Hollywood Terriers Boston University Los Angeles Programs

Bruce Feirstein—writer of GoldenEye, Tomorrow Never Dies, The World Is Not Enough, and the New York Times best-selling book Real Men Don't Eat Quiche—talks to Cody Brotter about the changing landscape of the movie marketplace, what his screenwriting pet peeves are, his experiences as a Vanity Fair Contributing Editor, and the time he encouraged a random grad student on campus—Bill O’Reilly—to write a column in the BU newspaper.

Maureen Bharoocha talks to Cody Brotter about going from behind-the-counter at Sprinkles Cupcakes to going behind-the-camera as their first-ever Digital Content Director. She also talks about directing a short (starring Ron Funches), selling a screenplay to Mar Vista (and getting repped), working with Funny Or Die (and College Humor and Lauren Lapkus), getting on a UCB Digital Team, and directing segments for Jimmy Kimmel.

Michael Gunn talks to Cody Brotter about being in Aaron Sorkin’s writer’s room fro “The Newsroom,” writing and pitching (and selling) feature-length screenplays, getting on The Black List, working in casting at HBO, and writing on “The Whispers,” “Black Sails,” and “Designated Survivor.”

Daria Polatin talks to Cody Brotter about going from acting to playwriting to TV writing to novel-writing, working on “Dexter,” writing for a show created by a “Breaking Bad” writer, writing and producing a Hulu show, getting the encouragement from the late Jon Lipsky, becoming a bestselling author, and actively making the effort to diversify the theatre world.

Adam Finkelstein talks to Cody Brotter about the long journey from aspiring intern to full-time editor at Trailer Park and what it’s like to cut trailers for giant studio movies and television shows ranging from “Brave” to “Wonder Woman” to “Stranger Things” to “Mad Max: Fury Road”—the latter of which won three Clio Key Art Awards for film marketing and a Golden Trailer Award.

Corinne Marrinan talks to Cody Brotter about winning an Academy Award (at which she thanked the Academy for seating her next to George Clooney at the nominee’s luncheon), working at “CSI” for a full decade, the importance of diversity in writer’s rooms, and what it actually means to be called a “producer.”