. Make sure that the killer is doing something that feels like it’s part of that world for a reason that is related to that world,” he says. To hear more, listen to the podcast.…

Write On: A Screenwriting Podcast

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Write On: Peter Katz - Manager & Producer, Story Driven 35:04

10 weeks پیش35:04

35:04

“Sameness is terrible. Your goal is to cut through it. If you have a unique perspective, you’re going to take vampires or anything that everybody thinks they know and do it in a way that’s really exciting and gets people really pumped up about it. There are all these incredible worlds to explore, but there just needs to be somebody that can take you there that has a different way of doing it… I want to see creators that offer something specific and unique. Specificity is key to me. I don’t want a cover band. I don’t want people covering what has been before. I want to see something new. I want to see a badass band with a new singer or new lyrics, a new style of music,” says Peter Katz, founder of Story Driven, a literary management and production company. On today’s episode, we speak to Peter Katz, a manager and producer championing writers with fresh, unique voices who are forging new ground. We talk about what he looks for in a writing sample, why he loves being a judge in Final Draft’s Big Break screenplay competition, and why short stories are having a bright moment in the film industry. “Recently, I’ve actually seen TV executives starting to think about short stories as a foundation for potential shows. It’s a really effective way to communicate an idea quickly, in a really conceptual way, but also, it’s not like a pitch. It’s very tonal. You have character perspective and you have the style that the author brings to it. So I think it has a really unique marriage between pitching the concept, but also immersing you in a world in a very short period of time. That’s why I think it’s been effective in selling to a market, because you could share a short story with somebody and it doesn’t demand a lot of time. If it’s developed properly, you’re able to learn about the potential of this project and then quickly share with somebody else on your team. And overnight, a lot of people can sign on to a project because it doesn’t take as long as other mediums,” says Katz. To hear more about Katz’s perspective on the industry and what he looks for in a writer’s voice, listen to the podcast.…

Write On: A Screenwriting Podcast

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Write On: 'Long Bright River' Showrunner Nikki Toscano 35:44

12 weeks پیش35:44

35:44

“With an adaptation, you can never give back your first read. So, what are you taking away? What fills your soul? Why do you want to tell this story? And then that becomes sort of the North Star. And I’m tethered more by that North Star than by the actual moves that are happening in the book,” says Long Bright River showrunner, Nikki Toscano, about adapting Liz Moore’s best-selling novel for television. Long Bright River is an emotional suspense thriller that follows Mickey (Amanda Seyfried), a police officer in a Philadelphia neighborhood hit hard by the opioid epidemic. As a string of murders unfolds, Mickey must find her missing sister who’s also battling addiction before it’s too late – but long buried family secrets stand in the way. On the surface, the show is a highly engaging murder-mystery, but beneath the whodunnit is a love story between two sisters. We chat with Toscano about delving into the sisterly dynamic that is both compassionate and toxic at the same time. Toscano shares tools for building an enticing mystery that includes giving your characters secrets to help drive the story. “I think that in the beginning of anything, you have to determine what your character wants and then put a bunch of people or things in that character’s way. So that’s how secrets are born, right? And that’s how you have your audience leaning in. Is the secret going to come out? Who’s going to tell the secret? You and I could be having a conversation and I say, ‘Don’t tell anybody!’ And then the next scene is you being in a situation where do you tell, do you not tell? It’s about setting up those kinds of things. I mean, whenever building any kind of show, whether it’s an adaptation or not, determine what your character wants and then stick a bunch of people between them and that goal that either complement or compromise your character’s journey,” says Toscano. To hear more, listen to the podcast. Long Bright River streams on Peacock March 13.…

Write On: A Screenwriting Podcast

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Write On: Comedy Writing with Brent Forrester 41:50

15 weeks پیش41:50

41:50

“My recommendation to anybody who is writing animation is to take advantage of the things you can do in animation that you can’t do in live action, which is to spend an infinite amount of money, right? If you and I are going to write a scene and you say, ‘Oh, let’s set it on a battleship, but then space aliens come and suddenly we’re transported to Jupiter,’ it better be animation because if it’s not, we’re never going to be able to shoot that. But if it is animation, that’s exactly what we should be doing all the time. You want to create the most expensive set in the world because it costs nothing to draw that battleship and send us to Jupiter. And that’s really the glory of an animated show,” says Brent Forrester, about what he learned writing for The Simpsons for three seasons. On today’s episode, we chat with Emmy-winning writer Brent Forrester about his prolific comedy writing career that includes shows like The Office , King of the Hill and Space Force . He shares why the writing room for The Simpsons was so intimidating and his surprise when The Office showrunners had to teach him the specific tone and structure for the show after he turned in his first episode and just wasn’t getting it. “I had gotten the tone wrong – it was largely my attempt to make it wall to wall funny. I wasn’t getting that you really had to make it serious. There were other aspects, too, that I had to pick up. One of them is the use of what are called ‘talking heads.’ It’s when the character speaks directly to camera. It comes from reality TV where they pull the subject of a reality show aside and ask them a question and they just speak directly to camera. So we stole that device and it’s a great crutch for writers because one of the hardest things for us is getting the exposition across,” says Forrester. He also shares his advice for writing a great TV pilot that will hook the reader and offers a simple formula for writing jokes by mixing the sacred with the profane. To hear more, listen to the podcast.…

Write On: A Screenwriting Podcast

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Write On: 'The Performance' Co-Writer Josh Salzberg 43:38

17 weeks پیش43:38

43:38

“Fugler (Robert Carlyle) was a character that I really connected with from the beginning. I know it sounds a little strange that the Nazi was my way into this, but it really was that idea of, ‘How can we get inside his head and make sure that he’s a fully fleshed out person that way?’” says Josh Salzberg about trying to make his villain, a Nazi named Damien Fugler, a three-dimensional character. Josh Salzberg wrote the screenplay for The Performance with co-writer/director Shira Piven. In this episode, Salzberg talks about the challenges of adapting a short story by playwright Arthur Miller that’s about a Jewish-American tap dancer (Jeremy Piven), who’s willing to compromise his own core values to find fame and fortune in Nazi Germany. “The idea of all [the characters] is that they’re all performing on some level. They all have another life. And that’s true to show business, that we all have sides of ourselves that we’re not sure we want everybody to see or that it’s okay for everybody to see. And then in Berlin in the ‘30s, there’s all these different communities that were impacted – not just the Jews in Germany,” he says. Salzberg also talks about his background as a film editor, how it helped him transition to screenwriting, and the challenges of writing morally compromised characters like his protagonist, Harold. “I think embracing the mistakes that they make, embracing those flaws and leaning into that is important. Sometimes we can care about our characters to the point where we want them to be likable, which is a note we always get, but we’ve got to be okay with the mistakes – and the consequences for those mistakes. And that was a lesson that Shira and I kept learning as we were developing the script,” he says. To hear more about Salzberg’s writing process, listen to the podcast. Please note: this episode contains discussions regarding racism and anti-semitism.…

Write On: A Screenwriting Podcast

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Write On: 'Inside Out 2' Co-Writers Meg LeFauve and Dave Holstein 1:00:55

18 weeks پیش1:00:55

1:00:55

“People think sequels are easier, and I’m like, ‘No, no, it’s much harder. It is much harder to write.’ They have never written sequels, those people, because you need to do everything as well as the first and yet better, and go to new places, follow all the world rules, but create new ones. I mean, it’s just so many balls in the air,” says Meg LeFauve, co-writer for Inside Out 2 , along with Dave Holstein. In this special live episode from the Writers Guild Foundation Library, Meg LeFauve and Dave Holstein talk about tackling a whole new set of challenges as they wrote the sequel to the beloved movie Inside Out . They also discuss the 5-year Pixar development process that includes the concept of failing fast. “They really want you pushing to things that are new and innovative, so they expect you to fail. They actually want you to fail but they want you to do that quickly, right? Because we only have five years, so it’s always like, hurry up, hurry up. You know, fail. Go again. Go again,” she says. Holstein shared some very personal advice for writing coming of age stories, like the Inside Out movies: get micro-focused. “Sometimes it’s better to zoom in than to zoom out. For me, it helps to zoom in on a detail and let the detail be a microcosm for the rest of it. I know that when we were writing this film, I was thinking about my anxiety at that age and where that came from. I had a speech impediment, I had a stutter, so I hated Spanish class because I had to read out loud, and my stutter always came out in front of people, which made me very, very anxious. And I feel like, for Riley, there’s a three-day hockey camp that could determine the rest of her life. That’s where I sort of sunk into and if I was writing a different story about me, I would have gone into those details. But for me, it was about finding something very specific and very small,” says Holstein. To hear more about the writing process, listen to the podcast.…

Write On: A Screenwriting Podcast

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Write On: 'The Boys' Creator & Showrunner Eric Kripke 56:45

19 weeks پیش56:45

56:45

“The most subversive thing this show could do is make you cry… If you really boil down television, really cook it in the pan, it’s the character business. I’m in the character business. Movies are in the plot and spectacle business, for television, there’s a thing about laying in bed and watching someone in your bedroom or living room that you really care about, you’re inviting these people into your house. The more you care about them, the more your show will succeed. There’s no simple formula, but you could boil down every single TV show to if the characters work, that show is likely going to work. If the characters don’t work, no matter what that show is, no matter how much money you throw at it, that show is not going to work,” says Eric Kripke, creator and showrunner for The Boys on Prime Video. In this special episode hosted by screenwriting career coach Lee Jessup live from the Writers Guild Foundation in Los Angeles, Kripke talks about the functions of a showrunner, the excellent training he got doing 15 seasons of the show Supernatural , and what it’s like when the real world mirrors the darker aspects of The Boys . Kripke also shares his sage advice for writing dialogue. “I was interviewing people about their life experiences – it was a romantic comedy so I was asking people about their love lives. I wanted to transcribe it, so I had about 20 hours of material that I’m just transcribing and that’s how I learned to write dialogue, just from doing that because you learn how people really speak. No one speaks in straight, declarative sentences. It’s this weaving thing where they’ll start and they’ll back away and throw in a new idea. When you start to pay attention to what real language looks like on a page, it’s very different than what you think it looks like. So, to know what it looked like and how to recreate it, was huge. I recommend everyone try that,” says Kripke. To hear more, listen to the podcast. You can also watch this episode here.…

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