John Bucher

Mark Steven Johnson stepped behind the lens to direct Finding Steve McQueen, the true story of a gang of Ohio bank robbers that attempted to steal $30 million from President Richard Nixon’s secret illegal fund.

"I cannot stress enough the power of passion, when it comes to getting these things made."

One of the key insights for crafting characters that feel real is determining what weighs on their mind as they go about their day – their burdens.

"Animation is so close to the language of dreams, and the language of dreams is so close to the language of mythology."

Oscar-winning filmmaker Guy Nattiv sat down with LA Screenwriter’s John Bucher to discuss the process that lead to his film getting made as well as his own creative practice.

One of the most vital yet least discussed aspects of effective storytelling is the ability to execute potent setups and payoffs.

There are perhaps no other elements used more often in these early stories than the celestial bodies people saw when they stared into the sky.

I felt like a different person. I had grown as a writer. I had grown as an artist.

Only the bravest writers dare to share their difficulties, embarrassments, and addictions with their audiences. Charlene deGuzman is just such a brave writer.

LA Screenwriter’s John Bucher interviews director Ron Howard on "Hillbilly Elegy."

Before we can subtly communicate the desires of our character to the audience, we have to fully understand those desires ourselves.

A conversation with the director and cast of "Ben-Hur" on practical effects, strong voices, and the power of forgiveness.

Coming-of-age stories have long been a staple of storytelling. Since the early days of film and television, audiences have enjoyed watching characters that mature before our very eyes.

Luxor tells the story of a British aid worker taking a hiatus in the ancient Egyptian city, where she bumps into a former lover, Sultan, an archeologist.

An interview with James Schamus, the writer of the "Indignation," on his writing process, screenplays that aren’t over-written, and the violence of adapting great books.