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PODCAST

Write On: A Screenwriting Podcast

Designed to help you navigate the screenwriting industry, Final Draft, interviews working screenwriters, agents, managers, and producers to show you how successful executives and writers make a living writing and working with screenplays, and how you can use their knowledge to break into the industry. Subscribe today to catch every episode!

tv & film

All Episodes

46:57

Write On: 'Dying for Sex' Co-Creator & Co-Showrunner...

Write On: A Screenwriting Podcast ·

2025/04/08

On today’s episode of Write On, we chat with Kim Rosenstock, co-creator and co-showrunner for the new limited series, Dying For Sex, starring Michelle Williams, Jenny Slate and Sissy Spacek. Based on a true story, Dying for Sex is about a woman diagnosed with metastatic breast cancer who abandons her husband of 15 years to begin a journey of sexual discovery. Rosenstock talks about her background as a playwright, nearly missing out on the opportunity to write for the hit show New Girl, and

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43:07

Write On: 'The Residence' Creator & Showrunner Paul...

Write On: A Screenwriting Podcast ·

2025/03/27

“I didn’t really set out to make Cordelia (Uzo Aduba) quirky. I just wanted to make her distinctive. I just really thought about who I wanted her to be and how I thought [birdwatching] would be an interesting way for her to approach her job. And the very first thing that came to me was just her use of silence and her ability to just be comfortable in situations that might make other people uncomfortable. And it’s a quality that I’ve seen in certain people that I’ve always admired and been fascinated

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35:04

Write On: Peter Katz - Manager & Producer, Story Driven

Write On: A Screenwriting Podcast ·

2025/03/19

“Sameness is terrible. Your goal is to cut through it. If you have a unique perspective, you’re going to take vampires or anything that everybody thinks they know and do it in a way that’s really exciting and gets people really pumped up about it. There are all these incredible worlds to explore, but there just needs to be somebody that can take you there that has a different way of doing it… I want to see creators that offer something specific and unique. Specificity is key to me. I don’t want a

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35:44

Write On: 'Long Bright River' Showrunner Nikki Toscano

Write On: A Screenwriting Podcast ·

2025/03/07

“With an adaptation, you can never give back your first read. So, what are you taking away? What fills your soul? Why do you want to tell this story? And then that becomes sort of the North Star. And I’m tethered more by that North Star than by the actual moves that are happening in the book,” says Long Bright River showrunner, Nikki Toscano, about adapting Liz Moore’s best-selling novel for television. Long Bright River is an emotional suspense thriller that follows Mickey (Amanda Seyfried), a

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41:50

Write On: Comedy Writing with Brent Forrester

Write On: A Screenwriting Podcast ·

2025/02/12

“My recommendation to anybody who is writing animation is to take advantage of the things you can do in animation that you can’t do in live action, which is to spend an infinite amount of money, right? If you and I are going to write a scene and you say, ‘Oh, let’s set it on a battleship, but then space aliens come and suddenly we’re transported to Jupiter,’ it better be animation because if it’s not, we’re never going to be able to shoot that. But if it is animation, that’s exactly what we should

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43:38

Write On: 'The Performance' Co-Writer Josh Salzberg

Write On: A Screenwriting Podcast ·

2025/01/29

“Fugler (Robert Carlyle) was a character that I really connected with from the beginning. I know it sounds a little strange that the Nazi was my way into this, but it really was that idea of, ‘How can we get inside his head and make sure that he’s a fully fleshed out person that way?’” says Josh Salzberg about trying to make his villain, a Nazi named Damien Fugler, a three-dimensional character. Josh Salzberg wrote the screenplay for The Performance with co-writer/director Shira Piven. In this

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01:00:55

Write On: 'Inside Out 2' Co-Writers Meg LeFauve and...

Write On: A Screenwriting Podcast ·

2025/01/24

“People think sequels are easier, and I’m like, ‘No, no, it’s much harder. It is much harder to write.’ They have never written sequels, those people, because you need to do everything as well as the first and yet better, and go to new places, follow all the world rules, but create new ones. I mean, it’s just so many balls in the air,” says Meg LeFauve, co-writer for Inside Out 2, along with Dave Holstein. In this special live episode from the Writers Guild Foundation Library, Meg LeFauve and Dave

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56:45

Write On: 'The Boys' Creator & Showrunner Eric Kripke

Write On: A Screenwriting Podcast ·

2025/01/17

“The most subversive thing this show could do is make you cry… If you really boil down television, really cook it in the pan, it’s the character business. I’m in the character business. Movies are in the plot and spectacle business, for television, there’s a thing about laying in bed and watching someone in your bedroom or living room that you really care about, you’re inviting these people into your house. The more you care about them, the more your show will succeed. There’s no simple formula, but

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32:07

Write On: 'Conclave' Screenwriter Peter Straughan

Write On: A Screenwriting Podcast ·

2025/01/06

“If everything's being played on the surface, it's very hard to make that character come to life. You want hinterland, you want subtext. You want the things that are buried, the things that we don't know about them, the things that maybe they don't know about themselves. And always, the story is about this excavation of what's underneath the surface. One way or the other, that's kind of what story is. It's about bringing things to the surface,” says Conclave screenwriter Peter Straughan, about the

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40:07

Write On: 'Only Murders In The Building' Co-Creator &...

Write On: A Screenwriting Podcast ·

2025/01/03

“There's no greater laugh than when you're at your most vulnerable. You're at a funeral, or you're in church and something's happening and there's great reprieve from the most human moments through humor. And even in those moments, something is funny or human and fumbling. And that scene itself [when Charles discovers Sazz’s ashes], when I was watching it, I really felt like this scene is encapsulating the whole experience of the best of this show for me when he is standing there and then watching

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35:30

Write On: 'Dune: Part One & Part Two' Screenwriter...

Write On: A Screenwriting Podcast ·

2024/12/30

“In most genre fiction where heroes and villains clash, the hero is intrinsically reactive. The villain starts making trouble and that’s the beginning of the story. If the villain had never showed up, the hero would have lived a pleasant and unremarkable life and had a lovely time. And nothing novel-worthy would have popped up. But the villain comes along and does something terrible and that makes heroic action necessary. So if that’s the function of the hero in the story, to be called to heroic

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37:13

Write On: 'Nosferatu' Writer/Director Robert Eggers

Write On: A Screenwriting Podcast ·

2024/12/27

“As someone who’s been obsessed with vampires since I was a little kid, I don’t totally know [why we love vampire movies so much]. Obviously, sex and death are always interesting and in vampire stories, including the very earliest accounts of folk vampirism in Eastern Europe, that connection has always been there. Some of these early folkloric vampires didn’t drink blood but fornicated with their widows until they died. And then, being undead, rising from the grave, you know Dracula and Jesus have

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36:59

Write On: 'Deadpool & Wolverine' Co-Writer & Director...

Write On: A Screenwriting Podcast ·

2024/12/18

“I would argue that the movies, the plays, the stories that endure and certainly that resonate in the most populist and global way are the ones where we’re not just observing a piece of storytelling, we’re participative in some way and it’s connective. How can any of us who are flawed humans connect with a flawless hero? The beauty of Wade [Deadpool] and Logan [Wolverine] is that really, they’re two anti-heroes. They do not abide by typical moral codes. They both have been scarred deeply. And I

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30:53

Write On: 'Nickel Boys' Writer & Director RaMell Ross

Write On: A Screenwriting Podcast ·

2024/12/13

On today’s episode of the Write On podcast, we speak with RaMell Ross about his new film Nickel Boys about two young Black men who get sent to a reform school in 1960s Jim Crow South. The film is heartbreakingly beautiful and already getting plenty of Oscar buzz. In the interview, Ross admits he didn’t know how to write a screenplay when he decided to adapt Colson Whitehead’s book Nickel Boys, so he began the process by using written storyboards to visualize the scenes, which were later converted

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34:23

Write On: 'The Bikeriders' Writer & Director Jeff...

Write On: A Screenwriting Podcast ·

2024/12/11

“You’re reading these interviews [in the book The Bikeriders by Danny Lyon] and they’re all interesting, but Kathy’s are just fascinating. You could just tell she was a character, meaning she was just this interesting, dynamic person, a person that was trying to figure out how she found herself in this world because she really talks about walking into this bar and meeting this charismatic young bike rider. And so, it was a really beneficial crutch for me to kind of get into this world. And then

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31:22

Write On: 'The Order' Writer Zach Baylin

Write On: A Screenwriting Podcast ·

2024/12/06

“I find action scenes really hard to write, I usually save them for the end. I need to get very caffeinated and then just try and get into the adrenaline of what they should feel like. With this [film] in particular, those robberies and the heist… I kind of like to really understand an environment and a landscape before I can write an action sequence. Because if I can’t figure out when a car is overtaking another car or where characters are in relation to it, then it’s impossible to write dialogue

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44:24

Write On: TV Writing with Laura Eason

Write On: A Screenwriting Podcast ·

2024/11/25

“About 12 years ago, I had my very first meeting to staff. It was a show being run by a playwright named Beau Willimon, and he'd done one season of a show that hadn't dropped yet, and they were going to do this crazy new model where the whole season was going to drop at once and they didn't know how it was going to go. And that was a show called House of Cards. And I was staffed for season two of that show before season one dropped. So, that was my entrance into television. It was my first meeting

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48:28

Write On: 'Colin From Accounts' Co-Creators Patrick...

Write On: A Screenwriting Podcast ·

2024/11/21

“We never wanted to make a show about dogs. We wanted to make a show about people. And then secondary to that, people who love dogs. We made sure we had some of Colin [the dog, in season two], like there’s that lovely episode in seven where Gordon becomes a stage mum to a TV dog, which is so funny. But yeah, we just wanted it to be interesting,” says Harriet Dyer, co-creator and star of Colin From Accounts about the shift away from Colin the dog to focus more on the relationship between Ashley and

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31:22

Write On: 'A Real Pain' Writer/Director Jesse Eisenberg

Write On: A Screenwriting Podcast ·

2024/11/15

“What I wanted to do with this movie was take this interesting relationship that I have been exploring over the course of my writing, over 20 years, and this dynamic, and set it against the backdrop of something so objectively worse than anything the characters are going through. I wanted to put this funny, fraught relationship that seems like the stakes are quite high – are these two people going to continue on together? Against the backdrop of stakes that are so much higher, we can put their

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39:25

Write On: 'Three Women' Creator Lisa Taddeo

Write On: A Screenwriting Podcast ·

2024/11/11

“One of the things that I really wanted to focus on, and I felt it immediately after meeting Lina the housewife in Indiana [played by Betty Gilpin in the show], whose husband no longer wanted to kiss her on the mouth, I felt like this woman was as important as the Queen of England, as important as Napoleon. I felt her dreams and fears are just as universal as someone who has defeated an army and the only reason we're not hearing about her is because we have these sorts of rules in place for what

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414 results

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