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[Sharon Harris]

Based on the novel by Tom Perrotta, this is a skillfully woven tale of suburban angst that retains a very novelistic feel. An excellent case study in how to make voiceover work for and not against your script.

This is arguably a better script than the one McCarthy won the best screenplay Oscar for: Spotlight. Beautifully tight and sparse writing about a lonely professor learning to loosen up after discovering a couple of illegal immigrants living in his New York apartment.

Written on spec by writing team Lucas and Moore (Four Christmases, Ghosts Of Girlfriends Past), this script is a near-perfect execution of a very high concept. Along with (500) Days of Summer, this is probably the best screenplay to come out in 2009.

Dismissed by some as Charlie Kaufman-lite, this is the best screenplay to read to get your creative juices flowing if you write dark comedy. Imaginative, thought-provoking, high concept and, best of all, extremely funny.

One thing many aspiring comedy screenwriters fail to do is add set pieces to their spec screenplays. From Ted picking Mary up for prom, to getting arrested for cruising, this is the best screenplay to learn how to elevate a simple situation into a big comedic set piece.

Christopher Nolan helped bring a much darker edge to the Batman franchise with Batman Begins, and this collaboration with his brother is an even better screenplay. Absorb all you can from this exceptional piece of work.

Johnson has said of writing the script he wanted it to be character based rather than focus on the mechanics of time-travel. He drew inspiration from movies such as The Terminator, 12 Monkeys, and Witness. One of the best screenplays to read if you love mixing sci-fi with ironic humor and time-travel.

The Wachowskis pitched the script to Warner Bros. who were initially skeptical of its philosophical musings and tricky SFX for the time. They then decided to bring on board underground comic book artists Steve Skroce and Geof Darrow to storyboard the entire film, shot-by-shot. Warners were impressed and the rest, as they say, is history.

Three of the best script writers in Hollywood collaborated for this modern classic. Beattie originally had the idea for the movie aged seventeen while riding in the back of a cab in his native Sydney. He then worked up a two-page treatment called The Last Domino, which he turned into a screenplay. Later he was lucky enough to be put in touch with Darabont and then Mann who both contributed revisions.

The first draft of this much-lauded horror/comedy satire was written Peele in two months. He then went on to write a staggering 200 more drafts before finalizing the one that went on to win the Best Original Screenplay Oscar in 2017.

Seltzer was commissioned by the producer, Harvey Bernhard, to write a movie about the Antichrist after Bernhard was given the idea by a friend, Bob Munger. It took Seltzer exactly one year to write the screenplay and it would go on to be one of the most iconic horror movies of all time.

This script was born purely out of budgetary restrictions as writers Whannell and Wan deliberately wanted to write a horror film as cheaply as possible. One that they could finance themselves. Inspired by low-budget movies such as Pi and The Blair Witch Project, they decided on the concept of two actors, one room, and one dead body. Easily one of the best screenplays to read for horror writers.

Go Into the Story is the official blog for The Blacklist, the screenwriting community famous for its annual top ten list of unproduced scripts. One helpful feature of Go Into the Story is its bank of downloadable movie scripts.

The titular Drew has been sharing scripts with curious readers and writers for almost two decades now and has a vast library from which to choose. A great benefit of Script-O-Rama is that it holds several drafts of certain movies, an invaluable resource for those who want to see how a Hollywood film evolves in the writing process.

All programs and workshops are solely owned and operated by the New York Film Academy and are not affiliated with Universal Studios, or Harvard University. GI Bill is a registered trademark of the U.S. Department of Veterans Affairs (VA). More information about education benefits offered by VA is available at the official U.S. government website at Not all programs are offered at all locations.

From time to time I've seen movies' or TV show episodes' scripts posted or quoted online - at first they were The Simpsons episodes, but Star Wars and Harry Potter films too, for example. There's even a question about sites in which to find scripts.

I don't know if they are published by the directors/writers/producers, or if they are fan made. They seem too detailed to be fan made - and considered too much canon for just being the opinion of lots of nerds -, but I can't imagine why nor where do they publish them. What's the intention in publishing them?

As stated in the question you link, the legality of these scripts is unconfirmed. Obviously, as with anything posted on the internet, unless you can verify the source yourself there's no guarantee that anything is as presented.

Then there's transcripts, which are more or less "fanmade", they are generated by either watching something and writing down dialogue (and sometimes scene descriptions, but many transcripts lack that altogether) or by getting the subtitle files and going from that. Hence the "trans" part of the scripts.

When Django Unchained won Best Original Screenplay, I was dismayed. While I found the movie exhilarating, the script was a complete disaster. It was obvious that the voting Academy members had not bothered to read the screenplay.

From the thousands of scripts on the web, there are only a handful I recommend to my students as exemplary writing. (I am using these for the online course I designed, Immersion Screenwriting. The story of how this course came about is here.)

Completed studio scripts could be misleading, too, as they rarely showcase the type of material you should write. Most are adaptations, sequels, remakes or franchise material, and you have no access to the rights of any of this, as it is exclusive studio property.

A spec script is written on the speculation that one day it will sell. The writer is not paid for their time, as they fund the development themselves. In this way, they keep complete freedom and control.

While it is a bonus to know what scripts find their way to production, you should be reading scripts people buy. And the annual Black List is a barometer of what scores high among agents and executives. And these are the ones that do the deals.

What some forget is that many films in this category were written by the director, and greenlit based on their visual prowess. Think Paul T. Anderson, Alfonso Cuaron and Kubrick. Some small indie auteur films fall under the same category.

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

A screenplay, or script, is a written work produced for a film, television show, or video game (as opposed to a stage play) by screenwriters. A screenplay written for television is also known as a teleplay. Screenplays can be original works or adaptations from existing pieces of writing. A screenplay is a form of narration in which the movements, actions, expressions and dialogue of the characters are described in a certain format. Visual or cinematographic cues may be given, as well as scene descriptions and scene changes.

These scenario scripts evolved into continuity scripts, which listed a number of shots within each scene, thus providing continuity to streamline the filmmaking process.[1] While some productions, notably D. W. Griffith's The Birth of a Nation (1915), were made without a script, preapproved "continuities" allowed the increasingly powerful studio executives to more accurately budget for film productions.[1] Movie industry revolutionary Thomas H. Ince, a screenwriter himself, invented movie production by introducing an "assembly line" system of filmmaking that utilized far more detailed written materials, clearly dedicated to "separating conception from execution".[1] Film researcher Andrew Kenneth Gay posits that, "The process of scripting for the screen did not so much emerge naturally from other literary forms such as the play script, the novel, or poetry nor to meet the artistic needs of filmmakers but developed primarily to address the manufacturing needs of industrial production."[1]

With the end of the studio system in the 1950s and 1960s, these continuities were gradually split into a master-scene script, which includes all dialogue but only rudimentary scene descriptions and a shooting script devised by the director after a film is approved for production.[1] While studio era productions required the explicit visual continuity and strict adherence to a budget that continuity scripts afforded, the master-scene script was more readable, which is of importance to an independent producer seeking financing for a project.[1] By the production of Chinatown (1974), this change was complete.[1] Andrew Kenneth Gay argues that this shift has raised the status of directors as auteurs and lowered the profile of screenwriters.[1] However, he also notes that since the screenplay is no longer a technical document, screenwriting is more of a literary endeavour.[1]

The format is structured so that (as a ballpark estimate) one page equates to roughly one minute of screen time, though this often bears little resemblance to the runtime of the final production.[3] The standard font is 12 point, 10 pitch Courier typeface.[4] Wide margins of at least one inch are employed (usually larger for the left to accommodate hole punches).

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