Scripto

🎉 Mad props to @TheDailyShow and @JordanKlepper for their amazing 2025 Emmy win for Writing For A Nonfiction Program - ! 🏆✨ #EmmyWinners #ComedyGold

🎉 Giant congrats to @lastweektonight and @iamjohnoliver for winning the 2025 Emmy for Outstanding Scripted Variety Series! 🏆✨ #Emmys #Congratulations

🎉 Way to go @nbcsnl and #WeekendUpdate for clinching the 2025 Emmy for Outstanding Live Variety Special! 🏆✨ #Emmys2025 #SNL

🎉Huge shoutout to @ColbertLateShow and @StephenAtHome for winning the 2025 Emmy for Outstanding Talk Series! 🏆✨ #Emmys2025 #TalkShowMagic

Congratulations to the comedy torchbearers at #SaturdayNightLive and #WeekendUpdate on their 2025 Academy of Television Arts & Sciences #Emmy nominations for Outstanding Scripted Variety Series and Outstanding Live Variety Special!

Congratulations to the phenomenally talented team at #LastWeekTonight on their Academy of Television Arts & Sciences 2025 #Emmys nomination for Outstanding Scripted Variety Series!

Congratulations to our epic client #TheDailyShow on their Academy of Television Arts & Sciences 2025 #Emmys nomination for Outstanding Talk Series!

Scripto doesn't make writers and producers great – it empowers great writers and producers to do their best work. Says who? ALL 3 of the Academy of Television Arts & Sciences 2025 Emmy nominees for Outstanding Writing For A Variety Series are powered by Scripto (it's a hat trick!). Huge congratulations to #TheDailyShow, #LastWeekTonight, and #SaturdayNightLive!

We're thrilled to celebrate The Late Show with Stephen Colbert on their well-deserved 2025 Emmy nomination for Outstanding Talk Series! Your friends at Scripto are proud to be a part of your team!

Why do I keep coming back to scriptwriting software? Storytime: It started before I knew what “software” even was. I grew up with a dad who was a studio exec turned producer, and I loved the entertainment industry from the jump. Running around on the set of M*A*S*H as a kid definitely didn’t hurt. After USC, I landed in the ICM mailroom. (Back when it was one of the Big 3 agencies.) I happened to be working for the agent representing Shane Black when The Long Kiss Goodnight sold for what was then a record-breaking number. I was the one who opened the envelope when the check for over $4 million showed up. When you’re making $400 a week, that kind of thing sticks with you. From there, I jumped into production at Paramount—sneaking into dailies, soaking up how directors, writers, and producers collaborated. It was real-time, creative teamwork, and it left a mark on me. Then I decided to write a script. It was called Critical Mass—basically Die Hard in a nuclear reactor. I wrote it on a hacked copy of Final Draft, promising myself I’d buy a legit version if the script ever sold. When the legendary Walter Hill optioned it, I kept my word. But the writing process felt lonely—my writing partner and I were mostly just trading calls. That stuck with me, too. Years later, after working in commercials and music videos, I joined a startup where we built Digital Dailies, one of the first collaborative platforms for viewing dailies online. The whole idea was to bring back the kind of collaboration I remembered from those sneaky Paramount viewings. That product won an Emmy and reminded me what impact looks like. Then came Final Draft. I was recruited to build their cloud platform—Final Draft Connect—so writers could collaborate just like filmmakers do during production. We were on the brink of launching, but just before we did, the owner decided to sell the company. Final Draft remained desktop-only, and the opportunity to connect writers to the rest of the industry disappeared overnight. After that, I joined Box as Head of Media & Entertainment, thanks to Aaron Levie. I learned a ton about enterprise SaaS and how real-time collaboration transforms creative work at scale. Then my friend Ethan Jacks called. He was advising a company co-founded by Stephen Colbert—built because the tools they had for writing The Late Show with Stephen Colbert just weren’t built for collaboration. I met Rob Dubbin (the co-founder and former Late Show writer), Stephen, Evelyn, and the team. We clicked. And last year, I became CEO of Scripto. I never set out to spend this much of my life in scriptwriting software. But looking back, every step—from the M*A*S*H set to ICM to Final Draft to Box—was leading me here. If there’s a lesson in all this, it’s: Pay attention to the stuff that sticks with you. Sometimes your past knows where you’re headed before you do.