Seinfeld writer and Curb Your Enthusiasm director Jeff Schaffer joins The Screenplayed Breakdown for an in-depth discussion of how one of television’s most influential comedies is actually made. Drawing on three decades of collaboration with Larry David, Schaffer explains why Curb is built without a traditional script, how stories are constructed through outlines rather than dialogue, and why Larry David actively avoids rehearsal to preserve genuine surprise on set. The conversation traces Schaffer’s career from Seinfeld to Curb, highlighting how both shows rely on rigorous structure beneath an appearance of chaos.

Schaffer also details the practical realities of directing improvisation: live-directing actors, moving cameras mid-scene, feeding lines during takes, and shaping episodes simultaneously as writer, director, and editor. He describes Curb as being written three times — in outline, on the day of shooting, and again in the edit — and explains why some of the show’s most iconic moments emerge unexpectedly in the moment. The episode offers a rare, craft-focused look at improvisation at the highest level of television, aimed at film fans, television audiences, and anyone interested in how great comedy is actually made.

Noah Baumbach and Emily Mortimer discuss learning rigor from Wes Anderson, how defending murderers can make someone a better writer, and why first drafts are supposed to be difficult. In a loose, wide-ranging conversation, they break down how Baumbach’s early, half-formed ideas slowly turned into a finished script through collaboration, argument, and repetition.

Baumbach reflects on working with Wes Anderson early in his career and how that experience taught him not to settle for scenes that merely function, but to keep revisiting the work until it truly clicks. That discipline shapes his process today and defines his collaboration with Mortimer, who describes acting as both creative partner and structural enforcer, pushing story logic while learning to trust that rough early drafts are part of the job.

Mortimer shares how her father’s career as a criminal defense barrister — defending even the most unsavory clients — shaped her approach to character, empathy, and judgment, and why treating every character as innocent until proven otherwise leads to richer storytelling. Together, they talk about why most writing starts out bad, how cutting scenes often helps better versions emerge later, and how creative disagreements can strengthen a script.

The conversation also touches on directing actors, including working with George Clooney, and why sticking closely to the page can actually give performers more freedom. It’s a casual, honest look at collaboration, craft, and the long, uncomfortable process of turning ideas into films.

In this episode, Jenny Han, creator and showrunner of 'The Summer I Turned Pretty,' pulls back the curtain on how the series was built with patience, emotional confidence, and a deep trust in the audience. She talks about writing “lean,” letting quiet moments breathe, and resisting the urge to chase shock in favor of something more lasting. The result is a show that unfolds gently, rewarding viewers who linger, notice, and return—one that believes the emotional payoff is worth the wait.Han also reflects on memory as the heartbeat of the series: how nostalgia, warmth, and realism shape the tone, making the show feel less like a story being told and more like one being remembered. She explains how seemingly small conversations and fleeting moments were planted early, designed to echo years later, and why those delayed resonances often hit the hardest. It’s a thoughtful, whimsical look at storytelling that values feeling over flash—and why *The Summer I Turned Pretty* stays with people long after the episode ends.Listen to the podcast: https://anchor.fm/screenplayedFollow the Kinnane Brothers:www.instagram.com/kinnanebrothers/www.twitter.com/kinnanebrothers/Follow Screenplayed:Instagram: http://bit.ly/34oQKLG​Twitter: https://bit.ly/3p5qnEy​Facebook: https://bit.ly/2KhPbKTWebsite: www.screenplayed.com

Writer-directors Scott Beck and Bryan Woods, the writers of A Quiet Place and the filmmakers behind Heretic starring Hugh Grant, discuss writing more than 40 scripts that went nowhere to landing one of the most successful modern thrillers, they explain why failure was the key to their breakthrough.

They reveal how A Quiet Place evolved into a near-silent studio blockbuster, how real-life experiences shaped its emotional core, and what it takes to keep an audience on the edge of their seat without dialogue. The conversation also unpacks Heretic, including the risks of dialogue-heavy tension, working with Hugh Grant, and designing scenes that hold attention through performance alone.

Beck and Woods discuss Hollywood gatekeeping, audience testing, studio pressure, and the realities of directing under exhaustion and uncertainty. Packed with behind-the-scenes stories, hard-earned lessons, and honest advice, this episode pulls back the curtain on writing, directing, and surviving in modern filmmaking.

Oscar-nominated director Bing Liu joins us to break down how he made the leap from skate videos to award-winning documentaries and now his first narrative feature. We talk about how he pitches studios, builds truthful performances, rewrites in the edit, and stays inspired through years of “hurry up and wait.”

On this episode of The Screenplayed Breakdown, we speak with 4 of the 13 credited 'Borat 2' writers. They share with us the struggles of writing and filming a movie in the real world that's performed by unsuspecting people, and the insane obstacles they faced. 

On this episode of The Screenplayed Breakdown, Darius talks about the ten years it took to complete 'Sound of Metal' and the 2,000+ pages he and his brother, Abraham wrote for the film. He tells us about his experience as a first-time director, and teaches us to "Enjoy the not knowing". 

On this episode of The Screenplayed Breakdown, we speak with actor and comedian, Andy Samberg, and writer, Andy Siara, about their film, 'Palm Springs'. Samberg and Siara talk about the benefits of shooting a film on a low budget and the importance of not selling out the tone of the film or its characters. 

*SPOILER WARNING* On this episode of the Screenplayed Breakdown, we speak with Golden Globe-nominated director Emerald Fennell and Academy Award-nominated actor Carey Mulligan about their new film, ‘Promising Young Woman.’ Emerald explains how she blends comedy with a serious issue, and Carey tells us about working with a first-time director on a big production. 

On this episode of The Screenplayed Breakdown, we speak with director and co-writer, Shaka King, on his new movie, 'Judas and the Black Messiah'. Shaka talks about structuring a true-life story, the struggles of selling his first feature, and the racism he experienced in the industry.