Writing for TV & Film with Chris Goldberg Titelbild

Writing for TV & Film with Chris Goldberg

Writing for TV & Film with Chris Goldberg

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 Don’t miss this raw and authentic interview with Chris Goldberg. He tells the honest truth about optioning IP for film and the current state of the industry.He’s rarely interviewed, so I am so grateful he’s chosen to share his story with us.Prefer to watch your interviews? See it on YouTube.Chris Goldberg is veteran in the film industry and is heavily involved the book-to-film world. He’s the founder and force behind Winterlight Pictures and is working on over 25 projects at places like A24, Netflix, Sony, Plan B, 87Eleven, and Lionsgate to name a few. He’s been been involved in huge hits like The Martian, and The Fault in Our Stars. Some of his projects currently in development include The Maid with Universal Pictures, and Biter staring Zöe Kravitz.Here is a notice in deadline.com about one of his projects which involves Patrick Hoffman’s The White Van.Black Label Media’s Molly Smith, Rachel Smith, Thad Luckinbill and Trent Luckinbill will produce alongside Chris Goldberg at Winterlight Pictures, who brought the project to Singer and Black Label Media, with Black Label also financing. Seth Spector will executive produce.Here are some of the highlights from the interview:AF: Can you tell people a bit about who you are?CG: You were one of the very first people I met on Substack when I started, so it’s really great to be here talking with you. I’m a producer and a writer. I started my career in New York as a literary scout, finding books to turn into movies for Fox. I did that for about ten years, reading constantly and reporting back to executives on what might work as film or television. After that, I moved to Los Angeles and worked as a development executive.About five years ago, I started my own production company, Winterlight Pictures, and at the same time I began writing again for the first time in about twenty years. Substack has been a completely unexpected experience for me. I didn’t go there with a big plan, but it’s turned into a creative home and a place where I’ve met people—like you—who share similar interests in storytelling, film, and the business behind it all.AF: What is Winterlight Pictures, and how does it fit into your work as both an executive and a creator?CG: Winterlight Pictures is my production company, and it really allows me to combine all the different parts of my background. When I was coming up in the industry, there was very much an attitude that being an executive and being a creative had to be separate. If you were a producer or development executive, you weren’t supposed to be a writer.For a long time, that separation shaped my life. I always wanted to write, but I was deeply immersed in developing other people’s work. Now, having my own company gives me the freedom to wear multiple hats. I can develop projects, produce them, and also create my own material. That balance works for me in a way that it never could when I was under a studio contract.AF: You’ve mentioned before that you stopped writing for a long time. Why did that happen?CG: When I was coming out of NYU, I was very focused on being a writer. I met director Whit Stillman when I was about twenty-one, and I asked him for advice. I told him I was about to take a job as an assistant and reader at Fox, and I asked whether he thought that was a good idea.“If you want to be a writer, go work at a gas station. Don’t take that job.” Whit’s advice to ChrisHis reasoning was that I’d be reading five-hundred-page books for studios every weekend, and the last thing I’d want to do afterward was sit down and write my own work. He was completely right. I took the job anyway, and I didn’t write again for almost twenty years.AF: So, should you have taken that job at the gas station?CG: I don’t regret it exactly, but I do think about it a lot. For twenty years, I worked with writers, read constantly, gave notes, developed scripts, and helped shepherd projects forward—but I didn’t write myself. When I finally came back to it five years ago, it felt like rediscovering a part of myself that I’d put away.At the same time, I gained an incredible education. I saw how projects really get made, how many drafts it takes, how notes shape a script, and how ideas evolve. So while I lost time as a writer, I gained perspective that I wouldn’t trade.AF: How did that background shape you as a writer once you returned to it?CG: My version of the “10,000 hours” was working at Fox. (Authorial note: Malcolm Gladwell famously said it takes 10,000 hours of practice to achieve true expertise.)Writing loglines, reading submissions, and getting immediate feedback from executives rewired how my brain works. You learn very quickly what makes an idea pop, what feels urgent, and what feels commercial.I also learned by watching writers revise. Seeing draft after draft, watching how notes land, and how stories change in response—that’s an education you can’t really get anywhere else. All ...
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