A book that is both funny AND useful. Rare indeed. One that I will most likely purchase (review based upon library copy) because it's full of good advice.

Having said that, this is not for the navel-gazing art house set. It's for those who value commercial work and aspire to create it. As the authors advise, make a few commercial films, THEN go do your artsy indie. Your wallet will thank you.

An aggressively informal look at screenwriting for the studio system. Will cure a lot of aspiring screenwriters of the desire. I enjoyed the glimpse into that world - very funny and informative.

The jokes aren't always great, but there's plenty of realistic (AFAIK) advice on writing screenplays—specifically studio screenplays.

I have no desire to write a movie, but I think Thomas Lennon is very funny. The book was very interesting from a movie lovers standpoint and there were a lot of funny experiences. There was some language but if if you like movies a lot you might enjoy this book.

Not only an interesting how-to book but also a tour de force on examining life in contemporary Hollywood. Made me not want to be a screenwriter but I enjoyed this book immensely. Might not have the classic touch of William Goldman's Adventures in the Screen Trade but is still a very good book in its own right.

More than I probably ever wanted to know about screenwriting in Hollywood. But presented in a funny and approachable way. And reaffirms I would not do well in Hollywood.

An amusing, casual look at screenwriting.

Lennon and Garant's charismatic style and sense of humor, peppered with some great industry tips, make this a great read for screenwriters as well as fans of 'The State' or 'Reno 911'. Great additions include the second full treatment of the Reno 9-11 movie (that has yet to be made) and much more...
Free ideas, for your taking, are included in this release.

Some reviews of this book have referred to sections of it as "fluff". What they call fluff, I call the funny bits. This book is as much a mockery of screenwriting guides and Hollywood as it is an in depth look into the matter.

Even though I write, I've never really had a compulsion to go out to LA and give the world of big studio screenwriting a whirl, and this book has in no way changed my mind. While they pretty explicitly state some parts of this, it's valuable to remember that these guys primarily sell broad comedies to big studios, so their advice is probably more applicable to comedy writers than someone who wants to write dramas.

The bits where they take the stuffing out of failed writers turned public speakers is probably my favorite, and since Goodreads went dead as I attempted to save a much more thoughtful review, I'm going to close on this quote:

"Screenplays are like blueprints. A guy who's drawn up a lot of blueprints that have never actually been made into buildings is not an 'architecture guru,' he's an 'unemployed douchebag.' A guy who talks about screen-writing but who's never sold a screenplay is not a 'screenwriting guru,' he's a 'lecture circuit bullshit artist.' From now on, that's what we'll call them."

Alveg fín en ekki nógu innihaldsrík til að fá meira en þrjár stjörnur. Ágæt innsýn í ferlið í Hollywood. Bókin er skrifuð frá sjónarhóli manna sem eru glaðir yfir því að hafa selt sig kerfinu en maður fær tilfinninguna að þeir séu frekar bitrir yfir því. Ég held að ég hafi ekki séð eina einustu mynd sem þeir hafa skrifað. En Lennon kemur reglulega í Craig Ferguson og er fyndinn þar.