The ISA Podcast

"So often as writers, we feel out of breath, chasing these trends, and always feeling like we're just a few steps behind, a few moments too late to have the career we actually dream of.

But the truth is, what kind of script are you going to write under that much pressure? Most likely a crappy one. And you're not going to have much fun writing it either. Because instead of writing the thing you are desperate to write, you're going to be writing the thing you think you should write. Instead of going on an unforgettable journey with yourself and your characters, you're going to be retreading the same ground other writers have tread. And since that journey didn't evolve naturally from you, it's likely it's going to be filled with clichés..."

The legendary Shirley MacLaine stars in a charming but flawed "The Last Word".

It's great to see Shirley MacLaine still scoring lead roles at 82, but "The Last Word" could have been an even better vehicle for her than it is. The story of a cranky senior citizen worried about her legacy and working with the local newspaper's obituary writer (Amanda Seyfried) to improve it has many charms, but the script misses the potential to be so much more unique. Her character's sterling ad career isn't explored deeply enough, considering that is where most of her legacy would be, nor is her estranged relationship with an adult daughter given its due. Instead the story settles for clichéd road trips, hip old granny jokes, and questionable "white savior" themes. Surely, the words of this script could've done more for such a legendary actress.

SYS Episode #165 

Writer/Director Chris von Hoffman. Chris talks about his new post-apocalyptic thriller, Drifter.

SYS Episode # 164 

Writer/Director/Producer/Comedian/Actor Joey Medina Joey talks about his first feature film and his new TV pilot.

Gary Goldstein is an award winning writer for film, TV and the stage. He has written numerous films for Hallmark Channel and its sister network, Hallmark Movies & Mysteries, including the comedies "The Wish List," "Hitched for the Holidays," "This Magic Moment" and "My Boyfriends' Dogs," and the first two films in the "Flower Shop Mystery" series: "Mum's the Word" and "Snipped in the Bud," starring Brooke Shields.

Gary's feature film "Politics of Love," a romantic comedy set during the 2008 U.S. Presidential election, was released in theaters August 2011. He also wrote the feature romantic comedy, "If You Only Knew," which starred Johnathon Schaech, Alison Eastwood and James LeGros.

In addition, Gary has sold or optioned a number of original screenplays, has a string of episodic TV credits and has sold half-hour comedy pilots to both NBC and Warner Bros Television.

On the L.A. stage, Gary has been represented with the comedies "Just Men," "Parental Discretion" and "Three Grooms and a Bride." His family drama "Curtain Call" premiered in late 2008 at Carmel, CA's Pacific Repertory Theatre. His newest play, the three-sisters dramedy "April, May & June," will have its World Premiere in March 2017 at Theatre 40 in Beverly Hills, as part of its 2016-17 subscription season.

Gary is also a freelance film reviewer and feature writer for the Los Angeles Times. 

"Table 19" is an uneasy mix of indie comedy and maudlin narrative.

The new comedy "Table 19" comes with a sterling cast of comedic actors (Anna Kendrick, Craig Robinson and Lisa Kudrow among them), an indie pedigree (the story is from the Duplass brothers), and an institution like weddings ripe for the takedown. So why isn't writer/director Jeff Blitz's film funnier? For starters, it wants to eat its wedding cake and have it too. The movie tries hard to make the audience laugh, but it also wants us to shed a lot of maudlin tears for their characters' backstories. In fact, the story barely seems interested in the wedding they've all RSVP'd for, and spends way too much time, literally and figuratively, wandering in the nearby woods. The potential was there with all this talent, but this party stops being fun well before its final dance.

"Logan" cuts to the bone as Hugh Jackman ends his iconic role.

Hugh Jackman has appeared as Wolverine onscreen nine times, but never to such a dramatic effect as in this one, his swan song. "Logan" is a much darker, sadder and meaner X-Men movie than any done before. In fact, the story here is more reminiscent of moody westerns like "Shane" and "Unforgiven."

It's hard to watch Logan in decline, and watching Professor Charles Xavier (a very moving Patrick Stewart) battle dementia is no picnic either. But watching the denouement of these two iconic characters pushes superhero movies into bold, new ground, even if the corresponding story is filled with too many narrative retreads such as mutant children in peril and nefarious corporations for Wolverine to battle. Still, all in all "Logan" is a fitting finale that cuts deep with its affecting emotion and vivid characterizations.

In our first ever double episode, we talk with Allison Schroeder and Ted Melfi about Hidden Figures and how subverting expectations can lead to complicated, layered characters and compelling storytelling.

Former Big Break Contest finalist and currently on the 2016 Black List, Joe Greenberg tells us how he gets to the bare bones of his stories.