Joshua talks to Write On about being a writer on the original iconic series and how it has been updated to reflect current times. "We are looking at how social media has changed the landscape of who we say we are and how we put ourselves out in the world, and so a new Gossip Girl rises, much like Game of Thrones… and targets a new crop of young students at the Constance Billard school."

 

Joshua discusses how he runs a writers room and the creative benefits of being in that environment. "I always tells writers, 'Get in a writer's room…' Be a part of someone else's creation; that's how you learn. I learned so much. I thought I knew everything, but I learned so much."

 

Eric talks delving into the history of the elusive Black Widow: "We approached it with the lens of 'This is a Natasha Romanoff story.' I wanted to see what it's really like inside the most mysterious Avenger - the Avenger that intentionally closes herself off from people socially and emotionally. What's the best way to bring that out of her - the part of her emotion and her heart that she can't really control the way she controls everything else?"

 

On coming on board after two writers have already worked on the script, Eric explains: "You just kind of have to go in and give your honest opinion. You're the custodian of the script; you're the one in charge of that document, and you're the one who has to make sure that we're being true to our characters and our story and that everything kind of makes linear sense and that what our characters are doing makes sense to their characters."

 

Thomas is Director of Development for Los Angeles-based production company Branded Pictures Entertainment and talks to Write On’s Phil Galasso about what the company looks for in a screenplay. "I think the [scripts] that really stand out are when something is sort of attacked in a very different way in a singular voice. That's something that you can't mimic or copy. Everyone has their sort of unique take and perspective on how to tell the story."

 

Thomas talks about his approach to producing and the importance of supporting your creative team. “You always want to make sure, as a good producer, that at any stage in the process, you're supporting your creative team's vision. That there's a shared and collective vision, whether you came up with the idea or the writer did, or a director-writer did."

 

Navot talks writing the explosive female-driven action-thriller starring Karen Gillan and Carla Gugino: "When you strip down this [assassin] genre… it's got this rich history of this hitman following this code and laws of the underworld… but, like in all of these movies, there's always someone innocent introduced into this equation that puts our hero into a dilemma: do I keep the code, or do I go with my heart?"

 

Navot talks about his process with his writing partner Ehud Lavski and how a screenplay is never a fixed object. "A script is a living thing, and you have to be aware of it every step of the way… the worst thing you can do is be fixated on something, and I have to compliment my writing partner [Ehud Lavski], who is always on his toes, always thinking, and once I have an idea, we just jump at it."

 

The famed Bill & Ted writer talks working with director Steven Soderbergh on the HBO Max crime thriller No Sudden Move: "I was asking Steven [Soderbergh] what style of film I should watch, because a lot of times when he and I work together on stuff, he'll say, 'Watch these six movies,' and I always love that because then you get into a kind of mindset." 

 

Ed goes on to discuss his lengthy, varied career, and how he stays inspired. "The only way to stay writing, I think, is a combination of reinvention but, like, real reinvention. How do you reinvent yourself in a way that keeps you in your wheelhouse but just outside your comfort zone so you're… constantly pushing in ways that, mostly, you can succeed in?"