![]() I’m hoping that maybe you can give our listeners your writer’s guide to Atlanta. ![]() It feels like all of Hollywood will eventually live in Atlanta. You live in Atlanta now while you’re shooting some stuff. In our Bonus Segment for Premium Members, I want to talk with you about Atlanta, because you’re from Atlanta. We’ll also have some listener questions that I think you’re especially well suited to answer. By that point, we’ll have even more to talk about, but what I want to talk with you about today is the mushy boundaries between TV and movies and the role of writer and this weird transition and convergence that we’re facing. John: That’s when we’ll bring you back on. Michael: I’ll see you the 1,010th episode. Chris McCoy we always bring on every 200 episodes, to celebrate our bicentennial or whatever. Michael: You brought me on for this milestone episode. John: Five hundred and fifty-five episodes. Today on the show, I’m talking with the Emmy Award-winning writer behind Marvel’s Doctor Strange in the Multiverse of Madness and the Emmy Award-winning writer of Marvel’s Loki series, who happened to be the very same person. My name is John August, and this is Episode 555 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. The original post for this episode can be found here. Scriptnotes Episode 555: Marveling with Michael Waldron, Transcript I’ve asked my assistants to do a beat sheet of a script I’m about to begin rewriting so that I’ll have a roadmap of how things are arranged. Note that beat sheets are also commonly written after there is a draft of a screenplay. ![]() That villain character was ultimately played by Kelly Lynch, while Lucy was later cast as the third angel.) (Trivia: You’ll notice there’s a villain character named “Lucy Liu,” which far predates the actual Lucy Liu being involved with the movie. Numbering the beats ended up being a huge help for conference calls. This one shows a pretty close approximation of what I ended up writing for the first draft. It includes a column showing which characters are in any given scene, and which one of us was going to write it.įor the first Charlie’s Angels, I did a series of beat sheets as we debated and formulated. In the Library, you can see a minimal beat sheet that Jordan Mechner and I did for our never-shot pilot Ops. There's a lot to do when you're writing a tv pilot script, but you can handle it.What if Shoe and Dog’s dance number at Marvin Gardens came before Race Car discovered the Community Chest? We could get rid of these three beats, including Top Hat and Thimble’s knife fight.ĭid you know Inception wasn’t based on anything? You need something to happen, the characters to pivot, that pivot causes a reaction, and then they have to deal with it. Sure, that might seem crazy, but every successful tv pilot script follows that format. So what will make your pilot scripts memorable? Not only can you use it to get an agent or manager, but you can also use it as a sample when staffing season comes around. TV studios buy hundreds of shows a year, but only a handful make it to air, and even less make it past the first season.Ī pilot script is a valuable tool. You have to be an incredibly skilled writer to craft a well-written pilot. But, how can you manage those massive expectations while still putting forth something with great characters and emotional hooks? The best pilot scripts set incredible expectations for what is to come from a series.
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