The ISA Podcast

"When your judgement of your writing is based on fear, it has very little connection to reality. You may dismiss really brilliant writing as terrible, simple because you're afraid that other people aren't going to like it. Or you may fall in love with scenes that are not working simply because they feel safe to you..."

SYS Episode 154

Saw II Writer & Director Darren Lynn Bousman talks about his new film Abattoir.

Page 2 Screen host Jeff York reviews the best scripts of 2016.

Examining the year's standout scripts, Jeff flies solo for a truncated talk about those that impressed him the most in their translation from page to screen. The screenwriters responsible took big risks here, shaking up conventional storytelling tropes, as well as the genres they wrote in. Our Page 2 Screen host gets in the weeds with very specific details about what made each of his choices so exceptional. Included on the list are MANCHESTER BY THE SEA, LA LA LAND, INDIGNATION and even DEADPOOL. So, if you're a screenwriter, or merely a movie fan, you'll want to listen to Jeff's take on how these acclaimed writers advanced their art.

We are presenting this podcast as an introduction to our upcoming TV Story Weekend on January 14 and 15 in Los Angeles. If you don't yet know about Story Weekend, you absolutely must check it out - a two-day event with Lee Jessup, Jen Grisanti and Corey Mandel, giving specific insight and an intensive on all aspects of the TV writing process, business, and how to write a pilot that sells. There will also be two panels presented with representatives from the industry such as Gersh, a writer on the upcoming Netflix show, Ozark, manager Jamie Wager and then some. Join us in Los Angeles in mid-January 2017 and learn from the best! See more here.

An award-winning playwright and screenwriter, Corey Mandell has written projects for Ridley Scott, Wolfgang Petersen, Harrison Ford, Meg Ryan, Julia Roberts, John Travolta, Warner Brothers, Universal, 20th Century Fox, Fox 2000, Fox Family, Working Title, Paramount, Live Planet, Beacon Films, Touchstone, Trilogy, Radiant, Kopelson Entertainment and Walt Disney Pictures. Through his vast experience working as a writer in the business, Corey has amassed an exceptionally successful consulting service and business over the past ten years. In this interview with Corey, we discuss how the TV industry is changing, but more so on a creative and expectation level where writing is concerned. It's illuminating in that Corey stresses that the industry isn't wanting to same old same old anymore. They're tired of the basic structure and beats, and audiences want new, they want different, they want unique.

We dive in to how to approach creating the most unique story, but we really just scratch the surface. In order to get more from Corey (and Max Timm with the ISA), you can check out Corey's website at coreymandell.net, or attend the ISA's TV Story Weekend event on Jan 14 and 15. Corey will be leading a seminar and discussion on pitching to the TV industry and getting the most out of your TV projects. It's a can't-miss event. 

SYS Episode 153

Dito Montiel Talks About His Early Career And His Recent Film, Man Down with Starring Shia LaBeouf.

SYS Episode 152:

David Bruckner Talks About Launching His Career With Short Films And His Latest Film SiREN.

We are presenting this podcast as an introduction to our upcoming TV Story Weekend on January 14 and 15 in Los Angeles. If you don't yet know about Story Weekend, you absolutely must check it out - a two-day event with Lee Jessup, Jen Grisanti and Corey Mandel, giving specific insight and an intensive on all aspects of the TV writing process, business, and how to write a pilot that sells. There will also be two panels presented with representatives from the industry such Gersh, a writer on the upcoming Netflix show, Ozark, a TV-specific manager and then some. Join us in Los Angeles in mid-January 2017 and learn from the best! See more here.

Jen Grisanti is a long-standing friend of the ISA, having jumped on the line with our Max Timm multiple times in recent past. We love having Jen on not only for her wealth of knowledge and expertise where TV writing is concerned, but because of her never-ending dedication to inspiring writers and motivating us all to keep pushing forward. While Jen and Max talk a lot about the TV pilot season and what it means for writers, there is a real emphasis on why so many shows right now are working so well.

There isn't a secret to creating a great TV series and the industry isn't witholding such a secret from us, the writer. You have the ability to write great television, but it's absolutely essential (and might we say, mandatory) to enlist the help and support from someone like Jen Grisanti or her consulting and coaching peers. The reason the ISA hosts our podcasts is because you, the writer, need support through every step of the creation process and throughout your career no matter the level of success you achieve.

With a new year upon us, what better time than now to not only attend the ISA's TV Story Weekend event in January, but to also call upon Jen Grisanti to work with you one on one? The time is now, folks, so hop to it. 

"La La Land" is a musical that soars while staying grounded in reality.

With catchy songs and dance numbers that pop off the screen, it would be easy to characterize Damien Chazelle's "La La Land" as a musical comedy, but that doesn't give this film nearly enough credit. It's also a serious character study of performing artists, as well as a tough-minded take on show business realities. Chazelle's layered script tells the story of struggling actress Mia (Emma Stone) and bullheaded jazz pianist Sebastian (Ryan Gosling) pursuing their dreams in LA and each other. Their dialogue crackles honestly about Tinsel Town demands, and even when these two break into song, their words speak volumes about the "fools who dream." Both sweetly nostalgic and utterly modern, "La La Land" is the must-see film this holiday season.

We are presenting this podcast as an introduction to our upcoming TV Story Weekend on January 14 and 15 in Los Angeles. If you don't yet know about Story Weekend, you absolutely must check it out - a two-day event with Lee Jessup, Jen Grisanti and Corey Mandel, giving specific insight and an intensive on all aspects of the TV writing process, business, and how to write a pilot that sells. There will also be two panels presented with representatives from the industry such Gersh, a writer on the upcoming Netflix show, Ozark, a TV-specific manager and then some. Join us in Los Angeles in mid-January 2017 and learn from the best! See more here.

In preparation for the year ahead, Max Timm jumped on the line for a quick interview and podcast with Lee Jessup. Lee is a longstanding friend of the ISA and we love that she is referenced as a Screenwriting Guidance Counselor. We all need someone like that in our lives, and Lee is the perfect example of a career coach and creative consultant. What she provides writers is invaluable, and we always love having her on for a podcast interview.

She shares with us specifics about what we can expect from the industry in the coming year, and how writers should approach pilot season (and giving us details on how pilot season has changed in recent years).

"Rogue One" is a Star Wars story that is good, just not a great one.

"Rogue One: A Star Wars Story" is being promoted as the first stand-alone film in the anthology series. Partly true, but this is still essentially a prequel to the chapter "A New Hope." It is self-contained, and fills in the blanks of the storytelling between chapters 3 and 4 in the anthology, but it feels less like a "Star Wars" film in both good ways and bad. It wins points for its diversity, and its adult edge, particularly in its third act battle sequences. Unfortunately, the varied ethnicity of the characters isn't enough to make up for their lack of dimension. And no new character, other than the robot K-2SO, gives Luke, Han or C-3PO a run for their money. Quite simply, this film illustrates that what the franchise truly needs is to tell stories not tethered to the original six. New directions will give every filmgoer out there a new hope.