“I like having sympathy for the devil. And all of them are devilish!” says Emerald Fennell about her characters in the new film Saltburn.

“It really comes down to scene work. Do these characters pop? Is this fun to read? Is it fun to imagine what’s going to happen next? When you get to the end of that pilot do you want to find out what’s going to happen in the next episode? It’s all of...

“The lesson we keep learning is that the thing that breaks you [into Hollywood] is your weirdest idea. The thing that only you can write… All of our friends who have done that – it's been a fulcrum in their career,” says Phil Lord, co-writer of Spide...

“We can’t make Lawrence of Arabia anymore – not that that’s not a good movie, but it’s kind of a thing of the past,” says screenwriter David Scarpa about writing the script for Napoleon.

“My cardinal rule – the rule that you cannot break is: don't be boring. Because you can have the perfect script that follows every screenplay formatting rule, but if you're boring, it doesn't matter. First and foremost, you’ve got to hook the reader,...

“A lot of the scenes are [shot in] one take. The space that they hold, the amount of air that they let sit there before saying their next line. I mean it’s an incredible amount of tension and intimacy,” says screenwriter Samy Burch about her new film...

“I'm now at a place where I say to myself, ‘What haven't we seen?’ And then we take it to a place that’s completely, absolutely bonkers,” says writer Kirk Ward about his new show The Continental: From The World Of John Wick. “You take the audience do...