This week, we answer your screenwriting questions about character bio pros and cons, and whether you need an online presence to break into Hollywood. 

Send us more questions on Twitter @brokenprojector or podcast@filmschoolrejects.com

"We can make our own Wally World out of that."

This week, we answer your screenwriting questions about using brands and IP in your script, what to do when your character names suck, putting personality in your descriptions, using banana computers and more.

Oh, movies of 2005, we can't quit you. This week on the show we will right some wrongs by using ten years' worth of hindsight in order to reevaluate the movies lauded at the 78th Academy Awards.

Joining us for the operation is screenwriter John Gary, who helps us explore the correlations between Munich and Bridge of Spies and asks the toughest question of all about Crash.

Plus, Capote, Walk the Line, Good Night and Good Luck and many more to examine with the test of time. It was also a year that brought us a new Batman and a new Fantastic Four movie, so it's a lot like stepping out of a time machine and thinking it didn't work. Should you join us anyway? Absolutely.

You should follow John Gary (@johngary), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

Your screenwriting questions, answered. This week, we look at some red flags that might tell you that it's time to get a new agent (if they're charging you money to take out scripts, RUN), try to figure out the puzzle of self-evaluation, decry feelings of worthlessness in the face of a difficult career goal and talk an unusually appropriate amount about Nana's birthday party.

Send your questions to us: podcast@filmschoolrejects.com

Deadpool! It succeeded! It was R-rated! Studios are baffled for no real reason! Get ready for copycat syndrome and shoehorned violence. Today on the show we welcome on Forbes box office pundit Scott Mendelson to help us roll our eyes at shocked studio narratives and to examine the elements of what made Deadpool work (and which ones will be overlooked completely by executives looking for an easy turnaround buck). 

As we speak, interns are combing through studio-owned IP to see what goofy superhero they can pour blood all over.

Plus, Geoff and I will talk about the movie review website and the statistics project that won the week.

You should follow Scott Mendelson (@scottmendelson), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

How much unfilmable material can you have in a script? What contests and festivals should you spend money on? Can a new computer program tell how emotional a script is? Your screenwriting questions, answered.

Inspired by Hail, Caesar!, Trumbo and Karina Longworth's outstanding (and ongoing) You Must Remember This series on the Hollywood Blacklist, we want to bring the past into the present.

What would happen if Congress decided to go after Hollywood in 2016 for being "anti-American"? Would they still attack Communism or widen their gaze? Would they even be able to wrangle the broad, diverse amount of movies being made? Would TV be on their main hit list?

This week, special guest host Joanna Robinson joins me to dig into this thought experiment and (hopefully) come out on the other side with our souls in tact. Listen to find out who we're calling before the new House Un-American Activities Committee. 

This week on the show, Geoff and I debate the harmfulness of the Disney vault, and our special guest, Slate culture reporter Aisha Harris, joins us to discuss the underlying issues plaguing the so-white Academy Awards. Listen along as we solve Hollywood.

Your screenwriting questions, answered. This week: how much outlining and when to diverge from it; when to give a character a specific race; what Hollywood trends are on the rise and fall (and why that doesn't really matter).

Grab a pen. These are the movies you'll need to keep an eye on as they emerge from Sundance and onto the screens near you.

 This week on the show we celebrate David Lynch's birthday by taking a non-random angle on Mulholland Drive and the keys to its mystery. If there is such a key. Probably not. Life doesn't make sense.

Plus, we comb the news to explain why we're excited about Suicide Squad and ARRAY.

Double plus, a bonus mystery segment that will be revealed only to listeners. You'll be given instructions during the show. We hope you have all your canned goods prepared.

You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

Two years to finish a screenplay? Novelistic scripts? How important is reinventing the wheel? Your screenwriting questions answered.

The world has lost a few heavyweights recently. Luminaries that gave us part of themselves so that we could learn more about who we were. This week on the show, we'll celebrate the work of David Bowie and Alan Rickman while cursing cancer and wishing it dead.

Plus, to lighten the mood, we'll briefly chat about what it was like for me to watch Garfield 2: A Tail of Two Kitties on repeat for 24 hours. Why did I do it? Is my brain still in tact? Domino marshmallow hop lawn pointillism? All these questions answered and more.

You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

Your screenwriting questions, answered. This week we cover the ideal first ten pages, crafting emotion and what to do when you lose your agent.

We're back. With a vengeance. Just one vengeance, though. Nothing crazy.

In a new year with a (slightly) new show, we're delivering two episodes per week. Our main show will feature our standard, intelligent irreverence while our second show (which we're calling "Vomit Draft") is a screenwriting question supplement so that we can focus on writing every single week.

To kick this new era off, Geoff and I discuss The Hateful Eight's limitations and the possibility that they all stem from one source. Plus, we challenge each other with film-focused hypothetical questions like: what one movie would you show aliens to illustrate the nature of humanity? and If you could choose a movie to build an expanded universe from, which one would it be?

All of our answers are, of course, correct.

You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

Your screenwriting questions, answered. This week we cover scene and character descriptions, fundamentals for short films and how to ensure a pilot script stays uncluttered. 

If you're reeling from an explosive summer, you're in luck. There are currently two movies in theaters (and in the VOD-o-sphere as well as iTunes) that are both hilarious and treat relationships with a complexity and realism that you might be missing. The first is Sleeping With Other People, a romantic comedy where Jason Sudeikis and Alison Brie use a safe word for when they're feeling sexual tension. We'll talk with writer/director Leslye Headland about finding honesty with a high concept.

The second is People Places Things, the story of a graphic novelist/teacher (played brilliantly by Jemaine Clement) who is going through divorce, trying to be a good father and trying to contemplate defining his life now that half of it is over. We'll also speak with its writer/director, James C. Strause.

Plus, Geoff and I will answer some of your screenwriting questions, and, since I'm moving across the planet over the next two months, we'll briefly consider the role packing up everything plays in a handful of films.

Filling in for Geoff this week, Pacific Rim screenwriter Travis Beacham hangs out for the hour, so we use Age of Ultron, Back to the Future and his Kaiju-battling film to discuss plot density (and the 2015 trend of convoluted messes) in big adventures.

We also discuss his newest project, a directorial debut called The Curiosity that was born out of the abject despair of getting his television show at Fox canceled before it even aired. After dedicating his life and hard work to something that will never be seen, he's found redemption in a new idea and new learning curve.

Gigantic robots and hard-working people making good. What's not to love about this episode?

Everybody cut loose. Because Kevin Bacon is chasing you, and he wants to bury you in the woods.

Bacon stars in the indie flick Cop Car as a bad guy sheriff whose siren-topped vehicle is stolen by two young boys running away from home. This joy ride was co-written and directed by Jon Watts, who will take on the next Spider-Man movie, so it's a dark artifact of what his aggressive and comedic sensibilities if you're looking for a hint of what he might bring to the Peter Parker table. Plus, Bacon offers some stellar suggestions for actors who are in scenes without any other actors to talk to.

Geoff and I will also say goodbye to The Daily Show with Jon Stewart and answer your screenwriting questions about pagination and the first step after your last step.

It's our 100th episode, and to celebrate we've invited some special guests to help us count 100 of the 1,00,000 reasons we love movies.

We aren't interviewing anyone, handing out screenwriting advice or getting too deep in our discussion of Top Gun this week, so we hope you consider this episode as a shot of adrenaline that recharges an already-well-lit passion.

We hope you see yourself in these reasons. We hope that you add to the list with your own experiences. We hope that we're able to tell 100 different stories just by evoking these favorite moments, scenes, props, lines of dialogue and memories.