The Deal. The Queen. The Last King of Scotland. The Other Boleyn Girl. And now, The Damned United: If it’s a film about a larger-than-life politico with crisp dialogue, sharp characterization, and scenes that zing, odds are the screenplay is the work of Peter Morgan (whose credits also include Longford and Frost/Nixon). Morgan’s most recent historical drama, The Damned United (adapted from the novel by David Peace and directed by Tom Hooper), chronicles the rise and fall of a famous, volatile soccer coach, Brian Clough (Michael Sheen) in the late 1960s and early 1970s. While in Vienna, Morgan took time to speak with Script about his adaptation process, the importance of an instinct for rhythm, and crafting conflict. Continue reading ...
After a screening of Peter Hanson’s Tales From the Script at American Cinematheque’s historic Egyptian Theatre, industry luminaries Larry Cohen, Zak Penn, Billy Ray, Adam Rifkin, Jose Rivera, and David S. Ward revealed some harsh (and often hilarious) realities to a capacity audience. The war between writers and studio executives, the frustration that accompanies the development process, the financial importance of receiving screen credits, and more were covered in the lively panel. Part 3 of 3. Some explicit language. [27:06]
Listen here:
Subscribe to the Scriptmag podcast series at Scriptmag.podbean.com, or find us at iTunes through keyword "Scriptmag."
The tenth-annual Big Break Screenwriting Contest helps aspiring screenwriters get their scripts into the hands of industry professionals. As Final Draft, Inc. works on the finalists of this year's crop, we thought we'd talk to those industry professionals tasked with choosing the best of the bunch. Among them is Marvin Acuna, producer at Acuna Entertainment and co-founder of “The Business of Show Institute.” Here, Acuna outlines what he expects from a winning screenplay. Continue reading ...
What makes CBS' The Good Wife different from all the other lawyer shows we've seen? Writer-creators Michelle and Robert King discuss the genesis of their new show, the process of defining their characters, and why they decided to embrace the procedural format. (A bit of a strange techno score, but good information nonetheless.)
One of the fall’s most buzzed-about films is An Education, starring Carey Mulligan as Jenny, a 16-year-old Londoner who meets a cultured, impossibly charming, if older, man named David (Peter Sarsgaard) in 1962. Directed by Lone Scherfig, An Education marks internationally renowned novelist Nick Hornby’s first screenplay adapted from another writer’s work (a 10-page memoir by Lynn Barber). Recently, Hornby took time to speak with Script about his newest film, filmic adaptations of his novels (About a Boy, High Fidelity), and his philosophy of writing. Continue reading ...
After a screening of Peter Hanson’s Tales From the Script at American Cinematheque’s historic Egyptian Theatre, industry luminaries Larry Cohen, Zak Penn, Billy Ray, Adam Rifkin, Jose Rivera, and David S. Ward revealed some harsh (and often hilarious) realities to a capacity audience. The war between writers and studio executives, the frustration that accompanies the development process, the financial importance of receiving screen credits, and more were covered in the lively panel. Part 2 of 3. Some explicit language. [21:09]
Listen here:
Susbscribe to the Scriptmag podcast at Scriptmag.podbean.com, or find us on iTunes with keyword "scriptmag."
E-ARTICLES 
The Deal. The Queen. The Last King of Scotland. The Other Boleyn Girl. And now, The Damned United: If it’s a film about a larger-than-life politico with crisp dialogue, sharp characterization, and scenes that zing, odds are the screenplay is the work of Peter Morgan (whose credits also include Longford and Frost/Nixon). Morgan’s most recent historical drama, The Damned United (adapted from the novel by David Peace and directed by Tom Hooper), chronicles the rise and fall of a famous, volatile soccer coach, Brian Clough (Michael Sheen) in the late 1960s and early 1970s. While in Vienna, Morgan took time to speak with Script about his adaptation process, the importance of an instinct for rhythm, and crafting conflict. 
The tenth-annual Big Break Screenwriting Contest helps aspiring screenwriters get their scripts into the hands of industry professionals. As Final Draft, Inc. works on the finalists of this year's crop, we thought we'd talk to those industry professionals tasked with choosing the best of the bunch. Among them is Marvin Acuna, producer at Acuna Entertainment and co-founder of “The Business of Show Institute.” Here, Acuna outlines what he expects from a winning screenplay. 
One of the fall’s most buzzed-about films is An Education, starring Carey Mulligan as Jenny, a 16-year-old Londoner who meets a cultured, impossibly charming, if older, man named David (Peter Sarsgaard) in 1962. Directed by Lone Scherfig, An Education marks internationally renowned novelist Nick Hornby’s first screenplay adapted from another writer’s work (a 10-page memoir by Lynn Barber). Recently, Hornby took time to speak with Script about his newest film, filmic adaptations of his novels (About a Boy, High Fidelity), and his philosophy of writing. 