# The Collection

You may not have heard Brian Lynch’s name, but you definitely know his work. He’s one of the writers behind Hop, Puss in Boots, and Minions—the eleventh highest grossing animated movie of all time.

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."

Mark broke down creative struggles into three main stages—the creatively crashed, the creatively frustrated, and the creatively excited (albeit a bit directionless)—before providing ideas on how to push through each stage.

Scott Neustadter discusses the challenges of turning a true story into a cinematic experience, how he and Michael sold their first script, and his search for the story he “can’t not write.”

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

Dustin Guy Defa discusses how he approached the structure of "Person to Person," writing genuine dialogue, and the benefits and drawbacks of complete creative control.

Hollywood families aren’t a new thing, but it’s rare to see a movie where the co-stars are twins in real life who also wrote the film together.

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

Best practices are not to entirely depend on your friends and family but for your first campaign or two, it’s largely unavoidable. So what can you do if your starting “crowd” is broke?

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.

Diana Henriques is an award-winning writer for The New York Times. Her book, The Wizard of Lies, is the basis for HBO’s Emmy-nominated project by the same name.

Harrison Ford's role, playing the legendary John Thornton from Jack London’s The Call of the Wild, may be his most personal project to date.