From Winning Script to Active Development [Podcast]
What happens after you win a screenwriting competition? In this episode of the Kinolime Podcast, John sits down with Eric Landau, winner of the 2.0 Screenwriting Competition (Mob Mentality), to talk about what comes next, from signing the option agreement to tackling rewrites and preparing the script to go out to A-list directors.
Eric shares what it’s really like to receive production notes, how he approaches collaboration, and the writing habits that help him deliver draft after draft. It’s an honest look at the work behind the win and a reminder that success in screenwriting isn’t just about talent, but discipline, openness, and hitting “submit” when it counts.
Full Transcript: Kinolime Podcast Episode 37: From Winning Script to Active Development
Participants
John Schramm - Head of Development, Kinolime
Eric Landau - Screenwriter, Kinolime Competition Winner, Mob Mentality
John: Welcome! We have such an amazing guest today, although calling him a “guest” doesn’t feel right because he’s basically family. Eric Landau, the winner of our 2.0 Screenwriting Competition, is here in the studio.
Eric, what’s up, dude?
Eric: Thanks for having me. Doing well!
John: We wanted to bring Eric in for everyone who’s curious about the second film we’re making from the competition. We’ve got the writer here, and we’re going to talk about the process, how he’s feeling, what it’s like being an optioned writer, and what happens once your script starts moving toward production.
Becoming an Optioned Writer
John: You win the competition. We send the check. The option gets signed. What has life been like as an optioned writer?
Eric: So far, so good. We’ve really just been working closely with Kinolime, you, Danny, and Meara. We’ve had some in-person meetings and several Zooms to put together a game plan for the rewrite, and then I just hit the ground running.
John: Has it sunk in yet? You’ve been writing for a long time. But now there’s a company attached, money involved, a movie being made. Did that change something mentally?
Eric: Maybe it hasn’t fully sunk in yet. When the movie comes out, I’ll probably reflect more on that. For now, it’s just business, trying to get the script where you want it.
Receiving Notes from a Production Company
John: You get the option signed… and then you get notes. What was it like receiving detailed notes from a production company that’s actively trying to make your movie?
Eric: At first, it was a little daunting, realizing how much more work I needed to put in after already putting so much into it. But once I stepped back, thought it through, and formulated a game plan, it felt good.
John: A lot of writers take notes personally. You’ve been fantastic - you get notes, and a few weeks later, boom, draft delivered. How did you get over that initial hurdle?
Eric: Honestly? I just took my laptop to a coffee shop and got into it.
Handling Multiple Drafts
John: After the first rewrite, you get more notes. What’s that like?
Eric: I went through them one by one. Most of them felt reasonable. I either fully agreed, partially agreed, or disagreed but I addressed each one thoughtfully.
John: What’s it been like collaborating with producers and having multiple people in the room digging into your script?
Eric: That part’s been fun. You, Danny, and Meara aren’t afraid to get into the nitty-gritty, even with an absurd comedy like this. I love brainstorming and talking story and structure. I really enjoyed that collaboration.
Eric’s Writing Process
John: Take us through your writing routine. Where do you write? When do you write?
Eric: It varies, sometimes in the morning before work, sometimes after. I can’t get anything done in my apartment, so I always leave the house.
John: Where do you go?
Eric: Coffee shops. I rotate between a few. I’m a regular at a couple of them. Sometimes I even have the same seat.
John: Headphones?
Eric: Usually, yes. But I don’t connect to Wi-Fi anymore. I try to eliminate distractions.
John: Music?
Eric: Very rarely. Sometimes a podcast. Sometimes I just wear headphones with nothing playing.
John: What do you write on?
Eric: Final Draft on a Mac.
John: Do you print the notes?
Eric: Yeah, I print them out and go through them that way.
John: Coffee order?
Eric: Coffee with half and half.
John: Do you have a minimum time requirement?
Eric: I wish I were that disciplined. Some writers can go ten hours on a weekend -I can’t. Usually a couple of hours at a time.
Creative Inspiration
John: Do ideas hit you randomly, walking around, in your sleep or do they mostly come while writing?
Eric: Probably a little of both, but nothing I could really pinpoint.
Going Out to Directors
John: We now have a draft we’re actively taking out to directors. Some big A-list names. Your part, for now, is done. What are you feeling?
Eric: Honestly, I’m just happy I submitted to the contest. That’s my main emotion. And it always feels good to reach the end of a script.
What’s Next?
John: What are you working on now?
Eric: Tinkering with a couple of things. Can’t really divulge, top secret.
(Laughter)
Advice to Writers Submitting
John: What would you say to writers thinking about submitting to the competition?
Eric: One of the hardest things is getting your work read. Producers are overwhelmed. It’s hard to get feedback. I saw the Kinolime email. You required a five-page treatment, and I didn’t have one. I almost didn’t submit because of that, it was a few days before the deadline.
But I sat down, banged out the treatment, submitted… and I’m glad I did.
Closing & Competition Announcement
John: We’re glad you did too. It’s been a real pleasure working with you. You question notes, you dig deep into story, you work hard. We’re incredibly excited to get Mob Mentality out into the world.
Our previous competition winners - The Waif (Year One) and Mob Mentality (Year Two) - are going into production this year.
Yes, in 2026, Kinolime is making two movies.
If you win this year - you’re next.
So sharpen your pencils, fire up your keyboards, and submit your screenplay at kinolime.com. Create an account, ask questions - we’re here for you.
We want to read your screenplay.
