Read them, enjoy them, save them and learn from them.

Thanks to IndieWire for compiling a running list of what’s available. Here are direct links to some of our currently available favorites:

“Hail, Caesar!” screenplay by Joel and Ethan Coen

“Captain Fantastic”  screenplay by Matt Ross

“The Secret Life of Pets” screenplay by Cinco Paul, Ken Daurio, and Brian Lynch

One of the best ways to learn, in my opinion, is to read the scripts of the award-worthy films. Then watch the films, of course. And then perhaps read the script again. Things will come forth. We previously posted links to Trumbo, Inside Out, Steve Jobs, Room and more here. Since then, more scripts have surfaced, courtesy the hopeful production companies. Be sure to download these while they’re still available, which is not for long:

Spotlight

The Danish Girl

Suffragette

Concussion

The Hateful Eight

Brooklyn

Macbeth

Legend

Ex Machina

You can find a running list on No Film School, as well, with many more titles.

In the post it’s pointed out how screenwriters can learn a great deal from studying the work of their (probably more successful) peers. We obviously couldn’t agree more, but let’s take it even a step further and make these screenplays required reading for any budding filmmaker. You will not just learn about structure, story and dialogue. You’ll also find out what choices the director made, what choices the cinematographer made, how the designers made the scripted world come alive and how the actors breathed life into the written dialogue.

Study the work of others. Use it. Enjoy it. Learn from it. Download one of these scripts, break it down and make a shot list, watch the film, see what you missed or how your choices would have changed the experience. Whichever way you decide to use it, this is a great resource.

Download the screenplays for Inside Out, Room, Carol, Straight Outta Compton, Trainwreck, Trumbo – or see the complete (and continuously updated) list on IndieWire.

Not included on the list (at time of writing, at least) is Aaron Sorkin’s screenplay for Steve Jobs. Here you go.

Nope, there’s still another step you’ll want to get done first: Copyrighting the script. Now, understanding what is involved in a copyright is the key to understanding when, how and why you should begin this process. Believe it or not, it’s not as complicated as your think it is.

We did it online at the WGA and copyright office. Very quick and easy – and it was interesting – I made a mistake on the copyright office application and they called me and corrected it. – Joe Crump, Director of The Storyteller

We’ve all seen the little circle with a “c” inside. But what does this symbol and material being copyrighted actually mean? To find out we need to understand the definition. According to the Merriam Webster Dictionary, a copyright is “the exclusive legal right to reproduce, publish, sell, or distribute the matter and form of something (as a literary, musical, or artistic work).”

But wait a second, Heather – I’m the author of my script, doesn’t that mean that I already have the “exclusive legal right?” The answer is both yes and no. Yes – because from the moment you have completed your finished script all countries recognize that you, the writer, own the copyright for your creation. However, the problem arises when you have to prove that ownership in a court of law.

We’ve all heard the horror story, someone takes your script, tears off your title page and puts one with their name on the by-line; they’ve stolen your script. Then they make the movie, and that movie goes on to make millions upon millions. They can’t get away with it – so you hire a lawyer and go after them. Now you have to legally prove that you wrote the script first. Having a copyright of your material helps prove that your script is in fact your script.

Don’t steal ideas – it’s not worth it… just ask Johnny Depp:

Question: Is registering a script with the WGA enough to prove ownership?

Registering your script with the WGA is an important step that offers benefits that will supplement the copyright, BUT it does not act as a proof of ownership in a court of law. Two of the key benefits of registering with the WGA are: 1) You will have a date of creation with the union and 2) A WGA member will appear in a court of law to testify on that date of creation with the union.

But why would you need such testimony? To prove that you own your script – something that a copyright does automatically.

In addition, the length of a WGA registration is 5 years. After such time you’ll have to re-register the script. A copyright lasts the length of the author’s lifetime plus at least 70 years, more if the copyright is with a corporation.

Question: I’ve already begun sending my script out, is it too late to copyright my material?

No, the benefits change but your script will be protected. Bottom line, a late copyright is better than no copyright.

Want to learn more about the benefits of a WGA registration versus Copyright? Check out this helpful article from The Writers Store.

Think of it this way – a baby gets a birth certification, a car gets a registration, and even our pets get registered. Your script is just as important (let’s face it, maybe even more important) and deserves to be just as protected.

So now that we know what a copyright is and why it’s important to have one, the question is when should the script be registered?

We waited till we had a full draft that we were happy with, but before we sent it out to any readers or friends. – Joe Crump, Director of The Storyteller

You cannot copyright an idea. This is because an idea can be turned into several different creations. You need to write down your creation. This can mean a treatment or the full script. The more complete your copyrighted document (be it a treatment or the script), the better it distinguishes your idea.

We’ve gone over the what and the why, all that’s left is the how. Registering for both a copyright and with the WGA can be done online. Go WGA’s dedicated website to register with the WGA. It’s $10 for members or $20 for non-members and takes about 5 minutes (hence why it’s such a popular choice).

To register for a copyright, go to http://www.copyright.gov/. From there you will click on the “register your work” tab and begin the process of registering your script.

I’m not worried about someone stealing my script – we’ve even posted it online for others to read and give us feedback. It’s too hard to make a movie and no one would spend all that time and money only to worry about legal issues later. – Joe Crump, Director of The Storyteller

Here’s the thing, articles like this one tend to illicit fear in writers, makes us want to turn off the internet, lower our voice to a whisper if we dare to start talking about our idea or even close the laptop when we see someone looking at us while we write. Don’t be afraid to share your work. Being a writer, especially a screenwriter, means that in order for your script to get made into a film, eventually someone else has to read your work.

Join us next time when we dive deeper into another aspect of the filmmaking process: Music, Licensing and it’s many uses. Until then, here’s clip from a panel that echoes Joe sentiments about sharing work.

I have always been supremely fascinated with the way great directors can take a script – essentially a collection of words – and bring forth a unified vision, a world you might say, that somehow draws you in and suspends you in glorious disbelief for two hours. Of course, it starts with the script, but I believe that the way you, as a director, approach the material is paramount to the way the finished product – the film – will eventually turn out.

And so, in my search for insight on the matter, I came across this little list by Chris Thomas on the Raindance Film Festival site. It’s by no means a definitive work on how to read a script, but it brings up five great points to keep in mind before you find yourself too far along in the process.

1. First impressions count, so read the script for pleasure

“When you either are given a script to read or you sit back to read through your own opus, there is one vitally important question to answer: Does this excite and inspire me? Everything else will hang on your response to that. Our passion for the story often dictates how much others are prepared to do to help you bring the vision to the screen. Love is infectious after all.

Our first read through should be as if we are reading a novel. There is a tendency to already begin the analysis (like we might have done when we were asked to do a book report in high school). Or worse, to treat it like a manual or instruction book. Don’t.

Have fun. The feeling you have by the end of that first read will often be the feeling you are left with when you watch the movie made from it.”

2. Be more of a detective, less of an engineer

“To direct a screenplay we have to know the screenplay. Although we can view the script as a ‘blueprint’, my experience has shown me that there are many more layers and hidden treasures beneath the surface.

As we progress through our early reads of the script, it helps to put on a deerstalker hat and look at it the way the great fictional detectives might; as a puzzle loaded with clues for its solution.

Our initial intuitions and images that pop into our head are valuable and should be recorded for later reference, but we can dig much deeper. We should be looking first for possibilities of approach to the visual storytelling, performances, production design and use of sound etc. Having a list of possibilities allows us to test them then narrow it down to the best options. If we start with one choice only, then we have at best made an assumption and not made a decision at all.”

3. Question EVERYTHING

“Come away from each read not just with possible solutions, but also with questions.

Often, much is left off the page either by necessity or mistake, and by questioning the source of the story we gain greater insight into the film it can become.

These questions also bring to light any weaknesses, glossed over motivations and overly repeated ideas that may exist, and allow a more focused development process to take place, if needed. And it’s usually always needed.

As a writer/director, this list of questions becomes invaluable when preparing to share our baby with others. We will have so much foreknowledge and acceptance of the world of the story and the motivations of our characters, that we take for granted that it is obvious in the script and to others understanding.

Be prepared to offer clarity on any confusions by questioning the script as if someone else has written it.

As we progress, using questions with our other collaborators, especially actors, is often the easiest and most dynamic way to bring them around to our understanding of the story of the film.”

4. Insight is better than knowledge

“A vital by-product of both the passion to tell this story and the amount of digging deeper we do, is that we move from a basic template knowledge of the ‘type’ of genre and style we are dealing with and get to see the unique qualities of the specific story we are telling.

By testing the possibilities and asking questions we gain something far more valuable; a deep grounded understanding of how the story should unfold, why the characters behave the way they do and how we might be able to engage our audience.

To ‘entertain’ is to hold our audience inside the world of the story. The more we can apply insight, the better chance we have of preventing them from popping out for popcorn or checking Facebook whilst our film is running.”

5. Listen to others

I have a feeling this one might be the hardest one for a lot of directors.

“As our other collaborators come on board, they will also have read the screenplay and have both ideas and questions for us as the director. I find it best to wherever possible let them speak first and share those ideas. In fact, I actively promote this by asking them to tell me the story, rather than start with how they might go about their roles in the process.

Listening with full attention and an open mind sets you in good stead to be both fully aware of the challenges you might face and also allows others to see that you value the contributions. We will need to do this from the beginning right through to the last moment in post-production in our edit, grade and mix.

Always allow yourself time to evaluate the options that arise. Put them to the test. The best way to handle a strong choice made by a fellow collaborator that seems to fly against your vision is to say ‘show me’.”

h/t Raindance Film Festival