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Tony Tost
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It's something of a screenwriting cliche to say that the first few pages of a script are essential for hooking a reader. But for an non-established outsider trying to break
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One thing that doesn't come up much when people discuss screenwriting is class. That is, how the process is different for those who don't have financial safety nets, or prestigious
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Every show is different. But in my experience, I think I got hired to write for LONGMIRE primarily because 1) I grew up in a similar environment as the show,
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First of all, there just isn't that big of a market for original material. It's incredibly hard to sell an original spec script these days. It seems everyone wants a
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Sometimes I think there's this narrative out there in screenwriting guru land that if you just craft this perfectly structured screenplay, you'll sell that script and then, presto change-o, you're
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HELL OR HIGH WATER (2016). One of my top 5 favorite American films of the new millennium. It's exactly the kind of film I want to make: it tackles elemental
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THE SUGARLAND EXPRESS (1974). Along w/ Bong Joon-ho's MEMORIES OF MURDER (2003), this is probably my personal Platonic ideal for how to direct. Less overtly affirming than most Spielberg's films
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THE BAD NEWS BEARS (1976). So many reasons why this is my favorite movie. One reason: we never see Buttermaker at home or see him looking at old pictures from
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MELVIN AND HOWARD (1980). Every time I'd try to watch this film, I couldn't get past one scene: blue-collar, goodhearted Melvin (Paul Le Mat) comes into money via his wife
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It's hard to overstate how huge Charley Pride was in his 1970s heyday. Thirty #1 hits. Incredible.https://youtu.be/xdVJupmgU8Q I think a lot of that had to do with how beloved he
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One of the best pieces of screenwriting advice I got was after I wrote the pilot for DAMNATION. James Mangold had come aboard as an EP. I had two scripts.
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Sometimes I get questions about how to break in as a screenwriter. I don't have much in the way of answers or advice. I broke in when I was 35
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