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On Broken Projector, screenwriter Geoff LaTulippe and movie critic Scott Beggs dole out interesting angles on movie culture, talk to prominent filmmakers and debate topics of gargantuan importance.
This week, we answer your screenwriting questions about character bio pros and cons, and whether you need an online presence to break into Hollywood.
Send us more questions on Twitter @brokenprojector or podcast@filmschoolrejects.com
"We can make our own Wally World out of that."
This week, we answer your screenwriting questions about using brands and IP in your script, what to do when your character names suck, putting personality in your descriptions, using banana computers and more.
Oh, movies of 2005, we can't quit you. This week on the show we will right some wrongs by using ten years' worth of hindsight in order to reevaluate the movies lauded at the 78th Academy Awards.
Joining us for the operation is screenwriter John Gary, who helps us explore the correlations between Munich and Bridge of Spies and asks the toughest question of all about Crash.
Plus, Capote, Walk the Line, Good Night and Good Luck and many more to examine with the test of time. It was also a year that brought us a new Batman and a new Fantastic Four movie, so it's a lot like stepping out of a time machine and thinking it didn't work. Should you join us anyway? Absolutely.
You should follow John Gary (@johngary), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.
Your screenwriting questions, answered. This week, we look at some red flags that might tell you that it's time to get a new agent (if they're charging you money to take out scripts, RUN), try to figure out the puzzle of self-evaluation, decry feelings of worthlessness in the face of a difficult career goal and talk an unusually appropriate amount about Nana's birthday party.
Send your questions to us: podcast@filmschoolrejects.com
Deadpool! It succeeded! It was R-rated! Studios are baffled for no real reason! Get ready for copycat syndrome and shoehorned violence. Today on the show we welcome on Forbes box office pundit Scott Mendelson to help us roll our eyes at shocked studio narratives and to examine the elements of what made Deadpool work (and which ones will be overlooked completely by executives looking for an easy turnaround buck).
As we speak, interns are combing through studio-owned IP to see what goofy superhero they can pour blood all over.
Plus, Geoff and I will talk about the movie review website and the statistics project that won the week.
You should follow Scott Mendelson (@scottmendelson), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.
How much unfilmable material can you have in a script? What contests and festivals should you spend money on? Can a new computer program tell how emotional a script is? Your screenwriting questions, answered.
Inspired by Hail, Caesar!, Trumbo and Karina Longworth's outstanding (and ongoing) You Must Remember This series on the Hollywood Blacklist, we want to bring the past into the present.
What would happen if Congress decided to go after Hollywood in 2016 for being "anti-American"? Would they still attack Communism or widen their gaze? Would they even be able to wrangle the broad, diverse amount of movies being made? Would TV be on their main hit list?
This week, special guest host Joanna Robinson joins me to dig into this thought experiment and (hopefully) come out on the other side with our souls in tact. Listen to find out who we're calling before the new House Un-American Activities Committee.
This week on the show, Geoff and I debate the harmfulness of the Disney vault, and our special guest, Slate culture reporter Aisha Harris, joins us to discuss the underlying issues plaguing the so-white Academy Awards. Listen along as we solve Hollywood.
Your screenwriting questions, answered. This week: how much outlining and when to diverge from it; when to give a character a specific race; what Hollywood trends are on the rise and fall (and why that doesn't really matter).
Grab a pen. These are the movies you'll need to keep an eye on as they emerge from Sundance and onto the screens near you.
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