Daniel Wrobel

@SWGoldman Lem’s Fiasco has a Dominican monk

Religions in space: Mormons in The Expanse, Muslims in Pitch Black, and Jews in Chapterhouse: Dune.

@gmoult This one’s good! The others I wasn’t too keen on so far

putting you guys on open.spotify.com/track/2Dq1HjXZ…

polish indie albums I’ve been listening to lately

@JonShaivitz Good read, thanks for laying this out Jon.

I wrote a little thing: What Killed The Movie Business— And How To Bring It Back 👇 medium.com/p/0f2a3f9e8719

@tschrack @X Hey, this was really charming. Put a smile on my face. Nicely done!

On a skateboard, everyone speaks the same language. S.K.A.T.E. is a short film about how one game can connect total strangers. 🎥Filmed in DC ✨Inspired by a real moment Now on @X

Love the writing craft advice from Tom. Each scene is a mini story. Story is fundamentally about change.

@bryanedwardhill This is great, thank you! Appreciate the light amongst darkness.

I'm going to try and light a candle to curse the darkness of Twitter. X whatever it is. Here's a hopefully useful thread about the importance of emotion in your pitching and story meetings if you get in front of executives, and how to use a well-crafted deck to your advantage.

Here's an idea. Anyone who's paid for story notes and were satisfied with what they got, give a shoutout to your reader here. Good way to drum up business for someone who deserves it. Individuals only. No coverage services, please.

@andycompton_ Subscribed!

@fringeblog It’s so good. Totally agreed, there needs to be more movies like this. Time to get writing!

Body Heat holds up. Hurt is unapologetically sleazy, Turner is edgy, sensual, and equally unapologetic. The atmosphere is foggy and sweaty and Kasdan's script crackles. With production straddling two decades (late 70s/early 80s) it manages to feel timeless. I want to see more stuff like this made today.

@ChueyMartinez I love to write the scary, bone tingling stuff!

Where my Feature Horror writers at ? Would love to connect. 🧛‍♂️👻😈

Not only is this video one of the best things to come out this year, it also makes me even more hyped to see what Coogler and Jordan have cooked up in Sinners.

@JonShaivitz Awesome news! Congratulations

This week, I… Uh… …May have just locked in a U.S. theatrical release for my first feature. This summer. And that means our first teaser trailer is dropping soon. Very soon. I hope you’re ready. Cuz I am… 🌹🍿📽️ #scriptchat

@JonShaivitz Hey Jon I’d be happy to take one off your hands and soak up some knowledge!

Well, looky here, I got a box full of books. And they belong to you all. Gonna be handing these babies out like hot cakes. There is no limit on this giveaway. If you want one, it’s yours. You get a free book! And you get a free book! First shipments go out Tuesday. ☺️🎁📖

@TahhanSolo Sounds great!

Another read request! Must be doing something(s) right. So much so I'm considering creating a site where we can discuss ways you, too, can make headway in this industry. We'd do Q&A's, host calls with execs, facilitate learning, etc. Is that something you'd be interested in?

@beneverard Love it! A great high concept can get you traction. Now to generate more ideas…

To the writers of movies out there. I’m often asked a version of the following question: What are you looking for? There is never a perfect answer, and I commonly respond with a truth: I know it when I see it. But to provide more insight, fundamentally it comes down answering the following questions. 1) Is this a movie? - The probability of a movie being produced in 2025 is directly proportional to the strength of its: concept, concept, concept. - Think: meaningful IP or a high concept premise. - Without either of the above, the project needs undeniable execution on the page with incredibly compelling characters that movie stars will want to portray. If the answer to the above is “Yes”, we turn to question 2. 2) Am I uniquely positioned to turn the script into a movie? - Put simply: am I able to see the path through the maze of obstacles that will inevitably arise? - Do I have relationships with actors, directors, agents, studios, managers or financiers that will meaningfully move the ball down the field? - Alternatively, do I simply respond to the material in a way that I have to take it on. The infamous passion project. Every movie is a miracle in its own way, so selection of what to proceed with is important. If you try and do everything, the result will be nothing. And here is the best part. If any one person’s answers to the above are “No”, there are still countless paths forward for your project. Your job is to go find it! As they say in Hollywood: ONWARD.

@LukeBarnett Totally with you on this one. Good stuff has to survive somehow and taking away income streams just isn’t going to work. Not to mention it’s kind of insulting to the 100s of dedicated crafts people who put their labor into these projects

“Everything has to be available to me immediately or I will steal it and then give it away to everyone else.” And then they wonder why we don’t have more movies like Nickel Boys. The $5 rental may not matter to Thor 12 but it does matter if we want more original stories.

This really sums up so much of what’s wrong with society today. Just an insane sense of entitlement.

@joshbarkey Not a bad problem to have

Started writing a new short to direct and it's ten pages already and barely getting going and possibly I don't know how to write short films anymore, cuz this is starting to feel like maybe a feature.

@HwoodScrptReadr How much (if any) of this do you feel like is evident just by reading the logline?

A writer should always be able to answer the question, "Why now?" And if you can't, you're missing something important that could make the difference between a PASS and a CONSIDER. And that thing is our word of the day: urgency.

There are polished, professional screenplays that don't go anywhere because they lack this special sauce: urgency. That could mean a story about some current or topical subject matter, but it needn't be.

@JEStew3 Still here, still writing!

Hey screenwriters—who is still standing here? I’ve got a longer post coming about the importance of our voices now more than ever and want to be here to help develop yours, so if you’re still here, gimme a holler. The work must continue!

Thanks to the one and only @HwoodScrptReadr for reviewing my horror logline! Amazing feedback… and it was free