Podcasts about screenwriters

Storytelling is more than entertainment — it's a moral act. In this episode of The Storyteller's Mission, Zena Dell Lowe explores the danger of stories replacing standards — and what that means for writers. When trust collapses and authority becomes unaccountable, storytellers are often asked to shape meaning and moral judgment. But assigning verdicts before exploring truth turns story into propaganda, even with the best intentions.Learn how to:Recognize the difference between moral clarity vs. moral coercionAvoid letting your story pre-judge or manipulate the audiencePreserve complexity, nuance, and consequences in fictionTrust your audience to wrestle with truth rather than forcing conclusionsWhether you write drama, historical fiction, or speculative worlds, this episode is a must-watch for writers committed to truthful, morally responsible storytelling.Watch this episode on YouTube Free Resources for Writers:Free Video Tutorial for ScreenwritingSign up for The Storyteller's Digest, my exclusive bi-monthly newsletter for writers and storytellers. Each edition delivers an insightful article or practical writing tip straight from me, designed to help you master your craft and tell compelling stories.The Storyteller's Mission Podcast is now on YouTube.  Subscribe to our channel and never miss a new episode or announcement.

Hammo first saw writer Michael Okon's work on Instagram where he breaks down scenes from movies and provides unique insight into the subtext you might have missed. Movies like Eyes Wide Shut, Prometheus, and more took on added depth, so Hammo reached out to have a one-on-one conversation about his work. Have a listen and go to https://www.michaelokon.com/ to find out more about his work. Hosted on Acast. See acast.com/privacy for more information.

Watch the best scene reading: https://www.wildsound.ca/videos/horror-festival-1st-scene-reading-grad-nite-by-sion-raize-interview While enjoying an overnight celebration at a regional theme park, a group of graduating high school students are targeted by a vicious killer wearing a dragon mask. What is your screenplay about? Grad Nite centers around a group of high school seniors on an overnight field trip to a theme park where mutilated bodies begin to pile up. What genres does your screenplay fall under? This is a slasher, a horror slasher, with a dash of coming-of-age for depth. Why should this screenplay be made into a movie? Slashers as a horror subgenre are unique in that nostalgia and familiar beats are expected and celebrated just as much as originality. It's the originality in Grad Nite that is unlike any other slasher you've ever read or seen. These are characters that are sidelined in other stories, taking center stage here, with a unique tone and energy that is patented me (Sion-Raize). —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Watch the best scene reading: https://www.youtube.com/watch?v=pk8FWeuRhTA A young man navigates the weeds of dating apps while tending to his makeshift compost pile. Get to know the writer: What is your screenplay about? My goal was to parellel new age dating with, kind of, urban farming or composting. With dating apps, intentions are often vague and can result in so many failed attempts. Often times you can find what you're looking for without even lookingm in a more natural way. I tried to equate that to something that actually happened to me, when tomatoes started growing out of my own compost pile. Seemed like a fun little juxtaposition. What genres does your screenplay fall under? I guess romance and a little bit of comedy? I'd like to expand on this at some point and include more drama. Why should this screenplay be made into a movie? I think a lot of people would be able to relate given the oversaturation of dating apps and the dissociation that can accompany that, when the next person is just a swipe away. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Mary Iannelli sits down with Playwright and Screenwriter, Sarah Congress to discuss the role of the script doctor.  What do they do?  What value do they add to a project, the skills needed to do the job and the pitfalls you may encounter.Credits:Audio Engineer Gary GlorOne Heartbeat Away is provided to The Theater Project by Gail Lou References:Sarah Congresshttps://sarahcongress.com/Playwrights Horizonshttps://www.playwrightshorizons.org/Downtown Urban Arts Festivalhttps://www.duafnyc.com/Jersey Shore Film Festivalhttps://jerseyshorefilmfestival.com/Nabisar Filmshttps://www.nabisarfilmsus.com/SUNY Purchase Collegehttps://www.purchase.edu/Caryn Whitmanhttps://www.crunchbase.com/person/caryn-whitmanVasana Ventureshttps://vasanaventures.com/"Delulu" by Sarah CongressThis play was a semifinalist in a new play festival and was scheduled for a reading in October 2025. Sarah Congress is a playwright and script doctor, but her professional websites and social media do not offer the full script for public access. It is a new work still in the process of development and production.Centre Stagehttps://centrestage.org/Actors Guild https://www.actorsguild.org/Ego Actushttps://egoactus.com/

This week on Who's Your Band?, Jeffrey Paul and Sean Morton welcome filmmaker and author Nathan Waire, aka Nathan Zen-Sapien. Nathan shares his journey from early HBO acting gigs to writing and producing indie films — including pitching his latest project Human Game to MGMThey dive into the realities of financing independent films, horror movie influences like The Shining, using independent artists for soundtracks, and the hustle it takes to survive in the entertainment industry.Plus — as always — music talk, movie debates, and classic Who's Your Band? chaos.

Watch the Best Scene Reading: https://youtu.be/5sBVY0wv-Rw Awaken the Medium is a feature-length script that follows the story of Maggie Samson, whose latest near-death experience thrusts her into discovering her gifts and powers. Maggie is a librarian in her forties. Married to Chris, a professor, with whom she has a son, Justus Samson, now eleven years old. Maggie arrives at a crossroads, unaware of the challenges and mysteries that await her. http://leebicematheson.ca/ What is your screenplay about? Grief, family, love, fear, supernatural events, spiritual awakening.Stanley Kubrick once said - while filming Stephen King's The Shining - 'anything that says there's something after death is an optimistic story.' Awaken the Medium is a feature-length script that follows the tale of Maggie Samson, whose latest near-death experience thrusts her into discovering her gifts and powers. Maggie is a librarian in her forties married to Chris, a professor, who is rooted in science-based belief, with whom they have a son, Justus Samson, eleven years old. Maggie arrives at a crossroads, unaware of the challenges and mysteries that await her. In the aftermath of her parents' tragic death, Maggie decides to move her family into a beautiful house. However, soon after they move in, things begin to happen, strange things. Noises, shadows, unexplainable visions, mirages - every minutiae like this becomes so overwhelming that Maggie realizes she must stop the evil forces nested in the house before it's too late and she or her son and husband are harmed. Maggie meets a medium, Roberta, who helps her acknowledge her gifts. She discovers that she is a medium, a psychic, and a believer, hence the mirages, the telepathic conversations with her son, and the ability to converse with her deceased parents. With this newly found knowledge, Maggie, joined by her skeptical husband, and loyal son, embark on a quest to close the portal to evil she opened, and shut the evil down, once and for all. This script is loosely based on my near-death experience, and our family's transformation after my parents died. Awaken the Medium has been described as 'an elevated supernatural thriller which includes multicultural and spiritual intersectionality: Indigenous wisdom, Catholic doctrine, and parapsychology converging to shape the thematic framework. The use of the "liminal veil" as a metaphysical threshold is a compelling symbolic anchor, deepening the narrative beyond a haunted house cliche. The inclusion of generational trauma, grief, and psychic-medium inheritance gives the story emotional weight and thematic resonance.' J.R. Elliott, Script Adviser. —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Brandon Violette is a Screenwriter, podcaster, and speaker. He was most recently the Head Writer for ROBOGOBO and PUPSTRUCTION at Disney Television Animation and the Co-Creator/Head Writer of COCOMELON LANE, one of Netflix's top-performing preschool series. In addition to his screenwriting work, Brandon is the host of THE STORY SERIES PODCAST, where he interviews writers, showrunners, filmmakers, authors, and creators about the rules they broke to build lasting careers. You can listen to his podcast here: https://podcasts.apple.com/us/podcast/the-story-series-podcast-with-brandon-violette-for/id1799336043 In this interview, we talk about overcoming personal prejudices regarding preschool content, the development of COCOMELON LANE, storybook testing in local preschools, prioritizing character dynamics over world-building, networking, and much more. Want more? Steal my first book, INK BY THE BARREL - SECRETS FROM PROLIFIC WRITERS, right now for free. Simply head over to www.brockswinson.com to get your free digital download and audiobook. If you find value in the book, please share it with a friend, as we're giving away 100,000 copies this year. It's based on over 400 interviews here at Creative Principles. Enjoy! If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60 seconds, and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom of your iTunes Podcast app and click “Write Review"). Enjoy the show!

Anke Blondé and Angelo Tijssens present "Dust" in Competition at the 76th Berlinale, a drama on masculinity and corporate collapse. The post “Dust”, interview with director Anke Blondé and screenwriter Angelo Tijssens appeared first on Fred Film Radio.

Anke Blondé and Angelo Tijssens present "Dust" in Competition at the 76th Berlinale, a drama on masculinity and corporate collapse. The post “Dust”, interview with director Anke Blondé and screenwriter Angelo Tijssens appeared first on Fred Film Radio.

Anke Blondé and Angelo Tijssens present "Dust" in Competition at the 76th Berlinale, a drama on masculinity and corporate collapse. The post “Dust”, interview with director Anke Blondé and screenwriter Angelo Tijssens appeared first on Fred Film Radio.

Anke Blondé and Angelo Tijssens present "Dust" in Competition at the 76th Berlinale, a drama on masculinity and corporate collapse. The post “Dust”, interview with director Anke Blondé and screenwriter Angelo Tijssens appeared first on Fred Film Radio.

Anke Blondé and Angelo Tijssens present "Dust" in Competition at the 76th Berlinale, a drama on masculinity and corporate collapse. The post “Dust”, interview with director Anke Blondé and screenwriter Angelo Tijssens appeared first on Fred Film Radio.

Anke Blondé and Angelo Tijssens present "Dust" in Competition at the 76th Berlinale, a drama on masculinity and corporate collapse. The post “Dust”, interview with director Anke Blondé and screenwriter Angelo Tijssens appeared first on Fred Film Radio.

Ray Schwetz gets business empowerment from Gina Falke, a screenwriter, model, inventor, and author of the novel "Princess Djina" and the novelized script, "Second Chances."

In this ScreenFish 1on1 interview, Fiona Samuel, screenwriter of PIKE RIVER, discusses the responsibility of bringing history to life on screen. She reflects on the crucial aspects of Anna and Sonya's characters and how she worked to bring them to life. Fiona also delves into the idea that tragedy often forces us to confront hard questions, exploring why it takes moments of loss to provoke deep societal reflection and action.PIKE RIVER is available on VOD/Digital on January 30th, 2026.

Watch the best scene reading: https://www.youtube.com/watch?v=FtEe_5Vpqzo Omar & a group of boys manage to escape the Sudan Civil War & make it to America after experiencing the most horrific fight for their lives. What is your screenplay about? It's about the Sudanese civil war. The lost boys of Sudan and highlights the terror the orphans went through. Based on true events. What genres does your screenplay fall under? action/adventure also war if those count as one. Why should this screenplay be made into a movie? a story that is not often told from a country where stories are not often highlighted. Tells the story of how to overcome loss and the power of community in that process. Something people can relate to on a global scale via current events. How would you describe this script in two words? survivors guilt. Two brothers going on parallel journeys and struggling through a catastrophe. —- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Watch the best scene reading: https://www.youtube.com/watch?v=R2VAxv7qARQ Lee is hired to bring the seducer of a young woman to daddy for his particular vengeance. Daddy is an Arizona drug baron. The seducer works for daddy's Mexican partner. Then too many people with guns and the wrong ideas intrude. And the job just got complicated. Get to know the writer: What is your screenplay about? I will place the logline here for reference: A down-on-his-luck enforcer is hired to bring a young woman's seducer back to Daddy for a particular vengeance. Daddy is an Arizona drug baron. Seducer works for Daddy's Mexican partner. Then too many people with guns jump to half-baked conclusions. And the job just got complicated. And now, what is the story really about. And that is that people often draw the conclusions they want to, and will not be dissuaded by facts. They will rely on preconceptions and assumptions, and jump to the most comfortable, palatable conclusions. The cliche line would be “go with your gut”, the $20 version would say “cognitive bias”. A secondary idea is the danger of mixing personal beefs with business (especially when the action is based on those faulty assumptions). Our protagonist, Lee, the above-mentioned enforcer, tries to figure out what is really going on while others are going off half-cocked (with loaded guns). Those are the ideas that underpin the story. Or we can just enjoy the action, the guys, the gals, the guns, the big old cars, and maybe even spot the hommage à Peckinpah – think The Getaway meets Bring Me the Head of Alfredo Garcia (the vibe, not the plot points). What genres does your screenplay fall under? a) Action b) Crime, in the sense that all the characters are involved in crime or related to criminals, and law enforcement c) Contemporary western, in its setting, and the number of wannabe gunfighters Why should this screenplay be made into a movie? Because, if done right, it would be a fun 110 mins, with enjoyable characters in a crazy action-packed situation. And those who choose can ponder the deeper meanings of the film. —- Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Host Jeff Goldsmith talks to screenwriter Matthew Robinson about Good Luck, Have Fun, Don't Die. Download my podcast here Copyright © Unlikely Films, Inc. 2026. All rights reserved. For more great content check out Backstory Magazine @ Backstory.net

Paul Chitlik is an award-winning screenwriter, producer, director, and internationally respected educator who has written for major studios and networks in both English and Spanish. He served as story editor for MGM/UA's The New Twilight Zone and staff writer for Showtime's Brothers, and has developed features for numerous production companies. He earned a Writers Guild of America nomination for The Twilight Zone, a GLAAD Media Award nomination for Los Beltrán, and a Genesis Award for a Showtime Family film.He wrote, produced, and directed the feature The Wedding Dress. A longtime UCLA instructor and clinical professor at Loyola Marymount University, Chitlik has taught screenwriting worldwide and is the author of the influential craft book Rewrite. In this podcast, we discuss Paul's latest book - The Screenwriting Sensei.Support the showFor more information on Lovinder Gill's best-selling book "Scriptcake Secrets" or his public speaking schedule, please check out www.lovinder.com.

Send a textToday's episode is my conversation about the 1930 film The Big House. I'm joined by Lewis Beer who writes the Slow Moving Pictures newsletter, and we talk about the key themes that weave throughout the film, how the writing of the film helps propel the narrative forward, and some of the real life prisoners and prison personnel that inspired characters in the film. You can watch The Big House on YouTube or Tubi or grab a copy of the film on DVD for yourself, and be sure to check out Lewis's newsletter.Other films mentioned in this episode include:The Letter directed by Jean De LimurA Woman Under the Influence directed by John CassavetesThe Divorcee directed by Robert Z. LeonardAll Quiet on the Western Front directed by Lewis MilestoneRoofman directed by Derek CianfranceMin and Bill directed by George HillAlibi directed by Roland WestThe Case of Sergeant Grischa directed by Herbert Brenon (lost film)Red-Headed Woman directed by Jack ConwayThe Champ directed by King VidorAnna Christie directed by Clarence BrownThe Big Parade directed by King VidorThe Flying Fleet directed by George HillOther referenced topics:"Frances Marion: Hollywood's Favourite Storyteller""The Woman Who Invented the Hollywood Screenwriter" by Pamela HutchinsonOff With Their Heads: A Serio-Comic Tale of Hollywood by Frances MarionWithout Lying Down: Frances Marion and the Powerful Women of Early Hollywood by Cari Beauchamp"Frances Marion: Censorship and the Screenwriter in Hollywood, 1929-1931" by Leslie Kreiner WilsonPrison Movies: Cinema Behind Bars by Kevin KehrwaldNew York Times review by Morduant Hall"Life in and out of a Penitentiary" by John C. MosherFrancis Marion receiving her Oscar for Best WritingSupport the show

Can curiosity and empathy be taught? How can we expand our sense of solidarity through stories? In this episode, we explore the internal dialogues of artists, actors and writers to ask what it means to step into someone else's shoes.(0:00) Novelist Jim Shepard discusses Literature as a Tool for Emotional Education and Exploring History(2:05) Tony Award-winning Actor Neil Patrick Harris on Being Moved by Theater and its Ability to Bridge Worlds(3:55) Novelist Katie Kitamura on How a Book is Made in Collaboration with the Reader(5:00) Screenwriter, Playwright Laura Eason on Inhabiting the Hearts of Characters Different from Ourselves(6:03) Academy Award-winning Director Sharmeen Obaid-Chinoy on the Art of Visual Storytelling(6:37) Cinematographer, Director Benoit Delhomme on the Freedom of Handheld Cinematography(7:19) Author Etgar Keret on Looking for Humanity through Shared Intention(8:18) Viet Thanh Nguyen – Opposing Power through Expansive Solidarity(9:27) Adam Moss – Author, Fmr. Editor New York magazine on “The Work of Art”(10:29) John Patrick Shanley – Tony & Academy Award-winning Writer, Director on Finding Value in Ordinary Experiences and the Creative Power of Daydreaming(11:56) Pulitzer Prize-winning Journalist Nicholas Kristof on Why Individual Stories are Necessary to Generate ConnectionTo hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Can curiosity and empathy be taught? How can we expand our sense of solidarity through stories? In this episode, we explore the internal dialogues of artists, actors and writers to ask what it means to step into someone else's shoes.(0:00) Novelist Jim Shepard discusses Literature as a Tool for Emotional Education and Exploring History(2:05) Tony Award-winning Actor Neil Patrick Harris on Being Moved by Theater and its Ability to Bridge Worlds(3:55) Novelist Katie Kitamura on How a Book is Made in Collaboration with the Reader(5:00) Screenwriter, Playwright Laura Eason on Inhabiting the Hearts of Characters Different from Ourselves(6:03) Academy Award-winning Director Sharmeen Obaid-Chinoy on the Art of Visual Storytelling(6:37) Cinematographer, Director Benoit Delhomme on the Freedom of Handheld Cinematography(7:19) Author Etgar Keret on Looking for Humanity through Shared Intention(8:18) Viet Thanh Nguyen – Opposing Power through Expansive Solidarity(9:27) Adam Moss – Author, Fmr. Editor New York magazine on “The Work of Art”(10:29) John Patrick Shanley – Tony & Academy Award-winning Writer, Director on Finding Value in Ordinary Experiences and the Creative Power of Daydreaming(11:56) Pulitzer Prize-winning Journalist Nicholas Kristof on Why Individual Stories are Necessary to Generate ConnectionTo hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Can curiosity and empathy be taught? How can we expand our sense of solidarity through stories? In this episode, we explore the internal dialogues of artists, actors and writers to ask what it means to step into someone else's shoes.(0:00) Novelist Jim Shepard discusses Literature as a Tool for Emotional Education and Exploring History(2:05) Tony Award-winning Actor Neil Patrick Harris on Being Moved by Theater and its Ability to Bridge Worlds(3:55) Novelist Katie Kitamura on How a Book is Made in Collaboration with the Reader(5:00) Screenwriter, Playwright Laura Eason on Inhabiting the Hearts of Characters Different from Ourselves(6:03) Academy Award-winning Director Sharmeen Obaid-Chinoy on the Art of Visual Storytelling(6:37) Cinematographer, Director Benoit Delhomme on the Freedom of Handheld Cinematography(7:19) Author Etgar Keret on Looking for Humanity through Shared Intention(8:18) Viet Thanh Nguyen – Opposing Power through Expansive Solidarity(9:27) Adam Moss – Author, Fmr. Editor New York magazine on “The Work of Art”(10:29) John Patrick Shanley – Tony & Academy Award-winning Writer, Director on Finding Value in Ordinary Experiences and the Creative Power of Daydreaming(11:56) Pulitzer Prize-winning Journalist Nicholas Kristof on Why Individual Stories are Necessary to Generate ConnectionTo hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Can curiosity and empathy be taught? How can we expand our sense of solidarity through stories? In this episode, we explore the internal dialogues of artists, actors and writers to ask what it means to step into someone else's shoes.(0:00) Novelist Jim Shepard discusses Literature as a Tool for Emotional Education and Exploring History(2:05) Tony Award-winning Actor Neil Patrick Harris on Being Moved by Theater and its Ability to Bridge Worlds(3:55) Novelist Katie Kitamura on How a Book is Made in Collaboration with the Reader(5:00) Screenwriter, Playwright Laura Eason on Inhabiting the Hearts of Characters Different from Ourselves(6:03) Academy Award-winning Director Sharmeen Obaid-Chinoy on the Art of Visual Storytelling(6:37) Cinematographer, Director Benoit Delhomme on the Freedom of Handheld Cinematography(7:19) Author Etgar Keret on Looking for Humanity through Shared Intention(8:18) Viet Thanh Nguyen – Opposing Power through Expansive Solidarity(9:27) Adam Moss – Author, Fmr. Editor New York magazine on “The Work of Art”(10:29) John Patrick Shanley – Tony & Academy Award-winning Writer, Director on Finding Value in Ordinary Experiences and the Creative Power of Daydreaming(11:56) Pulitzer Prize-winning Journalist Nicholas Kristof on Why Individual Stories are Necessary to Generate ConnectionTo hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Can curiosity and empathy be taught? How can we expand our sense of solidarity through stories? In this episode, we explore the internal dialogues of artists, actors and writers to ask what it means to step into someone else's shoes.(0:00) Novelist Jim Shepard discusses Literature as a Tool for Emotional Education and Exploring History(2:05) Tony Award-winning Actor Neil Patrick Harris on Being Moved by Theater and its Ability to Bridge Worlds(3:55) Novelist Katie Kitamura on How a Book is Made in Collaboration with the Reader(5:00) Screenwriter, Playwright Laura Eason on Inhabiting the Hearts of Characters Different from Ourselves(6:03) Academy Award-winning Director Sharmeen Obaid-Chinoy on the Art of Visual Storytelling(6:37) Cinematographer, Director Benoit Delhomme on the Freedom of Handheld Cinematography(7:19) Author Etgar Keret on Looking for Humanity through Shared Intention(8:18) Viet Thanh Nguyen – Opposing Power through Expansive Solidarity(9:27) Adam Moss – Author, Fmr. Editor New York magazine on “The Work of Art”(10:29) John Patrick Shanley – Tony & Academy Award-winning Writer, Director on Finding Value in Ordinary Experiences and the Creative Power of Daydreaming(11:56) Pulitzer Prize-winning Journalist Nicholas Kristof on Why Individual Stories are Necessary to Generate ConnectionTo hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Sadie and Jeanne chat (yet again) with the fabulous screenwriter-turned-therapist Phil Stark (Dude, Where's My Car, "That 70s Show," "South Park") about his new book How to Be a Screenwriter.There's talk of therapy for writing partnerships, the morality of using A.I., what inspired Phil to write a screenwriting book, and how he aimed to bring a new perspective to the bookshelves—by talking about what it's really like to be a screenwriter.Come for the advice, stay for the banter.Resources: Phil's LinkTree where you can find all things Phil Stark.How to Be a Screenwriter by Phil StarkPrevious Reckless episode with Phil Enter Pipeline's Contests:Script Pipeline—Screenwriting/TV/PitchFilm Pipeline—Short Scripts/FilmsBook Pipeline

Screenwriter and actor, Stefanie Preissner, spent many a night there and she shares some memories of Coppers with Oliver.

Haris Orkin is a prolific novelist, playwright, screenwriter, and game writer.  His play Dada premiered at The La Jolla Playhouse. His feature film, A Saintly Switch, was produced by Disney and directed by the great Peter Bogdanovich. Haris has written screenplays for Universal, Sony, Fox, and Paramount.  He's also has written numerous video games, many of which have been nominated for the WGA and BAFTA Film Awards. Games he's worked on include Call of Juarez, Red Alerts, Shadow Warrior, Black Hawk Down, and many others.Haris recently released the sixth book in his James Flynn Escapade series, called From Lompoc With Love. I've read the first book of the series, You Only Live Once, which is one of the cleverest, wittiest, and most fun takes on the superspy genre I've had the pleasure to read. I'm a huge James Bond fan, and I was thoroughly caught up in James Flynn's hilariously delusional and unexpected exploits. The book series has been optioned by producer Sherry Marsh and Will Arnett's company and is currently being shopped to streaming studios.  

I'm very pleased to be joined this week by Matthew Robinson, who is the screenwriter of the new film, Good Luck, Have Fun, Don't Die. It is the rarest of things: a mid-budget, high-concept, sci-fi action-comedy. Starring Sam Rockwell as a time-traveler from a ruined future (or possibly just a bum with a fake bomb strapped to his chest), Robinson and director Gore Verbinski (The Ring, Pirates of the Caribbean) have crafted a piercingly satirical take on our obsession with screens, our inability to deal with the tragedy of modern living, and the creeping fire that all-powerful AI will wind up killing half of us and enslaving the rest. It's opening wide on February 13, and I really hope you check it out. I may write a hair more about it in my newsletter though I probably won't review it properly as I try not to review movies made by people I've interviewed so as to avoid the appearance of a conflict of interest. (Ethics, baby!) That said, I strongly recommend going to see it in a movie theater if for no other reason then to demonstrate that there is an audience for original films with a clear point of view and something to say about our world and our moment. 

Can curiosity and empathy be taught? How can we expand our sense of solidarity through stories? In this episode, we explore the internal dialogues of artists, actors and writers to ask what it means to step into someone else's shoes.(0:00) Novelist Jim Shepard discusses Literature as a Tool for Emotional Education and Exploring History(2:05) Tony Award-winning Actor Neil Patrick Harris on Being Moved by Theater and its Ability to Bridge Worlds(3:55) Novelist Katie Kitamura on How a Book is Made in Collaboration with the Reader(5:00) Screenwriter, Playwright Laura Eason on Inhabiting the Hearts of Characters Different from Ourselves(6:03) Academy Award-winning Director Sharmeen Obaid-Chinoy on the Art of Visual Storytelling(6:37) Cinematographer, Director Benoit Delhomme on the Freedom of Handheld Cinematography(7:19) Author Etgar Keret on Looking for Humanity through Shared Intention(8:18) Viet Thanh Nguyen – Opposing Power through Expansive Solidarity(9:27) Adam Moss – Author, Fmr. Editor New York magazine on “The Work of Art”(10:29) John Patrick Shanley – Tony & Academy Award-winning Writer, Director on Finding Value in Ordinary Experiences and the Creative Power of Daydreaming(11:56) Pulitzer Prize-winning Journalist Nicholas Kristof on Why Individual Stories are Necessary to Generate ConnectionTo hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Can curiosity and empathy be taught? How can we expand our sense of solidarity through stories? In this episode, we explore the internal dialogues of artists, actors and writers to ask what it means to step into someone else's shoes.(0:00) Novelist Jim Shepard discusses Literature as a Tool for Emotional Education and Exploring History(2:05) Tony Award-winning Actor Neil Patrick Harris on Being Moved by Theater and its Ability to Bridge Worlds(3:55) Novelist Katie Kitamura on How a Book is Made in Collaboration with the Reader(5:00) Screenwriter, Playwright Laura Eason on Inhabiting the Hearts of Characters Different from Ourselves(6:03) Academy Award-winning Director Sharmeen Obaid-Chinoy on the Art of Visual Storytelling(6:37) Cinematographer, Director Benoit Delhomme on the Freedom of Handheld Cinematography(7:19) Author Etgar Keret on Looking for Humanity through Shared Intention(8:18) Viet Thanh Nguyen – Opposing Power through Expansive Solidarity(9:27) Adam Moss – Author, Fmr. Editor New York magazine on “The Work of Art”(10:29) John Patrick Shanley – Tony & Academy Award-winning Writer, Director on Finding Value in Ordinary Experiences and the Creative Power of Daydreaming(11:56) Pulitzer Prize-winning Journalist Nicholas Kristof on Why Individual Stories are Necessary to Generate ConnectionTo hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

The Awards Circuit Roundtable recaps some of the highlights of this year's Grammy Awards, starting with Lauryn Hill's triumphant tribute to Roberta Flack and D'Angelo. Also, we look at this week's DGA Awards and what's to come as the Awards Season moves closer to the Oscars. And Oscar nominee Robert Kaplow talks about his screenplay to the film “Blue Moon.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Faith Liu is a writer/director who has written feature films for Blumhouse, FilmNation, Sony Pictures Animation, and Disney. Her directorial debut short “Sundowning” is available online at CryptTV's YouTube channel after a successful festival run. She was a member of the CAPE New Writers Fellowship and Christina Hodson and Margot Robbie's Lucky Exports Pitch Program. Today we are getting into how Faith landed paid distribution for her short film, how she got connected with opportunities to write features for major studios in traditional Hollywood and what she thinks there is to gain from the film festival circuit. EPISODE BREAKDOWN: 1:31 START2:00 - Sundowning, Faith's horror-with-a-heart proof of concept short now out on CryptTV4:10 - Getting paid distribution for a short: CryptTV6:07 - What to gain from film festivals (especially genre festivals)13:20 - Winning the Wes Craven Award16:44 - Going from screenwriter to writer-director19:10 - Crowdfunding $40k for Sundowning23:20 - Signing with Faith's longtime manager Max Goldfarb26:33 - First jobs in support staff on writers rooms of “Warrior” and “Better Call Saul”29:59 - Caren Dulles? 33:50 - CAPE (Coalition for Asian Pacific in Entertainment) New Writers Program & how to pitch yourself in 3 minutes42:15 - Getting connected with writing for multiple Hollywood studios & landing Open Writing Assignment pitches48:10 - Getting into Margot Robbie's Lucky Chap Pitch Program & women who write action51:40 - Faith's advice for screenwriters54:14 - How living situation has impacted creativity 56:00 - What helped Faith persevere 59:04 - TIME CAPSULE

Why do so many change initiatives, town halls and big launches create excitement and then fade with no real behaviour change? In this episode of Truth, Lies & Work, Al and Leanne speak with Lindsey Caplan, a former Hollywood screenwriter turned organisational psychologist, about why leaders struggle to influence groups at work and what actually works instead. Lindsey shares the MOVED Model, a practical framework for driving engagement, influencing behaviour and communicating change in a way that sticks. If you lead teams, present ideas, manage projects or drive transformation, this episode explains why information alone never creates change and what does. What you'll learn Why most workplace change fails Many organisations fall into the transmission trap: the belief that more information leads to better results. More slides, more frameworks and more meetings rarely change behaviour. Real change happens when people feel involved, motivated and emotionally connected. Informing vs influencing at work Influencing one person is very different from influencing a group. Leaders often assume employees are already motivated and aligned, but many are neutral, cautious or distracted. Real change begins with a better question: What do we need people to do differently? Not: What do we need to tell them? The MOVED Model explained Lindsey's framework maps how leaders try to influence behaviour using two key dimensions. Push vs Pull: is change being done to people or with people? Generic vs Personalised: is the message broad or relevant to individuals? These create four outcomes: compliance, awareness, entertainment and engagement. Most organisations aim for engagement but accidentally design for compliance. What Taylor Swift can teach leaders Great performers design experiences that involve their audience. Leaders can do the same by giving people a role in the change, creating curiosity with a central question, sharing emotion as well as expertise and showing why the change matters to employees. The message is simple: perform with people, not at people. Practical leadership takeaways Decide the behaviour you want before designing the message. Pull people into change instead of pushing information at them. Stop saying “I'm excited about this change” and explain why employees should be. Resources and links Take the MOVED Model quiz: https://www.gatheringeffect.com/quiz Connect with Lindsey: https://www.linkedin.com/in/lindseycaplan/ Connect with Truth, Lies & Work Website: https://truthliesandwork.com Email: hello@truthliesandwork.com LinkedIn: https://www.linkedin.com/company/truth-lies-and-work Instagram: https://www.instagram.com/truthlieswork Connect with the hosts Al Elliott: https://www.linkedin.com/in/alelliott/ Leanne Elliott: https://www.linkedin.com/in/leanneelliott/ Mental health support UK & ROI: Samaritans – 116 123 https://www.samaritans.org US: Suicide & Crisis Lifeline – 988 https://988lifeline.org Australia: Lifeline – 13 11 14 https://www.lifeline.org.au Global support: https://findahelpline.com

Part One- We speak with Adam Smith, a free-lance production assistant for TV and radio commercials based in Milwaukee. He is also a screenwriter, and he is organizing a public table read series called "Voices Off Paper" that will feature the work of local screenwriters. Part Two- A portion of a conversation with the late Bob Newhart, talking about his memoir "I Shouldn't Even Be Doing This: And Other Things That Strike Me As Funny."

Can curiosity and empathy be taught? How can we expand our sense of solidarity through stories? In this episode, we explore the internal dialogues of artists, actors and writers to ask what it means to step into someone else's shoes.(0:00) Novelist Jim Shepard discusses Literature as a Tool for Emotional Education and Exploring History(2:05) Tony Award-winning Actor Neil Patrick Harris on Being Moved by Theater and its Ability to Bridge Worlds(3:55) Novelist Katie Kitamura on How a Book is Made in Collaboration with the Reader(5:00) Screenwriter, Playwright Laura Eason on Inhabiting the Hearts of Characters Different from Ourselves(6:03) Academy Award-winning Director Sharmeen Obaid-Chinoy on the Art of Visual Storytelling(6:37) Cinematographer, Director Benoit Delhomme on the Freedom of Handheld Cinematography(7:19) Author Etgar Keret on Looking for Humanity through Shared Intention(8:18) Viet Thanh Nguyen – Opposing Power through Expansive Solidarity(9:27) Adam Moss – Author, Fmr. Editor New York magazine on “The Work of Art”(10:29) John Patrick Shanley – Tony & Academy Award-winning Writer, Director on Finding Value in Ordinary Experiences and the Creative Power of Daydreaming(11:56) Pulitzer Prize-winning Journalist Nicholas Kristof on Why Individual Stories are Necessary to Generate ConnectionTo hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Hosts Tasha Huo and Josh Hallman field a listener question about Free Work, the nemesis of all Screenwriters, and the particular bane of up-and-coming Screenwriters. They talk about their own experiences with Free Work early in their careers and now, how they dealt with them, how best to protect yourself against endless unpaid drafts, and what's realistic about Free Work and our careers as Screenwriters.   Questions / Comments: ActTwoWriters@gmail.com Edited by the GREAT Paul Lundquist

Steve returns to his archives for a 1979 interview with 007 screenwriter Tom Mankiewicz, including a discussion of his involvement on "Moonraker."

Hosts Tasha Huo and Josh Hallman discuss the question we've all gotten from execs -- "Why you?" They discuss why they ask this question, what it means, and how best to answer it, including examples from real-life situations.    TWIW: Tasha just finished her spec adaptation of a book! What next? / Josh battles a coyote, and gets a new story idea / Has Tasha seen all the Oscar movies yet? / Tasha's new mantra: Just Do It!   Questions / Comments: ActTwoWriters@gmail.com Edited by the GREAT Paul Lundquist

Watch the best scene reading: https://www.youtube.com/watch?v=Fj9bGNUIFdY A delightful blend of adventure and emotional depth, reminiscent of films like “Finding Nemo,” where the bond between characters drives the narrative through perilous waters. I thought of “The Shape of Water” as well, with its unique exploration of relationships between humans and extraordinary creatures, creating a sense of wonder and connection. Additionally, “A Monster Calls” came to mind, as it beautifully intertwines fantastical elements Get to know the writer: What is your screenplay about? The screenplay is about Gilly, a decades old, extremely intelligent Giant Pacific Octopus who lives in the Mermaid's Cave in Oahu where she has been gifted an information hub by her marine biologist friend. As time passes, Gilly enhances her ability to shape shift and learns how to communicate. In present day, she saves a government agent who is drowning in the ocean. Their relationship is at the center of the character driven story which unfolds like a chaotic, humorous, fast paced rollercoaster. It climaxes with Gilly and her new found friends saving the Arizona Memorial from attack from North Korea's marine biology program. What genres does your screenplay fall under? My story fits the following genres: Sci-Fi, Fantasy, Thriller, Comedy, with slight traces of Horror. It is suitable for all ages. It can be animated, use live actors, or be a combination of both. Why should this screenplay be made into a movie? I have received extremely positive feedback from multiple industry evaluators. I will use the review by the International Screenwriters' Association to answer this question. “The project presents a distinctive blend of science fiction and emotional drama, anchored by the unlikely relationship between Slip, a disillusioned former agent, and an intelligent, shapeshifting octopus named Gilly. Their connection provides both the narrative's emotional center and its conceptual novelty, exploring trust, survival, and empathy in an unconventional yet interesting context. The tone operates in a deliberately hybrid register, merging high-concept science fiction with a light, often self-aware humor. In its best moments, this tonal elasticity creates a sense of discovery and curiosity, it allows for levity in scenes that might otherwise risk melodrama. The concept itself, an intelligent, shapeshifting octopus that engages with humanity, is imaginative and commercially distinctive, particularly in a cinematic landscape with familiar properties. What makes it notable is not simply its novelty but its potential for visual and tonal contrast, the serene oceanic imagery juxtaposed with covert operations, and the organic intelligence of a sea creature contrasted with human technology. Overall, this screenplay's originality and emotional core position it as a distinctive and engaging piece with strong cinematic potential.” Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

In this ScreenFish 1on1 interview, screenwriter Emma Donoghue discusses adapting H Is for Hawk for the screen. She shares what surprised her most about goshawks, reflects on what it means to heal after loss, and walks through the creative process of screenplay adaptation. The conversation explores translating deeply interior experiences into visual storytelling and the challenges of honouring a beloved book while finding cinematic form.H IS FOR HAWK is available in the following theatres across Canada on Friday, January 23rd, 2026.

The screenwriter of 'Birds of Prey' and Ezra Miller's 'The Flash' is writing 'The Brave and the Bold,' which is supposedly the debut of James Gunn's version of Batman. So is this thing DOA or what? Will Netflix pull the plug if they buy Warner Bros?Watch the podcast episodes on YouTube and all major podcast hosts including Spotify.CLOWNFISH TV is an independent, opinionated news and commentary podcast that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles.Get more news, views and reviews on Clownfish TV News - https://more.clownfishtv.com/On YouTube - https://www.youtube.com/c/ClownfishTVOn Spotify - https://open.spotify.com/show/4Tu83D1NcCmh7K1zHIedvgOn Apple Podcasts - https://podcasts.apple.com/us/podcast/clownfish-tv-audio-edition/id1726838629

Watch the Screenplay Reading: https://www.youtube.com/watch?v=Cz6Xi_bkTbE When a troubled teen's wish to make everyone disappear comes true, she risks losing them permanently and must rely on an unlikely ally to save her town – the school bully. Get to know the writer: What is your screenplay about? It's about a teenage girl who gets bullied at school and is in a very dark place at the beginning of the story. She gets in a fight with her mother and in the heat of the moment, she wishes everyone would disappear. Little does she know that her wish instantly becomes true. She has to navigate through her new world and come to terms with herself and the other people in her life before she can move on. What genres does your screenplay fall under? coming of age, fantasy, drama Why should this screenplay be made into a movie? I think a lot of young people can relate to the feelings of isolationism, grief, and trauma early in life that this movie presents. The lead character also deals with a lot of loneliness. Sometimes that loneliness is desired and wanted and sometimes it makes her wish for someone to be with her. It shows that our feelings are changing on a daily basis and don't evolve in a neat linear pattern. I think ultimately what this movie expresses is that having these feelings is normal and takes time to sort out. Hope is around the corner even in our darkest hour. ———— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

In this episode Toby sits down with writer/director Patty Jenkins! She chats about Kansas, NYC, DC scene, Bryan Callen, doing camera work on all 90's rap videos, making Monster with Charlize Theron, directing pilots, Wonder Woman and the pressure that went along with it, WW sequel coming out in pandemic, AI, her dream project, Duran Duran, reading, CBGB, the punk scene being ahead of the curve and progressive and more!  Please remember to rate, review and subscribe and visit us at https://www.youtube.com/tobymorseonelifeonechance Please visit our sponsors! Rockabilia- use code OLOC10 Rockabilia Athletic Greens https://athleticgreens.com/oloc Removery- code TOBYH2O https://removery.com  Liquid Death https://liquiddeath.com/toby Refine Recovery https://www.instagram.com/refinerecoverycenter/  

Free Video Tutorial for ScreenwritingWhat makes the stakes in a story truly matter?In this episode of The Storyteller's Mission, Zena Dell Lowe explains how to raise the stakes in your story without relying on gimmicks, artificial tension, or repetitive plot devices. This episode explores why high stakes are always tied to character, relationship, and consequence—and how meaningful escalation creates pressure that drives transformation.From moral weight to relational cost to progressively harder choices, this conversation reframes how writers should think about stakes at every level of storytelling. Whether you're working on a novel, screenplay, or short story, this episode provides a practical and timeless approach to making your story resonate more deeply with an audience.Watch this episode on YouTube Sign up for The Storyteller's Digest, my exclusive bi-monthly newsletter for writers and storytellers. Each edition delivers an insightful article or practical writing tip straight from me, designed to help you master your craft and tell compelling stories.The Storyteller's Mission Podcast is now on YouTube.  Subscribe to our channel and never miss a new episode or announcement.Support the Show!Contact us for anything else!Send us a textSupport the show

Host Jeff Goldsmith talks to co-writer Eskil Vogt and co-writer/director Joachim Trier about Sentimental Value. Download my podcast here Copyright © Unlikely Films, Inc. 2026. All rights reserved. For more great content check out Backstory Magazine @ Backstory.net

Watch the best scene reading: https://www.youtube.com/watch?v=g6h3AqETajg Inspired by the Great Fire of Chicago 1871 following the investigation of Mrs O'Leary, a woman the newspapers blamed for starting the fire that spread all the way to Lincoln Park. Get to know the writer: What is your screenplay about? My screenplay is about Catherine O'Leary, the Irish milkmaid unjustly accused of starting Chicago's “Great Fire” of 1871. As she fights to clear her name, she discovers the true culprit of the fire and faces an agonizing choice. What genres does your screenplay fall under? Historical fiction; thriller. Why should this screenplay be made into a movie? “Mrs. O'Leary” should be made into a movie because it's about a 19th-century “cancel culture” that 21st-century audiences would recognize. The story transcends region and period. “Mrs. O'Leary” is set 155 years ago, and yet the Chicago world of 1871 isn't so diffrent from our own — a world where vulnerable people are “othered” due to their homeland or accent and where they can wither under stronger forces that are determined to cast blame for a social problem. ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Writing legends John August & Craig Mazin talk about their journey to screenwriting, podcasting, & writing a book.  They talk about how to boil  down 15 years of shows down to a book, the origin of the scriptnotes podcast, the need to help people combined with being annoyed by people, what each of them considers good writing, why people who hate books on writing wrote a book on writing, there are no rules to screenwriting, customizing your process, the moment they thought the might be good enough to make a living at writing, their messiest jobs, their best jobs, the changing nature of show biz, and why the Scriptnotes book weighs a lot less than you think it does.  Bio: Craig Mazin is the multiple Emmy® award-winning co-creator, executive producer, writer and director of the smash hit HBO series THE LAST OF US. An addition to setting viewership records for HBO, THE LAST OF US has earned 51 Emmy® nominations including 9 Emmy® wins, a Peabody Award, an AFI Award, a BAFTA Award, two SAG Awards, a DGA Award, a WGA Award, a GLAAD Award, two Film Independent Spirit Awards, and four Golden Globe Award nominations. Previously, Mazin served as creator, writer and executive producer of the HBO limited series CHERNOBYL, for which he won 2 Emmys®, a Golden Globe, a BAFTA, a Peabody, and awards from the Writers Guild, the Producers Guild, the Television Critics Association and the American Film Institute. Looking ahead, Mazin is executive producing the upcoming HBO E-sports drama DAMAGE alongside writer, director and executive producer Celine Song. In addition to his work in television, Mazin has written numerous hit feature films, which have grossed over one billion dollars in theaters worldwide. Mazin can be heard on the popular screenwriting podcast Scriptnotes, which he co-hosts with fellow writer John August. Bio: John August is a screenwriter whose credits include Aladdin, Big Fish, Charlie and the Chocolate Factory, Corpse Bride, Frankenweenie and the first two Charlie's Angels movies. He directed the 2007 film The Nines starring Ryan Reynolds and Melissa McCarthy, which premiered at the Sundance Film Festival. He earned a BAFTA nomination for his script for Big Fish, and a GRAMMY nomination for his song in Charlie and the Chocolate Factory. In 2016, he received the Writers Guild of America West's Valentine Davies Award in recognition of his humanitarian efforts and civic service. In addition to his work in film, John wrote the Arlo Finch middle-grade novel trilogy, and the book for the Broadway musical of Big Fish. Since 2012, he has co-hosted the popular weekly screenwriting podcast Scriptnotes. His company, Quote-Unquote Apps, makes utilities for writers (including Highland and Weekend Read) along with Writer Emergency Pack, which is used in 2,000 classrooms nationwide. Born in Boulder, Colorado, John received a BA in Journalism from Drake University and an MFA in Film Producing from USC's School of Cinematic Arts. He lives in Los Angeles with his family. Learn more about your ad choices. Visit megaphone.fm/adchoices