Lauren O'Connor 9/27/19 Lauren O'Connor 9/27/19

Five Screenplays about Whistleblowers

If, as a screen storyteller, you find yourself staring into the endless abyss of tweets and headlines about corruption and lies, consider turning your frustration and hopelessness into a whistleblower movie or perhaps a whistleblower mini-series. This is a list of some films that help to establish the tenets of this wonderful sub-genre. All of them are scripts you can find in the WGF Library.

Lauren O'Connor 8/9/19 Lauren O'Connor 8/9/19

10 Tips for an Excellent WGF Library Visit

Guest User 6/20/19 Guest User 6/20/19

Listen: Inside the Writers Room with Russian Doll

On June 5, 2019, we took a special look inside the writers room of the critically acclaimed Netflix Original Series Russian Doll with creators and executive producers Natasha Lyonne, Amy Poehler, and Leslye Headland along with executive producer and writer Allison Silverman and writers Jocelyn Bioh, Flora Birnbaum, and Cirocco Dunlap. Moderated by Jenelle Riley from Variety.

Lauren O'Connor 5/23/19 Lauren O'Connor 5/23/19

Character Study: A Guide to GAME OF THRONES Scripts in the WGF Library

Express your intense feelings about the series’ conclusion all you want. I’m here to make the argument that the reason you possess intense feelings of any sort—the reason we’ve all been possessed with a collective passion and need to discuss the show at great length—comes down to that one critical thing: the way the storytellers made us feel about Sansa Stark, Tormund Giantsbane, Cersei Lannister and the rest of the characters.

Enid Portuguez 12/21/18 Enid Portuguez 12/21/18

FIRST MAN's Josh Singer on the screenwriter's responsibility in tackling historical pieces

A few Fridays ago, I went to the Smithsonian. There was a gathering of space historians and I wanted to chat with them, find out how we did. Damien [Chazelle] and I were scrupulous in our attempts to realistically capture space flight and Neil Armstrong's eight-year journey to the moon. I was so obsessed with it, I wrote a book—an annotated screenplay—to give historical context and to be transparent about the few places the movie takes license. Beyond 'showing my homework’, I wanted to start a conversation about the responsibility of screenwriters in tackling historical pieces.