Official Screenwriting

This week, a quick look at some great ideas in the first acts of CAPTAIN PHILLIPS and THE DALLAS BUYERS CLUB.

Adam and guest Jeff Sussman discuss general reactions to ENDER'S GAME immediately after the first screening. Plus, should kids be allowed to buy tickets to R-Rated films?

Adam talks about screenwriting techniques that make Alfonso Cuaron's GRAVITY awesome. Plus, he complains that documentary ROOM 237 puts forth some interesting theories and fails to follow up on any of them, content to let anonymous amateurs ramble for the entire running time. Special guest Jeff Sussman (THE BAT SIGNAL) returns.

As soon as Breaking Bad ended, we flipped on the mics and worked out our thougts and feelings on the final episode of (perhaps) the greatest show ever.

If you're a Dexter fan stick around for the second half where The Bat Signal's Jeff Sussman and I talk about our favorite seasons and reactions to the series finale. The first half of the episode is thoughts on the EVIL DEAD remake plus a quick revisiting of Barry Levinson's classic flop TOYS, a viewing inspired by the HOW DID THIS GET MADE podcast.

Adam offers perspective on two hysterically funny summer movies. First, some quick thoughts on the lack of character detail in THIS IS THE END followed by an examination of how THE HEAT undervalues tension (but still effectively shatters stereotypes found in female law enforcement cinema).

This week, Adam talks Soderbergh's latest (and possibly last) film BEHIND THE CANDELABRA in terms of a character web and the screenplay decisions made to connect the audience to the hero.

Advice for those attending The Great American Pitchfest (or any other screenwriting conference!) Plus, quick analysis on Act I of Matt Damon's PROMISED LAND which is now available on DVD.

Screenwriting techniques found in Shane Black's IRON MAN 3, plus listener questions such as "Should I take the chance of adapting a book without getting the rights first?" and "The director changed my short film script, what should I do?"

Adam talks PAIN & GAIN, how to approach writing a script about the making of a movie, problem solving in YENTL and then tackles Robert Altman's big complaint about Hollywood in terms of THE GUILT TRIP.

Adam jumps in with a new piece of screenwriting advice then discusses the DAREDEVIL project rejoining Marvel, plus creating characters with unexpected qualities, skills, or opinions.

How do you find a reader's job if you're outside Hollywood? Also, Adam briefly talks about RAT RACE. Plus, does the classic IT'S A WONDERFUL LIFE resemble a modern Hollywood movie?

Adam talks about why he loves the writings of Roger Ebert, plus discussion about films (such as KICK-ASS and VERY BAD THINGS) they disagree on. Also, thoughts on the horror-detective film SINISTER.

Adam discusses the plot holes of SKYFALL and does a first act breakdown of Disney's amazing WRECK-IT RALPH. Plus, his thoughts about the OCD storyline introduction on GIRLS.

Adam's thoughts on the latest Bond movie SKYFALL, how games can play a role at the logline and scene level, plus he delves into 2012 Blacklist scripts to examine specific screenwriting techniques.

Adam covers working with actors' production companies and answers questions such as "should I make a teaser trailer to promote my script?" and "are one-pagers helpful?" Plus, he talks about his favorite podcast HOW DID THIS GET MADE and suggests his favorite so-bad-they're-great movies.

Adam discusses his reaction to OZ: THE GREAT AND POWERFUL and how the internal conflict (or "need") of the hero mirrors what we find in Sam Raimi's previous film DRAG ME TO HELL. PLUS, additional DRAG ME TO HELL analysis. Also, do you need more than one script ready to submit to agents and managers?

Adam briefly talks OZ: THE GREAT AND POWERFUL and FDR: AMERICAN BADASS! then jumps into the Horror genre. What are the categories of Horror that a screenwriter should use as a foundation in 2013? And do films such as MISERY, WARM BODIES and THE SIXTH SENSE actually function like horror movies from a screenwriting perspective?

Where is the crossover between screenwriting and editing? Can independent filmmakers from around the world work with an LA based editor on their movies?  In this episode, Adam talks with Michael Darrow, editor of the upcoming film SOME GIRLS directed by Daisy Mayer and written by Neil LaBute. Plus, Adam's worst experience ever in a movie theater. Adam's Note: During the episode, I discuss the worst experience I've ever had in a movie theater which happened to be edited by interview guest. To clarify, my reaction was not to the film itself. I'm not saying I hate this movie more than any other movie I've ever seen. I simply felt the film was an exercise in therapy for the writer and star more than an entertainment experience for others and to sit in a theater with some of the people involved in the tragedy was unsettling.

What is the single most effective way you can stay on top of Hollywood's film and television output? Adam answers that question, tackles other issues such as a screenwriter's role once the script is sold. Also, when is voice-over narration acceptable? Plus, screenwriting lessons learned from YOUNG ADULT, NO STRINGS ATTACHED, DON JUAN DeMARCO and JENNIFER'S BODY.