Wed, 21 March 2007 A nice place to visit... ...which is good, cause we sorta live there. Further reflections on this whole "being on staff" experience as we write our first episode of The Dead Zone and prepare to send it into production. Comments[57] |
Dear Sam and Jim,
Thanks for the insights on what’s going on in the writers’ room.
I can relate to the fear/wonder of your words coming out of an actor’s mouth, but on a much smaller scale. It’s a small $100,000 budget for a 25 minute kids video, but I’ll get to be on the set to see it all happen. It’s pretty amazing to see a prop sheet and say “Hey, that school bus is there because I wrote it in…and someone is going to have to get that school bus because I wrote it in…and kids will get off the school bus because I wrote it in.� Feels good.
Hey, didn’t you once say that the first thing you got paid for was writing for a beaver, or some other rodent? I’m writing for a chipmunk!
Thanks for the insights on what’s going on in the writers’ room.
I can relate to the fear/wonder of your words coming out of an actor’s mouth, but on a much smaller scale. It’s a small $100,000 budget for a 25 minute kids video, but I’ll get to be on the set to see it all happen. It’s pretty amazing to see a prop sheet and say “Hey, that school bus is there because I wrote it in…and someone is going to have to get that school bus because I wrote it in…and kids will get off the school bus because I wrote it in.� Feels good.
Hey, didn’t you once say that the first thing you got paid for was writing for a beaver, or some other rodent? I’m writing for a chipmunk!
Hi Guys,
Just checking in from the lovely city of Inver Grove Heights Minn. Home of Kerasotes ShowPlace 16 which may have been the "first" stadium seating theater around these parts!
I'm the girl who works for the local celebrity "matchmaker" with grand plans for a bigger picture.
Thanks to you, I will have an idea about what to expect when I hit the streets of LA sooner or later! I can't thank you enough for sharing your experiences with us!
Just checking in from the lovely city of Inver Grove Heights Minn. Home of Kerasotes ShowPlace 16 which may have been the "first" stadium seating theater around these parts!
I'm the girl who works for the local celebrity "matchmaker" with grand plans for a bigger picture.
Thanks to you, I will have an idea about what to expect when I hit the streets of LA sooner or later! I can't thank you enough for sharing your experiences with us!
Sam and Jim! Finally...I got a fresh fix-a-waiting for the morning commute. Thanks for sharing your great story. I listen to your podcast every day for motivation for myself. I admire your bravery for stepping out like that. I, Travis Jenkins, WILL get my feature optioned one day soon enough! I owe you guys for keeping me motivated. Keep up the good work and CONGRATS on your new job! Now..stop reading this comment and pay your damn power bill now that you have some ca$h!
Travis
Travis
Great podcast. Looking forward more eagerly than ever to each new episode.
I remember way back during the first season of Dead Zone that the producers put the show bible up on the website and invited people to send in their ideas. I played around with ideas for a couple of episodes but never really pursued it, hitting that "well, I bet no one ever really gets their break this way" wall pretty early on.
So my question is, as far as you guys know, were any Dead Zone episodes originally submitted as treatments or spec scripts by Joe Fan? Is it really worth our time working on it, or as per your earlier podcasts, are we better off writing spec scripts for any other show besides the Dead Zone (assuming Dead Zone is the show we actually want to write for)?
Thanks,
Victor
I remember way back during the first season of Dead Zone that the producers put the show bible up on the website and invited people to send in their ideas. I played around with ideas for a couple of episodes but never really pursued it, hitting that "well, I bet no one ever really gets their break this way" wall pretty early on.
So my question is, as far as you guys know, were any Dead Zone episodes originally submitted as treatments or spec scripts by Joe Fan? Is it really worth our time working on it, or as per your earlier podcasts, are we better off writing spec scripts for any other show besides the Dead Zone (assuming Dead Zone is the show we actually want to write for)?
Thanks,
Victor
Also, Sam and Jim answered one of my email questions whose answer may be of interest to others, so I'll summarize it here.
My question was, "Is there smoking in the writer's room?" If there was, that would be a deal-breaker for me as far as ever wanting to work in a writer's room (not that I have a prayer of ever making it to a writer's room, it would just make the abandonment of that dream die a bit easier to swallow).
Fortunately the answer was, "There is no smoking in hollywood! (sure, everyone smokes, but never in the room)"
Thanks again,
Victor
My question was, "Is there smoking in the writer's room?" If there was, that would be a deal-breaker for me as far as ever wanting to work in a writer's room (not that I have a prayer of ever making it to a writer's room, it would just make the abandonment of that dream die a bit easier to swallow).
Fortunately the answer was, "There is no smoking in hollywood! (sure, everyone smokes, but never in the room)"
Thanks again,
Victor
Hi guys.
Thanks for taking the time to keep doing the podcast, and congrats on your success.
I have a very technical/procedural question about the room and the process. You mentioned that there was one person, I'm guessing that it's the writers' assistant, who keeps track of the different drafts. I was curious if there is a database program that is used for that, or if it is logged on paper.
I had a drunken conversation a few years ago with a producer who was decrying the lack of software for television production. He was interested in something that would work for keeping track of the arc of an entire series, but I imagine that a database for outlining a season would also include records of each episode draft.
To put it succinctly:
1) Does the Dead Zone use outlining software to plan out the season?
2) Does the show use a database to log drafts?
I'm very curious because I actually found the notes I wrote up after talking with the producer, but obviously nothing ever came of it.
Thanks,
Steve Trautmann
Kitchona Software
Thanks for taking the time to keep doing the podcast, and congrats on your success.
I have a very technical/procedural question about the room and the process. You mentioned that there was one person, I'm guessing that it's the writers' assistant, who keeps track of the different drafts. I was curious if there is a database program that is used for that, or if it is logged on paper.
I had a drunken conversation a few years ago with a producer who was decrying the lack of software for television production. He was interested in something that would work for keeping track of the arc of an entire series, but I imagine that a database for outlining a season would also include records of each episode draft.
To put it succinctly:
1) Does the Dead Zone use outlining software to plan out the season?
2) Does the show use a database to log drafts?
I'm very curious because I actually found the notes I wrote up after talking with the producer, but obviously nothing ever came of it.
Thanks,
Steve Trautmann
Kitchona Software
posted by: Steve Trautmann on Mon, 3/26 11:57 AM EDT
Great show! I was psyched to see a new episode on my Yahoo! page this morning.
I do have a question though. You talked on this ep about selling the character more than the idea. Now I have a few projects I'm working on, and I think I'm character-focused and I do love my characters, but I don't know how I could explain these characters to somebody else in any interesting or meaningful way.
Could you give an example on your next episode (or here in the comments if you like) on pitching the character? Maybe using The Dead Zone; like explain the idea of The Dead Zone, but then explain why the main character is the reason to watch.
Thanks!
I do have a question though. You talked on this ep about selling the character more than the idea. Now I have a few projects I'm working on, and I think I'm character-focused and I do love my characters, but I don't know how I could explain these characters to somebody else in any interesting or meaningful way.
Could you give an example on your next episode (or here in the comments if you like) on pitching the character? Maybe using The Dead Zone; like explain the idea of The Dead Zone, but then explain why the main character is the reason to watch.
Thanks!
posted by: Dante Kleinberg on Mon, 3/26 12:43 PM EDT
Hey Everybody -
Nice to see some action on the board instead of just our email inbox (if you haven't heard it yet,we mentioned on the most recent podcast that questions are better suited for the board so the answers could be scorned by a far greater audience).
Vic's Query: The Dead Zone did not in fact use any fan - originated episodes. I asked about it and was told that the serialized nature of the show made it difficult to get out-of-the-blue ideas. As for your spec, Vic, The Dead Zone is not a good show to spec: the prevailing "wisdom" (read: group think) is that you need to pick a cool show loved by hollywood writers and execs (the people who will be reading the scripts), not the shows loved by the great unwashed.
Query #2: Steve. We do talk about the arc of the season for a long time at the start of the season. Some of it is very specific, some of it it is more general. Our showrunner, Scott, came in with a strong sense of what he wanted to do and where he wanted the characters to go. The writers room fleshed that out, came up with ideas for specific episodes and then started in on outlining each episode. As far as software, the writers' assistant uses a yellow lined pad and then emails the day's notes to all of the writers. The Script Supervisor is in charge of keeping track of the many, many drafts of each episode - a daunting task if you consider that each episode starts out with an outline, is revised many times, then goes to script, which is revised many times. Multiply that by 13 episodes (22 for network) and you can see why one person needs to be the nexus of all of this. And no, Lady Veronica (she just told me she'd like to be referred to that way from now on) doesn't use special software for this. Of course, she does have a whole "rain man" thing going on...
Cheers,
Nice to see some action on the board instead of just our email inbox (if you haven't heard it yet,we mentioned on the most recent podcast that questions are better suited for the board so the answers could be scorned by a far greater audience).
Vic's Query: The Dead Zone did not in fact use any fan - originated episodes. I asked about it and was told that the serialized nature of the show made it difficult to get out-of-the-blue ideas. As for your spec, Vic, The Dead Zone is not a good show to spec: the prevailing "wisdom" (read: group think) is that you need to pick a cool show loved by hollywood writers and execs (the people who will be reading the scripts), not the shows loved by the great unwashed.
Query #2: Steve. We do talk about the arc of the season for a long time at the start of the season. Some of it is very specific, some of it it is more general. Our showrunner, Scott, came in with a strong sense of what he wanted to do and where he wanted the characters to go. The writers room fleshed that out, came up with ideas for specific episodes and then started in on outlining each episode. As far as software, the writers' assistant uses a yellow lined pad and then emails the day's notes to all of the writers. The Script Supervisor is in charge of keeping track of the many, many drafts of each episode - a daunting task if you consider that each episode starts out with an outline, is revised many times, then goes to script, which is revised many times. Multiply that by 13 episodes (22 for network) and you can see why one person needs to be the nexus of all of this. And no, Lady Veronica (she just told me she'd like to be referred to that way from now on) doesn't use special software for this. Of course, she does have a whole "rain man" thing going on...
Cheers,
Hey Dante -
Describing characters is tricky - too vanilla and they sound like everyone else, too clever and nobody gets it in a pitch. We described a character once as a "guy that could slow any get-rich-quick scheme to a crawl." Looking back, it might be a little too clever. But it's still one of my all time favorites (Jim wrote it).
An easy trick that we use is to start the description with: "he's the kind of guy who..." You can also use existing, commonly known characters to define them: "she's brave yet irresponsible like Starbuck on Battlestar Galactica, but ______"
That help at all?
Sam
Describing characters is tricky - too vanilla and they sound like everyone else, too clever and nobody gets it in a pitch. We described a character once as a "guy that could slow any get-rich-quick scheme to a crawl." Looking back, it might be a little too clever. But it's still one of my all time favorites (Jim wrote it).
An easy trick that we use is to start the description with: "he's the kind of guy who..." You can also use existing, commonly known characters to define them: "she's brave yet irresponsible like Starbuck on Battlestar Galactica, but ______"
That help at all?
Sam
Hey guys thanks for the update. I have a few questions for you.
1) Is it what you expected? (harder or easier)
2) Will you get a chance to read or comment on the scripts other writers on your show create?
3) Now that you've "made it". Is there any advice you gave in prior podcasts that you would change?
4) Do you forsee a time when you're too busy (or too important) to continue these podcasts?
Keep up the good work!
1) Is it what you expected? (harder or easier)
2) Will you get a chance to read or comment on the scripts other writers on your show create?
3) Now that you've "made it". Is there any advice you gave in prior podcasts that you would change?
4) Do you forsee a time when you're too busy (or too important) to continue these podcasts?
Keep up the good work!
Hey “Why Me� –
Thanks for the questions. They’re good ones.
Question #1: In some ways easier it’s easier than I thought and in some ways harder. It’s easier because Jim and I don’t have to do all the heavy lifting ourselves. We’re part of a talented group that has a lot of experience pulling together stories and so obviously that’s much, much easier. Also, most of the writers are more experienced than we are, especially in one hour TV and they often ask better questions than we do. I swear I spend half the time in the writers’ room making mental notes about what bit of thinking just rocked my world with its insightfulness. (To be fair, I make some other kinds of mental notes as well, but those I’ll keep to myself). We also benefit from having a showrunner. He’s a hugely talented, very easygoing guy, has done tons of writing and can usually see to the heart of any matter very quickly. He is also the final word on anything in the room, and having someone decide when we’re done on any issue absolutely speeds things up. What’s hard is coming up with as many stories as we need to, and feeling pressure to be a useful member of the group. We’ve been determined to hold up our end and, hopefully, do much more than that. Have we managed that? Well, we haven’t been fired yet…
Question #2: We do read each other’s scripts, but by the time we get to script, the rewriting process is limited to the individual writer(s) and the producers/studio/network. So far, comments have been limited to supportive kudos. However, we all break the story together in the writers room, so at that point it’s extremely collaborative, and at least in the case of this show, very supportive. Honestly, this is a great group of people, and the bullshit factor just ain’t there.
Question #3: I wouldn’t change a single word in any of our previous podcasts – not a single one. Why? Well, first I’d have to listen to them again, and that ain’t gonna happen. Lots of struggle in there, and it was tough enough the first time. But we set out to do a podcast about our experiences and what we thought about while it was all happening. Straight, honest, no bullshit. It’s easy if you’re not running for anything. We never tried to be experts – far from it. Just a couple of guys doing this insane thing that a lot of other people think about doing. We’d done it before by opening a restaurant (another common dream) and so we suspected people would be interested. What the show has given us, I think, is a way to experience this whole thing with more than just each other – and to better appreciate the journey along the way.
Question #4: We may too busy to do the podcast as regularly as we’d like to. Hell, it took us 6 weeks to get to the last one. But too important? How self-important can we get? We’re just a couple of idiots from Minnesota.
Sam
Thanks for the questions. They’re good ones.
Question #1: In some ways easier it’s easier than I thought and in some ways harder. It’s easier because Jim and I don’t have to do all the heavy lifting ourselves. We’re part of a talented group that has a lot of experience pulling together stories and so obviously that’s much, much easier. Also, most of the writers are more experienced than we are, especially in one hour TV and they often ask better questions than we do. I swear I spend half the time in the writers’ room making mental notes about what bit of thinking just rocked my world with its insightfulness. (To be fair, I make some other kinds of mental notes as well, but those I’ll keep to myself). We also benefit from having a showrunner. He’s a hugely talented, very easygoing guy, has done tons of writing and can usually see to the heart of any matter very quickly. He is also the final word on anything in the room, and having someone decide when we’re done on any issue absolutely speeds things up. What’s hard is coming up with as many stories as we need to, and feeling pressure to be a useful member of the group. We’ve been determined to hold up our end and, hopefully, do much more than that. Have we managed that? Well, we haven’t been fired yet…
Question #2: We do read each other’s scripts, but by the time we get to script, the rewriting process is limited to the individual writer(s) and the producers/studio/network. So far, comments have been limited to supportive kudos. However, we all break the story together in the writers room, so at that point it’s extremely collaborative, and at least in the case of this show, very supportive. Honestly, this is a great group of people, and the bullshit factor just ain’t there.
Question #3: I wouldn’t change a single word in any of our previous podcasts – not a single one. Why? Well, first I’d have to listen to them again, and that ain’t gonna happen. Lots of struggle in there, and it was tough enough the first time. But we set out to do a podcast about our experiences and what we thought about while it was all happening. Straight, honest, no bullshit. It’s easy if you’re not running for anything. We never tried to be experts – far from it. Just a couple of guys doing this insane thing that a lot of other people think about doing. We’d done it before by opening a restaurant (another common dream) and so we suspected people would be interested. What the show has given us, I think, is a way to experience this whole thing with more than just each other – and to better appreciate the journey along the way.
Question #4: We may too busy to do the podcast as regularly as we’d like to. Hell, it took us 6 weeks to get to the last one. But too important? How self-important can we get? We’re just a couple of idiots from Minnesota.
Sam
Sam,
thanks for taking the time to reply. I have a few other questions for you, if you don't mind:
1) You mentioned that what goes on in the writers room was "sacred", but when I listened to the podcast from the Battlestar Galactica writing room, I don't detect anything of a sensitive nature. Other than the fact that people might not want to be involved with a podcast, what goes on that causes the need for such secrecy?
2) Are tv writers paid by the season or just for those shows they are actively involved in?
3) I've read that some tv shows have a whole psychological profile of each character detailing almost every twist and turn of their life. How deeply have they analyzed the primary characters of your show?
thanks for taking the time to reply. I have a few other questions for you, if you don't mind:
1) You mentioned that what goes on in the writers room was "sacred", but when I listened to the podcast from the Battlestar Galactica writing room, I don't detect anything of a sensitive nature. Other than the fact that people might not want to be involved with a podcast, what goes on that causes the need for such secrecy?
2) Are tv writers paid by the season or just for those shows they are actively involved in?
3) I've read that some tv shows have a whole psychological profile of each character detailing almost every twist and turn of their life. How deeply have they analyzed the primary characters of your show?
I'll jump in to cover this round of questions, if that's okay.
1) The room has to be safe, without self-censorship. You may remember a recent lawsuit involving the Friends writers' room. An assistant sued claiming it was a sexually harrassing environment. Without speaking to the merits of this specific case (I wasn't there), everyone I know out here was exasperated by the whole thing. When you're trying to be creative, you blow a lot of crap out of your head on your way to useful ideas -- jokes, personal stories, crazy ideas, whatever. If people feel like Big Brother is looking over their shoulders, it won't work. i Everyone out here knows it -- and, not to be callous, but the assistant pretty much had to know she was entering a free-fire zone. I'm not saying lines don't get crossed, but without the freedom to push up against those lines, collaborative work would be stifled -- especially on a comedy, that's how humor works. Anyway, that's what we're talking about. People can't feel like being honest & creative & risky might screw them later or everything would fall apart.
2) TV writers are generally on contracts, either paid by the week or by the produced episode, depending (generally) on level in the hierarchy. There are also, sometimes, situations where a writer comes in freelance just to do a script & they get paid for just that work.
3) I think different shows handle characters' backstories (as history is known) in a multitude of ways. For some shows, the details are crucial, for others, you only really need some basic facts to put them into the life as it's happening onscreen. In our case, the character was the subject of a novel, which was then mutated a bit to work for TV. After 5 seasons, there is a lot of background there from other stories, but beyond that there is no day-by-day history of his life -- it'd be a waste of time. And there's also a certain creative need in play too -- it's really helpful sometimes to be able to suddenly pull in an "old school chum" or refer to some previously unknown event in their life for the sake of creating a new episode. Y'know, our show is 60-odd episodes along before we start this season; a lot of the obvious terrain has been covered. It gets harder, over time, to invent fresh stories if you're too rigidly locked into one set of facts. With rare exceptions, I think most shows are making it up as they go along.
1) The room has to be safe, without self-censorship. You may remember a recent lawsuit involving the Friends writers' room. An assistant sued claiming it was a sexually harrassing environment. Without speaking to the merits of this specific case (I wasn't there), everyone I know out here was exasperated by the whole thing. When you're trying to be creative, you blow a lot of crap out of your head on your way to useful ideas -- jokes, personal stories, crazy ideas, whatever. If people feel like Big Brother is looking over their shoulders, it won't work. i Everyone out here knows it -- and, not to be callous, but the assistant pretty much had to know she was entering a free-fire zone. I'm not saying lines don't get crossed, but without the freedom to push up against those lines, collaborative work would be stifled -- especially on a comedy, that's how humor works. Anyway, that's what we're talking about. People can't feel like being honest & creative & risky might screw them later or everything would fall apart.
2) TV writers are generally on contracts, either paid by the week or by the produced episode, depending (generally) on level in the hierarchy. There are also, sometimes, situations where a writer comes in freelance just to do a script & they get paid for just that work.
3) I think different shows handle characters' backstories (as history is known) in a multitude of ways. For some shows, the details are crucial, for others, you only really need some basic facts to put them into the life as it's happening onscreen. In our case, the character was the subject of a novel, which was then mutated a bit to work for TV. After 5 seasons, there is a lot of background there from other stories, but beyond that there is no day-by-day history of his life -- it'd be a waste of time. And there's also a certain creative need in play too -- it's really helpful sometimes to be able to suddenly pull in an "old school chum" or refer to some previously unknown event in their life for the sake of creating a new episode. Y'know, our show is 60-odd episodes along before we start this season; a lot of the obvious terrain has been covered. It gets harder, over time, to invent fresh stories if you're too rigidly locked into one set of facts. With rare exceptions, I think most shows are making it up as they go along.
Hi guys,
I love the podcast and have listened to all of them. I know that TV was always your goal, and now you're staff writers, but could you please talk a bit about your feature scripts? You always start each show by saying "we sold some features" like it's no big deal...
How many scripts did you sell? Did the sale amounts high enough to allow you to work for another year on new scripts? What type of production companies did you sell to? Were any of them produced, or are there plans to produce any?
Finally, can you give us a brief synopsis of what the features were / are about?
Thanks!
I love the podcast and have listened to all of them. I know that TV was always your goal, and now you're staff writers, but could you please talk a bit about your feature scripts? You always start each show by saying "we sold some features" like it's no big deal...
How many scripts did you sell? Did the sale amounts high enough to allow you to work for another year on new scripts? What type of production companies did you sell to? Were any of them produced, or are there plans to produce any?
Finally, can you give us a brief synopsis of what the features were / are about?
Thanks!
I'm sure this is one of those types of questions you get all the time, but here goes. I'm being specific with my question, but it obviously applies to any similar situation.
I have this (what I think is) a great idea for a TV series version of the movie "Buckaroo Banzai." I know that there have been a couple of failed attempts at making this movie into a series. However, I feel I've come up with a great way in.
So, how would one go about getting that idea in front of the people that own the TV rights? My first guess would be that it would have to go through an agent and that there would never be a chance that an unsolicited script or treatment would ever be seen. However, let's say you guys wanted to pitch something like this (or me, a year or two down the line after I've gotten an agent), what would be the proper path, if any? Is it always a case of the rights-holder seeking someone to write it, or are there any examples of the script coming to them?
I guess this is not unlike what happened with the Dead Zone, something that seemed to be a standalone idea being turned into a weekly series.
In any event, I really do think I've cracked the idea for a Buckaroo Banzai TV series, but just don't know if expending any energy on it is worth the trouble.
Thanks in advance.
I have this (what I think is) a great idea for a TV series version of the movie "Buckaroo Banzai." I know that there have been a couple of failed attempts at making this movie into a series. However, I feel I've come up with a great way in.
So, how would one go about getting that idea in front of the people that own the TV rights? My first guess would be that it would have to go through an agent and that there would never be a chance that an unsolicited script or treatment would ever be seen. However, let's say you guys wanted to pitch something like this (or me, a year or two down the line after I've gotten an agent), what would be the proper path, if any? Is it always a case of the rights-holder seeking someone to write it, or are there any examples of the script coming to them?
I guess this is not unlike what happened with the Dead Zone, something that seemed to be a standalone idea being turned into a weekly series.
In any event, I really do think I've cracked the idea for a Buckaroo Banzai TV series, but just don't know if expending any energy on it is worth the trouble.
Thanks in advance.
Bob's question first:
We say we "sold some features" like it was no big deal because, frankly, the deals weren't very big (ha ha ha). Seriously, we managed to stumble across a couple of different independent producers who like our work and our ideas enough to pay us to write scripts. But the money was very small -- our first four scripts paid just about enough to cover the rent for the time we spent working on them, sometimes less. Only one of the scripts got produced, as a tiny-budget indie feature that never really went anywhere. We don't go into detail because they're ancient history now, though we still use one as a writing sample sometimes.
Then we got finally got representation and sold a pitch to a mini-studio. That paid some real money & got us into the Guild -- although the process stretched out long enough that once again we had basically just covered rent for the period of writing when all was said and done. The best thing that happened was we got experience at the craft and we met people who, eventually, have helped us make our career since. Maybe we'll do a little synopsis & talk about our history in features on some future podcast.
On to Victor:
Dude, my gut instinct is to tell you to let it go. Or at least stick it in the drawer for the day when you've got the cred to get the meetings you're thinking of. Here's the deal.
First, you have to figure out who's got the rights, etc -- and then convince them to listen to your take on the show. There's two problems there. A) You really need good representation to line up those kinds of meeting and back your play, because, frankly, the first question will be "who the hell is this guy?" B) Those reps who can help are gonn be saying "who the hell is this guy?" unless you can dazzle them with good writing samples. NO ONE is going to be very interested in helping an unknown sell a property that he doesn't even own the rights to.
It's not that it can't happen, there's a slim chance that you hit the trifecta of a brilliant idea, rights-holders who fall in love with it AND a buyer who believes it's just what their network needs and want to pony up the bucks to make a series (or even a script) happen.
But seriously, dude, the odds are pretty frickin' grim.
Second, what everyone is gonna wanna know is if you actually have any talent as a writer. Can you really create? Can you write great TV? Do you have a bundle of other great ideas they can sell down the line? These things are always a huge hurdle, but they're monstrously big in your case because you're coming to the table flogging an idea that isn't original to you. It kinda flies under the splashy radar, but the funnel of pilots is huge -- last year, our script was one of 80 commissioned by Touchstone, out of God knows how many ideas they were pitched (I'd bet about 600, could be more). Out of all that, what -- 12 were shot & half a dozen went to series? The people you want to help you sell are facing those sorts of odds -- with people who have a track record (often a long and glorious one). Investing a bunch of time in this scenario is taking bad odds and making them next to impossible.
I'm not out to wreck your buzz, but I'm sure you can see why I'm advising you to hold your idea for another day. The best thing you can do to make it happen is to spec a TV pilot or two (...or 10...). Completely original stuff that's so good you'll get a rep who thinks s/he can sell it. If you can prove yourself to an agent/manager, if you can write a TV script that makes people bang the table and shout your name -- then this particular idea might get a shot. I'm sorry to have to say it, but that's probably the only realistic path to follow.
We say we "sold some features" like it was no big deal because, frankly, the deals weren't very big (ha ha ha). Seriously, we managed to stumble across a couple of different independent producers who like our work and our ideas enough to pay us to write scripts. But the money was very small -- our first four scripts paid just about enough to cover the rent for the time we spent working on them, sometimes less. Only one of the scripts got produced, as a tiny-budget indie feature that never really went anywhere. We don't go into detail because they're ancient history now, though we still use one as a writing sample sometimes.
Then we got finally got representation and sold a pitch to a mini-studio. That paid some real money & got us into the Guild -- although the process stretched out long enough that once again we had basically just covered rent for the period of writing when all was said and done. The best thing that happened was we got experience at the craft and we met people who, eventually, have helped us make our career since. Maybe we'll do a little synopsis & talk about our history in features on some future podcast.
On to Victor:
Dude, my gut instinct is to tell you to let it go. Or at least stick it in the drawer for the day when you've got the cred to get the meetings you're thinking of. Here's the deal.
First, you have to figure out who's got the rights, etc -- and then convince them to listen to your take on the show. There's two problems there. A) You really need good representation to line up those kinds of meeting and back your play, because, frankly, the first question will be "who the hell is this guy?" B) Those reps who can help are gonn be saying "who the hell is this guy?" unless you can dazzle them with good writing samples. NO ONE is going to be very interested in helping an unknown sell a property that he doesn't even own the rights to.
It's not that it can't happen, there's a slim chance that you hit the trifecta of a brilliant idea, rights-holders who fall in love with it AND a buyer who believes it's just what their network needs and want to pony up the bucks to make a series (or even a script) happen.
But seriously, dude, the odds are pretty frickin' grim.
Second, what everyone is gonna wanna know is if you actually have any talent as a writer. Can you really create? Can you write great TV? Do you have a bundle of other great ideas they can sell down the line? These things are always a huge hurdle, but they're monstrously big in your case because you're coming to the table flogging an idea that isn't original to you. It kinda flies under the splashy radar, but the funnel of pilots is huge -- last year, our script was one of 80 commissioned by Touchstone, out of God knows how many ideas they were pitched (I'd bet about 600, could be more). Out of all that, what -- 12 were shot & half a dozen went to series? The people you want to help you sell are facing those sorts of odds -- with people who have a track record (often a long and glorious one). Investing a bunch of time in this scenario is taking bad odds and making them next to impossible.
I'm not out to wreck your buzz, but I'm sure you can see why I'm advising you to hold your idea for another day. The best thing you can do to make it happen is to spec a TV pilot or two (...or 10...). Completely original stuff that's so good you'll get a rep who thinks s/he can sell it. If you can prove yourself to an agent/manager, if you can write a TV script that makes people bang the table and shout your name -- then this particular idea might get a shot. I'm sorry to have to say it, but that's probably the only realistic path to follow.
You're getting involved with the BBC? Excellent news! I've been asked to submit all my current ideas to their Head of Comedy, because my producvtion partner met him at an event and successfully schmoozed him. I'm confident, because he was apparently laughing his head off. But apart from comedy, my ultimate aim is to write an episode for Doctor Who.
Good luck with all your projects, guys!
Good luck with all your projects, guys!
Thanks for the feedback.
At no point did I actually harbor any illusions that what I was suggesting was actually possible, for all the reasons you cited. It was all guesswork on my part, but you confirmed everything.
And don't worry about wrecking my buzz. It wasn't buzzing THAT much. It's been this idea that's been flitting around the back of my mind for a year now and now that we are apparently in pilot season (or pilot-announcing season), it made me wonder just what the odds were that something like this was even worth the time of acknowledging the thoughts.
I've got half a dozen other projects that I'm equally excited about in various stages of development that are occupying my actual productive time.
But I really like my idea... one day... one day... Buckaroo Banzai:The Continuing Series will see the light of day.
At no point did I actually harbor any illusions that what I was suggesting was actually possible, for all the reasons you cited. It was all guesswork on my part, but you confirmed everything.
And don't worry about wrecking my buzz. It wasn't buzzing THAT much. It's been this idea that's been flitting around the back of my mind for a year now and now that we are apparently in pilot season (or pilot-announcing season), it made me wonder just what the odds were that something like this was even worth the time of acknowledging the thoughts.
I've got half a dozen other projects that I'm equally excited about in various stages of development that are occupying my actual productive time.
But I really like my idea... one day... one day... Buckaroo Banzai:The Continuing Series will see the light of day.
Sam & Jim. Thanks so much for this podcast. It's been such a great resource to follow you guys along on your journey. My question is regarding agents. And I don't know if this is the right place to ask it, but here goes: My writing partners and I have just sold an option to a script to Lions Gate, and we want to make sure that we keep working.
I'm amazed at how little advice there is for someone who has his foot in the door, but doesn't know where to go from there. How should we go about finding an agent at this point? Thanks a bunch!
-Hudson
I'm amazed at how little advice there is for someone who has his foot in the door, but doesn't know where to go from there. How should we go about finding an agent at this point? Thanks a bunch!
-Hudson
BBC? I think a wire got crossed somewhere, Chris. We got nothin' goin' with the BBC...not that we wouldn't work with them. I loved Waterloo Road.
Victor, I'm glad you weren't too attached. Good luck.
Hudson -- congratulations, man! Dude, I work for LionsGate, they finance Dead Zone. If they just optioned a script from you, you should find it pretty easy to get to agents. My first question would be: how did you get to LG to sell the script? Someone must've helped you get int he door, I'm guessing, they may be a resource. Second step, you must have a point person at LG who's talking to you about your script -- talk to them, tell 'em you're un-repped & are looking for advice. Those guys know everyone, or damned near. I'm sure they would be more than happy to make a few calls around town & do some introductions. Having just demonstrated your ability to squeeze blood from a stone -- ah, get paid by a studio, any agency will be happy to hear from you. Be prepped with some ideas to pitch of things they'll be able to sell down the road, FYI. Lastly, if none of that pans out, you can call some agencies & tell 'em what's up. Be smart, cultivate the assistants you're talking to -- they're all agents-in-training. They'll get points for steering a "live one" to a more senior person, and they may hope that if they build some rapport wtih you, they'll be able to make you a client down the road when you're both more established.
Good luck & congrats again.
Victor, I'm glad you weren't too attached. Good luck.
Hudson -- congratulations, man! Dude, I work for LionsGate, they finance Dead Zone. If they just optioned a script from you, you should find it pretty easy to get to agents. My first question would be: how did you get to LG to sell the script? Someone must've helped you get int he door, I'm guessing, they may be a resource. Second step, you must have a point person at LG who's talking to you about your script -- talk to them, tell 'em you're un-repped & are looking for advice. Those guys know everyone, or damned near. I'm sure they would be more than happy to make a few calls around town & do some introductions. Having just demonstrated your ability to squeeze blood from a stone -- ah, get paid by a studio, any agency will be happy to hear from you. Be prepped with some ideas to pitch of things they'll be able to sell down the road, FYI. Lastly, if none of that pans out, you can call some agencies & tell 'em what's up. Be smart, cultivate the assistants you're talking to -- they're all agents-in-training. They'll get points for steering a "live one" to a more senior person, and they may hope that if they build some rapport wtih you, they'll be able to make you a client down the road when you're both more established.
Good luck & congrats again.
Love your podcast! I especially understand your anxiousness to see your words up on the screen. I wanted to share a funny story about seeing my words up on the screen in a movie I wrote last year called "Color of the Cross". I has an Alice Cooper connection. Checkout this URL to an episode of my video podcast "The Hollywood Quad". ...http://www.youtube.com/watch?v=GVnHU_zP6UQ
posted by: Jim Troesh on Thu, 4/5 01:09 PM EDT
Hey guys (again),
I just finished writing my third spec script for The Office and thought about sending a query letter to WMA, the agency repping Steve Carell. Then I re-listened to (I know this sounds really star-trek nerdy) show #16 (Living in Limbo) and in it you said you would never write a spec script and then submit it to the writers of that same show, because they know so much more about the characters they would just tear your script to shreds.
With this in mind, do you have any suggestions about how I should go about getting these scripts into the hands of the "right" people?
Thanks!
I just finished writing my third spec script for The Office and thought about sending a query letter to WMA, the agency repping Steve Carell. Then I re-listened to (I know this sounds really star-trek nerdy) show #16 (Living in Limbo) and in it you said you would never write a spec script and then submit it to the writers of that same show, because they know so much more about the characters they would just tear your script to shreds.
With this in mind, do you have any suggestions about how I should go about getting these scripts into the hands of the "right" people?
Thanks!
The quick update: we're buried. Pilot outline due to producers tonight. Oh -- and our second DZ episode outline, too. All in a year's work...
To "Why Me?":
I'm pretty sure the Office is a good spec, if only because I hear people are tired of reading them. (Just to mention: You will always face a double-edged sword: either people are sick of reading a certain show (but are therefore familiar with it and can spot a good one) or they don't know the show and aren't interested. There IS NO answer.) To your specific question though --
Send it to WMA, by all means. Send it EVERYWHERE. The agency is different than submitting to a showrunner. Don't worry -- there is absolutely ZERO chance Steve Carell will be reading your spec and holding it against you (Okay, I'm poking fun -- but seriously: A) he won't, and B) that doesn't matter for you. )
Here's the thing -- you gotta work the system. DO NOT be afraid to get on the phone, over and over again, and work the people at those agencies hard. You want to find out who at the agencies is reading for new clients. You will be talking to assistants, not agents. Guess what? Not only do assistants run the whole world, not only do they decide what scripts their bosses read, they BECOME agents. They work INSANE hours under intense pressure for little pay. Write down their names, pay attention, make your call something nice in their day. It's worth every iota of charm and determination you have to find any reason to talk to the assistants at agencies.
Shit, if you connect a little bit with one of them, send your script attached to a basket of muffins or something. I'm not kidding. Groom them, they will groom you. We are all chimps. Make friends, they will influence people for you. That's the truth.
Oh -- and January to June is a TERRIBLE time to try to get through to agents. They're staffing up shows for the fall, busy as hell. You'll have better luck later in the year.
Good luck
To "Why Me?":
I'm pretty sure the Office is a good spec, if only because I hear people are tired of reading them. (Just to mention: You will always face a double-edged sword: either people are sick of reading a certain show (but are therefore familiar with it and can spot a good one) or they don't know the show and aren't interested. There IS NO answer.) To your specific question though --
Send it to WMA, by all means. Send it EVERYWHERE. The agency is different than submitting to a showrunner. Don't worry -- there is absolutely ZERO chance Steve Carell will be reading your spec and holding it against you (Okay, I'm poking fun -- but seriously: A) he won't, and B) that doesn't matter for you. )
Here's the thing -- you gotta work the system. DO NOT be afraid to get on the phone, over and over again, and work the people at those agencies hard. You want to find out who at the agencies is reading for new clients. You will be talking to assistants, not agents. Guess what? Not only do assistants run the whole world, not only do they decide what scripts their bosses read, they BECOME agents. They work INSANE hours under intense pressure for little pay. Write down their names, pay attention, make your call something nice in their day. It's worth every iota of charm and determination you have to find any reason to talk to the assistants at agencies.
Shit, if you connect a little bit with one of them, send your script attached to a basket of muffins or something. I'm not kidding. Groom them, they will groom you. We are all chimps. Make friends, they will influence people for you. That's the truth.
Oh -- and January to June is a TERRIBLE time to try to get through to agents. They're staffing up shows for the fall, busy as hell. You'll have better luck later in the year.
Good luck
Hey Why Me -
New Podcast this week we hope: we have two deadlines TODAY and we've been nuts. anyway, your Office spec is good for everyone BUT The Office people. of course, everyone is writing that show because there are only a few good comedies on the air right now, but I like reading them, and so do all the fans of the show. If you're thinking about what else you should have for people to read I'd make it an original piece - it shows your own voice. 95 percent of our meetings are from our original pilot, not the HOUSE spec...
Cheers, Sam
New Podcast this week we hope: we have two deadlines TODAY and we've been nuts. anyway, your Office spec is good for everyone BUT The Office people. of course, everyone is writing that show because there are only a few good comedies on the air right now, but I like reading them, and so do all the fans of the show. If you're thinking about what else you should have for people to read I'd make it an original piece - it shows your own voice. 95 percent of our meetings are from our original pilot, not the HOUSE spec...
Cheers, Sam
I listened to your complete podcast. There was some very interesting stuff. This podcast is kinda like being friends with Sam and Jim but with pause, fast forward and rewind. Still can’t get a word in edgewise.
posted by: Papa Twister on Wed, 6/13 05:39 PM EDT
The grammatical error is for you, Jim.
posted by: Papa Twister on Wed, 6/13 05:43 PM EDT
I just finished listening all of the podcasts while commuting to and from work. Awesome stuff. It was like you guys were in the car with me. Sorry Jim, but Sam sat shotgun everyday.
It's also great to see a couple guys from the midwest making it happen for themselves out in LA. I loved the insight of the writing room. I've always wondered how the process worked at that point in the game. Very insightful.
As someone who recently got back into my passion of writing, my writing partner and I threw caution to the wind, submitted our comedy feature into a contest our first time out, were finalists and now have a manager interested in repping us. We flew to LA and had a couple meetings with her. She liked us; we liked her. She's a small outfit who has more production people on her roster list than writers (we did some research before meeting her).
Enogh blabber. Now the questions...
An entertainment attorney told us having a manager is useless because the agreement between a manager and a writer is meaningless and doesn't hold up in court. What are your guys thoughts?
In your podcast regarding managers and agents, I didn't hear you guys mention anything about length of a deal. If you don't mind me asking, how long was your deal with your manager? The manager wants to sign us to a two-year deal. Is that normal?
When you had your manager, would the manager get a cut of other television projects outside of your partnership? For example, let's say one of you guys had an opportunity to edit a television show. Would your manager get a cut of that revenue? Or, would the manager only get revenue from your writing jobs?
Thanks.
It's also great to see a couple guys from the midwest making it happen for themselves out in LA. I loved the insight of the writing room. I've always wondered how the process worked at that point in the game. Very insightful.
As someone who recently got back into my passion of writing, my writing partner and I threw caution to the wind, submitted our comedy feature into a contest our first time out, were finalists and now have a manager interested in repping us. We flew to LA and had a couple meetings with her. She liked us; we liked her. She's a small outfit who has more production people on her roster list than writers (we did some research before meeting her).
Enogh blabber. Now the questions...
An entertainment attorney told us having a manager is useless because the agreement between a manager and a writer is meaningless and doesn't hold up in court. What are your guys thoughts?
In your podcast regarding managers and agents, I didn't hear you guys mention anything about length of a deal. If you don't mind me asking, how long was your deal with your manager? The manager wants to sign us to a two-year deal. Is that normal?
When you had your manager, would the manager get a cut of other television projects outside of your partnership? For example, let's say one of you guys had an opportunity to edit a television show. Would your manager get a cut of that revenue? Or, would the manager only get revenue from your writing jobs?
Thanks.
posted by: Matt on Fri, 6/22 02:07 AM EDT
Matt - Good questions.
As to a Manager agreement holding up in court - never heard of the legality of it, but do you want to go to court? Sounds like a typical lawyer answer: after you spend a lot of $$ in court, you might win. Come on.
Two year deals are normal, thought to be fair, Jim and I have never signed an agreement with either our manager (now fired) or our agent. As you know, by law you can fire an agent after 90 days of no work, at any time. So it's easy to get out of. Managers are unregulated and I do fear that, BUT you do need someone out there shilling for you, and if you believe it's these guys, then consider the deal. And YES you can absolutely say that he gets a piece of whatever he sells, not everything, not not our feature work if he's TV or whatever. You can define the deal - and he's banking you'll be another pussycat writer afraid to speak up for himself. Don't be.
An the other hand, it's nice to have someone in your corner....
As to a Manager agreement holding up in court - never heard of the legality of it, but do you want to go to court? Sounds like a typical lawyer answer: after you spend a lot of $$ in court, you might win. Come on.
Two year deals are normal, thought to be fair, Jim and I have never signed an agreement with either our manager (now fired) or our agent. As you know, by law you can fire an agent after 90 days of no work, at any time. So it's easy to get out of. Managers are unregulated and I do fear that, BUT you do need someone out there shilling for you, and if you believe it's these guys, then consider the deal. And YES you can absolutely say that he gets a piece of whatever he sells, not everything, not not our feature work if he's TV or whatever. You can define the deal - and he's banking you'll be another pussycat writer afraid to speak up for himself. Don't be.
An the other hand, it's nice to have someone in your corner....
Any update on your episode? I'm assuming you've gotten the chance to record your commentary for the episode.
What's word on how the season is going so far? The first two episodes have felt very much like reboot episodes, but hopefully we're past that now.
A question and a request:
Is the Armageddon storyline over? It seemed like that's what the season premiere was implying by killing Janus.
And can we please please please stop having Cleaves Mills residents act completely amazed when Johnny says he has psychic powers? Case in point, Nina from this week. She supposedly has lived in Cleaves Mills for five years, yet acts like she has never heard of Johnny before. At this point, there wouldn't be anyone in this little town that doesn't know all about Johnny, or at least know that he's a psychic and has saved countless lives over the past few years. It would be like someone in Metropolis not knowing about Superman, and acting with skepticism when they meet him. I imagine the disbelieving new character is a way to deliver exposition for new viewers, but for anyone that's watched the show, it comes off as implausible.
Anyway, looking forward to your episode. (do you have more than one this season?)
What's word on how the season is going so far? The first two episodes have felt very much like reboot episodes, but hopefully we're past that now.
A question and a request:
Is the Armageddon storyline over? It seemed like that's what the season premiere was implying by killing Janus.
And can we please please please stop having Cleaves Mills residents act completely amazed when Johnny says he has psychic powers? Case in point, Nina from this week. She supposedly has lived in Cleaves Mills for five years, yet acts like she has never heard of Johnny before. At this point, there wouldn't be anyone in this little town that doesn't know all about Johnny, or at least know that he's a psychic and has saved countless lives over the past few years. It would be like someone in Metropolis not knowing about Superman, and acting with skepticism when they meet him. I imagine the disbelieving new character is a way to deliver exposition for new viewers, but for anyone that's watched the show, it comes off as implausible.
Anyway, looking forward to your episode. (do you have more than one this season?)
Thanks for taking the time to respond despite your busy schedule. Very appreciative.
I'm developing a couple television sports properties and don't want a manager getting a piece of that unscripted pie. I will take your advice into consideration. I got the feeling the manager realized we weren't pussycat writers when she abruptly ended our second meeting. The good news is we're still in communication. Meanwhile, I have some "friends" who are putting our script into the hands of producers who have deals with various studios. Just trying to turn over every rock.
You know how we carpool together for our daily commute? Well... how do I say this without being cruel... I have to stop carpooling with you guys for a while. If I don't stop carpooling with you guys, I might say something which could ruin our future carpool friendship. I don't want to be rude, but I can't take it anymore. You're becoming that annoying friend who tells the same stories over and over again, only you have 32 stories and they don't change. You guys have told me the story about the being in the writer's room three times. Yeah, three times. I know exactly when Jim is going to laugh so loud he blows out my speaker. Sorry guys, but I just have to carpool with someone else until you guys have a new story to tell. Hope you understand.
Until that day.
Matt
I'm developing a couple television sports properties and don't want a manager getting a piece of that unscripted pie. I will take your advice into consideration. I got the feeling the manager realized we weren't pussycat writers when she abruptly ended our second meeting. The good news is we're still in communication. Meanwhile, I have some "friends" who are putting our script into the hands of producers who have deals with various studios. Just trying to turn over every rock.
You know how we carpool together for our daily commute? Well... how do I say this without being cruel... I have to stop carpooling with you guys for a while. If I don't stop carpooling with you guys, I might say something which could ruin our future carpool friendship. I don't want to be rude, but I can't take it anymore. You're becoming that annoying friend who tells the same stories over and over again, only you have 32 stories and they don't change. You guys have told me the story about the being in the writer's room three times. Yeah, three times. I know exactly when Jim is going to laugh so loud he blows out my speaker. Sorry guys, but I just have to carpool with someone else until you guys have a new story to tell. Hope you understand.
Until that day.
Matt
posted by: Matt on Thu, 6/28 12:01 AM EDT
Victor –
Our episode airs this Sunday night. It’s more or less a stand alone episode (easy on the mythology/serialized component). Actually, the shrink in the second episode, NINA, hadn’t been in Cleaves Mills all that long. She didn’t know anyone and only had the client she’d brought with her from wherever. Having said that, that point obviously wasn’t clear. Now, having said THAT, it has definitely been part of the show that somehow the whole world doesn’t know or believe that Johnny Smith is an actual, real live psychic. I agree that gets really hard to swallow – especially after 5 seasons. In fact, this issue came up while we were outlining our episode, and you’ll notice that we used an outside character to be the disbeliever (and she has PLENTY of reason not to trust Johnny). I’m looking forward to hearing your thoughts on our episode and how we handled that issue. (BTW: on www.usanetwork.com there will be an interview USA did with us talking about our episode. I think they’re posting it Sunday or Monday. Also, if you miss the episode, and want to see it, it will be available on iTunes – and no, we don’t get any of that coin. None.)
Matt –
Personally, I think it was a mistake on your part to even START carpooling with us!:) But yeah, I think Jim and I are guilty of repeating stories, and when listeners listen to all the episodes in a short period of time, it becomes especially obvious. Oddly, Jim and I are in a tough position right now as far as stories go: we have so many new stories, so much to tell, and yet we’re not sure what we can get away with telling. Last Friday we pitched to an extremely well known feature director’s company and they loved our idea. We have a meeting Monday with a famous actress’s production company. The actress is now a successful TV producer – and they want to pitch an idea to US. And yesterday ABC gave us the go-ahead to start writing our Steven King pilot. But we honestly have no idea which stories we can tell and which will get us in trouble. It’s stymied our podcast production (never prolific to begin with) as you can tell.
On a bright note, we’ve been asked a million times to do an actual pitch of a TV show and I think we might do one now. We’ve been reluctant to do it as our pilot was still in play - but Showtime just launched a new show with a similar premise. This may have crippled our script to the point where WTF, we may as well pitch it to the world. It’s really good, if I may say so myself. So we have plenty more stories to tell, but we just need to refocus ourselves and pick the right ones.
Still, if I were you, I’d put Lucinda Williams in the passenger seat and listen to her stories instead.
Sam
Our episode airs this Sunday night. It’s more or less a stand alone episode (easy on the mythology/serialized component). Actually, the shrink in the second episode, NINA, hadn’t been in Cleaves Mills all that long. She didn’t know anyone and only had the client she’d brought with her from wherever. Having said that, that point obviously wasn’t clear. Now, having said THAT, it has definitely been part of the show that somehow the whole world doesn’t know or believe that Johnny Smith is an actual, real live psychic. I agree that gets really hard to swallow – especially after 5 seasons. In fact, this issue came up while we were outlining our episode, and you’ll notice that we used an outside character to be the disbeliever (and she has PLENTY of reason not to trust Johnny). I’m looking forward to hearing your thoughts on our episode and how we handled that issue. (BTW: on www.usanetwork.com there will be an interview USA did with us talking about our episode. I think they’re posting it Sunday or Monday. Also, if you miss the episode, and want to see it, it will be available on iTunes – and no, we don’t get any of that coin. None.)
Matt –
Personally, I think it was a mistake on your part to even START carpooling with us!:) But yeah, I think Jim and I are guilty of repeating stories, and when listeners listen to all the episodes in a short period of time, it becomes especially obvious. Oddly, Jim and I are in a tough position right now as far as stories go: we have so many new stories, so much to tell, and yet we’re not sure what we can get away with telling. Last Friday we pitched to an extremely well known feature director’s company and they loved our idea. We have a meeting Monday with a famous actress’s production company. The actress is now a successful TV producer – and they want to pitch an idea to US. And yesterday ABC gave us the go-ahead to start writing our Steven King pilot. But we honestly have no idea which stories we can tell and which will get us in trouble. It’s stymied our podcast production (never prolific to begin with) as you can tell.
On a bright note, we’ve been asked a million times to do an actual pitch of a TV show and I think we might do one now. We’ve been reluctant to do it as our pilot was still in play - but Showtime just launched a new show with a similar premise. This may have crippled our script to the point where WTF, we may as well pitch it to the world. It’s really good, if I may say so myself. So we have plenty more stories to tell, but we just need to refocus ourselves and pick the right ones.
Still, if I were you, I’d put Lucinda Williams in the passenger seat and listen to her stories instead.
Sam
If you don't know what to talk about, here's an idea. Showrun your podcast. Really shows are contrived. Why not podcasts? No one would know it was fake. It's reality podcasting. No... it's rodcasting. Rodcasting is much sexier than radio drama or radio play. As with most of my ideas, in three years rodcasting will be the buzz term in the podcasting world.
Get in the scene late and leave the scene early. I think this can be applied to this podcast. Listeners are hearing the podcasts late in your process; you guys are leaving just as the action is getting good, leaving us for more. Besides, I don't want you guys jumping the shark in a future podcast.
I probably wouldn't be too concerned about a podcast when the plate is that full. As for those who want more stuff from you guys, I wouldn't be too concerned about it. Your goal to get on staff was achieved. You have producers pitching ideas to you. I think this is a good time to move away from the podcast, yet keep the blog. If people have a problem with that, oh well.
Writing and producing pays the bills; podcasting is for fun. For me, working in television pays the bills and Wifflepalooza and cornhole is fun. (Check out www.grayamericanballpark.com and www.kingofcornhole.com respectively.) Yes, cornhole is a sport. I just worked on Cornhole: The Movie, a mockumentary shot by a dude from LA who also has midwest roots. And there was a front page article in the Wall Street Journal featuring my business partner. It's the real deal. And yes, it is called cornhole. If you need a break away from writing and want to laugh at the seriousness of the sport, I have episodes posted online.
Hope we get to hear or read those interesting stories in the future.
Until that day.
Matt
Get in the scene late and leave the scene early. I think this can be applied to this podcast. Listeners are hearing the podcasts late in your process; you guys are leaving just as the action is getting good, leaving us for more. Besides, I don't want you guys jumping the shark in a future podcast.
I probably wouldn't be too concerned about a podcast when the plate is that full. As for those who want more stuff from you guys, I wouldn't be too concerned about it. Your goal to get on staff was achieved. You have producers pitching ideas to you. I think this is a good time to move away from the podcast, yet keep the blog. If people have a problem with that, oh well.
Writing and producing pays the bills; podcasting is for fun. For me, working in television pays the bills and Wifflepalooza and cornhole is fun. (Check out www.grayamericanballpark.com and www.kingofcornhole.com respectively.) Yes, cornhole is a sport. I just worked on Cornhole: The Movie, a mockumentary shot by a dude from LA who also has midwest roots. And there was a front page article in the Wall Street Journal featuring my business partner. It's the real deal. And yes, it is called cornhole. If you need a break away from writing and want to laugh at the seriousness of the sport, I have episodes posted online.
Hope we get to hear or read those interesting stories in the future.
Until that day.
Matt
Hi Guys, I'm just one more listener hoping you can record another show again soon. I'm really glad I swung by today so I know to watch Dead Zone. Congrats on all your success. Now please us!
Michael
Michael
posted by: Michael Jacobs on Sat, 6/30 03:54 AM EDT
Hey guys...
First off, I really enjoyed the episode. My favorite part was Johnny walking on the outside of the ship. That was a great unexpected 'wow' moment and something we'd never seen before (and like you said in your video commentary, after five seasons, it's hard to find soil that hasn't been turned over yet.)
The dialogue had a naturalness to it that I haven't seen on the show in a long time or any TV show for that matter. In particular, I liked Stillson retracing his steps in his head.
Loved the echoing of the births, and allowing Johnny to get to view JJ's birth.
Great job all around, and I can't wait to see your next episode (where is that in production, and/or how long ago was your video commentary filmed?)
Now... for the less pleasant part of this commentary (and I'll assume you guys want honest, sincere commentary, and not just lavish praise, right? Right?)
For starters, most of the problems I had with this episode are the same ones I have for most of the episodes of this show, but these problems may have been exacerbated a bit because of the much larger scale of this episode.
For Stillson to come off as a convincing Vice President, everything about him needs to be bigger. As a modern TV viewing audience, we're much more savvy as to the enormity of the job of a Vice President, and by the same token, the perceived limits of his powers. For each of the episodes Stillson's been in this season, he comes across as a city councilman rather than a Vice President. In my mind I know that that's a budgetary thing and nothing can really be done about it, but it takes me out of the show.
Secondly about Stillson, and my understanding of this may be totally wrong (feel free to correct me), but it seems silly to have the VP ordering (or advising) all these military strikes and F-15 attacks. I've seen this on many occasions when a VP is a main character rather than the president, and each time, it feels wrong. Again, I know that this show is about these characters and the character on this show is the VP, not the president, so all these dramatic moments must flow through him... but still... Again, no way around it that I can see.
Third thing, and again this is a problem of the season as a whole so far, is that I have no idea where this show is going. The big problem (in my opinion) is that this show over five seasons has built up so much story momentum, especially with the whole Armageddon thing. The capital blowing up is still in all the promos, which makes it further hard to forget. You guys kind of address it in the video commentary, but I still feel a great deal of frustration after these first three episodes, because I can tell that Stillson especially has been rebuilt from the ground up and that we're kinda supposed to recognize it, but still have residual questions. I don't think I'm explaining it well and I apologize. I can only point to the story momentum this show has built up and that I can tell it's been changed significantly, but we're not being let in on what we're supposed to still be focusing on and paying attention to. The show is simultaneously going in the reboot direction and in the old direction and I think I'd like it to pick one.
Next, I think your dialogue was undermined by some of the acting (or directing) in this episode. I'll vote for acting, because everything that came out of Johnny and Sarah's mouth rang true and felt perfect. I didn't buy anything the little girl said. Too plastic and too obviously straight out of shiny child actor casting. The kid who now plays JJ did a great job with his weightier role, but the intercut between him and the unconvincing girl really weakened the whole scene.
The mom was a bit better, but the role seemed a bit too big for her.
The dadstronaut, however, was really effective. Great casting on that. That said, the one false part of the plotting of this episode was how you guys wrote the ultimate way they got rescued. His line of "I need to keep a promise" and his subsequent going to take the picture didn't work for me at all. Rather than having Johnny's flashback be about the dad promising the daughter he'd take the picture (and then getting the brilliant idea), I think it would have worked much better if the vision Johnny saw would have been of the dad going to take the picture, and then realizing they had to scramble to take advantage of that. As it was, it seemed false for Johnny to first assume that the dad hadn't already taken the picture, and to then assume that in the face of this impending disaster that he'd take the time to go and take the picture at that exact moment. The argument could be made that Johnny was shown that particular vision (of dad and girl) precisely as an indicator that this was important and that he was supposed to act on the implications of that vision, but that wasn't made clear in the presentation.
My other question about the crisis of this episode (and the first thing I thought when it happened) was that surely NASA or GoSpace or whoever would have some sort of backup communication plan if the primary communication goes out. Again, I could be wrong, but it just seems they'd have countless protocols to account for every possible communications problem. And along the same lines, we've all seen Apollo 13, which this episode was paying homage to, and it seemed unrealistic that GoSpace would have only the one guy there attempting to solve this problem when Apollo 13 had EVERYONE scrambling to figure out a way to bring them home safely. Again, I chalk this up entirely to budgetary and logistics concerns, but the scale of this episode pointed out those production limitations more than most.
Something I keep on waiting for Johnny to say is to make an acknowledgment, either to Sarah or just to himself, about how Walt was there to raise hisson, and now Johnny is going to be there to raise Walt's daughter, and the irony of it. Johnny would feel it as an absolute obligation and a chance to claim the role of father, albeit with
a different child. It's sort of implied that this is taking place in Johnny's mind, but I just feel he'd be more overt about it.
And the fact that this show seems to be even toying with the idea of having a Stillson/Sarah/Johnny/Sheriff romantic tangle feels totally wrong for all the characters involved. It feels like plot contrivance and just throwing stuff in there for the sake of 'drama'. Sarah is the woman he's always loved, and she is going through two hugely traumatic events in her life. With Johnny's character and nobility, the concept of throwing some other potential romance in the mix seems preposterous. For Sarah as well. In spite of the glitz and glamor of Stillson, Sarah is too smart and knows Johnny too well (and as evidenced by this episode has total trust and faith and respect for Johnny) to fall for someone else when Johnny is right there.
The only way I'd buy keeping them apart now would be if Johnny has a series of visions showing nothing but disaster and heartache for them both if they get together. That would amp the Shakespearean angst up to eleven. Or maybe showing a vision where Sarah getting with Stillson is the only thing that prevents Armageddon. For the sake of the world, he'd let her go be with someone else. But the hints of the new Sheriff as being a potential new love interest just screams out as totally wrong.
And finally, while I expressed earlier frustration with the unclear direction of the show, I have to say that I'm really hoping that Stillson's story arc does indeed turn into a potential story of redemption. I think seeing him more clearly wrestle with his inner demons and face the realities of Johnny's vision of Armageddon (and his own potential role in it) would be great to watch over this season (and beyond_. What does he do when he believes that he might indeed destroy the world? How does it change him? But for this type of story arc to be more effective, I think it just needs to be a lot more overt. Stillson's earliest episodes showed stuff from his perspective and from his childhood and such. He was given co-main-character status in those eps, and that's what he needs for his potential redemption arc.
And finally finally, my biggest shock of the night was reserved for watching the video commentary of you two. I completely had your voices matched up with the wrong person. For a moment, it was like watching an episode of Gilligan's island where Ginger's voice was coming out of the Professor's body, and vice versa. For some reason, way back when your picture appeared in Script Magazine the first time, I had the deeper voice matched to the larger of the two of you and the higher pitched voice to the smaller. I just never double checked it. I'm still chuckling about my momentary confusion.
Anyway, I know this 'comment' has gone on entirely too long and I'll understand completely if you choose not to post it, or if you choose to chop it down significantly and use only any part you might seem worthy of replying to.
I really hope we get to hear your guys' side of the story and the compromises you had to make, and what percentage of what you wrote successfully made it to the screen.
Again, in spite of all the 'problems' I had with the episode, I still enjoyed it quite a bit and I'm proud to say I knew you when.
Take care.
First off, I really enjoyed the episode. My favorite part was Johnny walking on the outside of the ship. That was a great unexpected 'wow' moment and something we'd never seen before (and like you said in your video commentary, after five seasons, it's hard to find soil that hasn't been turned over yet.)
The dialogue had a naturalness to it that I haven't seen on the show in a long time or any TV show for that matter. In particular, I liked Stillson retracing his steps in his head.
Loved the echoing of the births, and allowing Johnny to get to view JJ's birth.
Great job all around, and I can't wait to see your next episode (where is that in production, and/or how long ago was your video commentary filmed?)
Now... for the less pleasant part of this commentary (and I'll assume you guys want honest, sincere commentary, and not just lavish praise, right? Right?)
For starters, most of the problems I had with this episode are the same ones I have for most of the episodes of this show, but these problems may have been exacerbated a bit because of the much larger scale of this episode.
For Stillson to come off as a convincing Vice President, everything about him needs to be bigger. As a modern TV viewing audience, we're much more savvy as to the enormity of the job of a Vice President, and by the same token, the perceived limits of his powers. For each of the episodes Stillson's been in this season, he comes across as a city councilman rather than a Vice President. In my mind I know that that's a budgetary thing and nothing can really be done about it, but it takes me out of the show.
Secondly about Stillson, and my understanding of this may be totally wrong (feel free to correct me), but it seems silly to have the VP ordering (or advising) all these military strikes and F-15 attacks. I've seen this on many occasions when a VP is a main character rather than the president, and each time, it feels wrong. Again, I know that this show is about these characters and the character on this show is the VP, not the president, so all these dramatic moments must flow through him... but still... Again, no way around it that I can see.
Third thing, and again this is a problem of the season as a whole so far, is that I have no idea where this show is going. The big problem (in my opinion) is that this show over five seasons has built up so much story momentum, especially with the whole Armageddon thing. The capital blowing up is still in all the promos, which makes it further hard to forget. You guys kind of address it in the video commentary, but I still feel a great deal of frustration after these first three episodes, because I can tell that Stillson especially has been rebuilt from the ground up and that we're kinda supposed to recognize it, but still have residual questions. I don't think I'm explaining it well and I apologize. I can only point to the story momentum this show has built up and that I can tell it's been changed significantly, but we're not being let in on what we're supposed to still be focusing on and paying attention to. The show is simultaneously going in the reboot direction and in the old direction and I think I'd like it to pick one.
Next, I think your dialogue was undermined by some of the acting (or directing) in this episode. I'll vote for acting, because everything that came out of Johnny and Sarah's mouth rang true and felt perfect. I didn't buy anything the little girl said. Too plastic and too obviously straight out of shiny child actor casting. The kid who now plays JJ did a great job with his weightier role, but the intercut between him and the unconvincing girl really weakened the whole scene.
The mom was a bit better, but the role seemed a bit too big for her.
The dadstronaut, however, was really effective. Great casting on that. That said, the one false part of the plotting of this episode was how you guys wrote the ultimate way they got rescued. His line of "I need to keep a promise" and his subsequent going to take the picture didn't work for me at all. Rather than having Johnny's flashback be about the dad promising the daughter he'd take the picture (and then getting the brilliant idea), I think it would have worked much better if the vision Johnny saw would have been of the dad going to take the picture, and then realizing they had to scramble to take advantage of that. As it was, it seemed false for Johnny to first assume that the dad hadn't already taken the picture, and to then assume that in the face of this impending disaster that he'd take the time to go and take the picture at that exact moment. The argument could be made that Johnny was shown that particular vision (of dad and girl) precisely as an indicator that this was important and that he was supposed to act on the implications of that vision, but that wasn't made clear in the presentation.
My other question about the crisis of this episode (and the first thing I thought when it happened) was that surely NASA or GoSpace or whoever would have some sort of backup communication plan if the primary communication goes out. Again, I could be wrong, but it just seems they'd have countless protocols to account for every possible communications problem. And along the same lines, we've all seen Apollo 13, which this episode was paying homage to, and it seemed unrealistic that GoSpace would have only the one guy there attempting to solve this problem when Apollo 13 had EVERYONE scrambling to figure out a way to bring them home safely. Again, I chalk this up entirely to budgetary and logistics concerns, but the scale of this episode pointed out those production limitations more than most.
Something I keep on waiting for Johnny to say is to make an acknowledgment, either to Sarah or just to himself, about how Walt was there to raise hisson, and now Johnny is going to be there to raise Walt's daughter, and the irony of it. Johnny would feel it as an absolute obligation and a chance to claim the role of father, albeit with
a different child. It's sort of implied that this is taking place in Johnny's mind, but I just feel he'd be more overt about it.
And the fact that this show seems to be even toying with the idea of having a Stillson/Sarah/Johnny/Sheriff romantic tangle feels totally wrong for all the characters involved. It feels like plot contrivance and just throwing stuff in there for the sake of 'drama'. Sarah is the woman he's always loved, and she is going through two hugely traumatic events in her life. With Johnny's character and nobility, the concept of throwing some other potential romance in the mix seems preposterous. For Sarah as well. In spite of the glitz and glamor of Stillson, Sarah is too smart and knows Johnny too well (and as evidenced by this episode has total trust and faith and respect for Johnny) to fall for someone else when Johnny is right there.
The only way I'd buy keeping them apart now would be if Johnny has a series of visions showing nothing but disaster and heartache for them both if they get together. That would amp the Shakespearean angst up to eleven. Or maybe showing a vision where Sarah getting with Stillson is the only thing that prevents Armageddon. For the sake of the world, he'd let her go be with someone else. But the hints of the new Sheriff as being a potential new love interest just screams out as totally wrong.
And finally, while I expressed earlier frustration with the unclear direction of the show, I have to say that I'm really hoping that Stillson's story arc does indeed turn into a potential story of redemption. I think seeing him more clearly wrestle with his inner demons and face the realities of Johnny's vision of Armageddon (and his own potential role in it) would be great to watch over this season (and beyond_. What does he do when he believes that he might indeed destroy the world? How does it change him? But for this type of story arc to be more effective, I think it just needs to be a lot more overt. Stillson's earliest episodes showed stuff from his perspective and from his childhood and such. He was given co-main-character status in those eps, and that's what he needs for his potential redemption arc.
And finally finally, my biggest shock of the night was reserved for watching the video commentary of you two. I completely had your voices matched up with the wrong person. For a moment, it was like watching an episode of Gilligan's island where Ginger's voice was coming out of the Professor's body, and vice versa. For some reason, way back when your picture appeared in Script Magazine the first time, I had the deeper voice matched to the larger of the two of you and the higher pitched voice to the smaller. I just never double checked it. I'm still chuckling about my momentary confusion.
Anyway, I know this 'comment' has gone on entirely too long and I'll understand completely if you choose not to post it, or if you choose to chop it down significantly and use only any part you might seem worthy of replying to.
I really hope we get to hear your guys' side of the story and the compromises you had to make, and what percentage of what you wrote successfully made it to the screen.
Again, in spite of all the 'problems' I had with the episode, I still enjoyed it quite a bit and I'm proud to say I knew you when.
Take care.
Hey guys,
In one of your prior posts you said you weren't sure what stories you're allowed to tell..after rewatching your episode, I would be interested in knowing how it felt to hear your words up on the screen. Who wrote which lines; how did the story idea develop; whose house did you watch the show at; how did your families respond etc... I don't think you'd violate any laws this way.
In one of your prior posts you said you weren't sure what stories you're allowed to tell..after rewatching your episode, I would be interested in knowing how it felt to hear your words up on the screen. Who wrote which lines; how did the story idea develop; whose house did you watch the show at; how did your families respond etc... I don't think you'd violate any laws this way.
Just listened to the podcast.
Wanted to say that what you said about how the first thing you wrote was greeted warmly by the room, and how you felt a change in the room afterwards reminded me of something I read a couple of months ago.
I like to read cop memoirs, and I read one that was an anthology of policewomen, and uniformly (pun intended) they mentioned that as rookies, and women, in a traditionally male-dominated field, they often weren't trusted by the men until they got into their first fight or scuffle with a suspect. After that, everything was okay. Like they weren't real cops until then.
Every group has that unspoken gauntlet.
Wanted to say that what you said about how the first thing you wrote was greeted warmly by the room, and how you felt a change in the room afterwards reminded me of something I read a couple of months ago.
I like to read cop memoirs, and I read one that was an anthology of policewomen, and uniformly (pun intended) they mentioned that as rookies, and women, in a traditionally male-dominated field, they often weren't trusted by the men until they got into their first fight or scuffle with a suspect. After that, everything was okay. Like they weren't real cops until then.
Every group has that unspoken gauntlet.
When you guys make a return to the world of podcasting, you guys will be carpooling with me in my new iPhone. And yes, it is awesome. The iPhone that is, in case you needed clarification.
After listening to your podcasts about the "room" it really gives one a new perspective on how the process works. I approach watching shows a little differently now.
Someone once told me the process in any project is usually more interesting, more memorable than the finished project. I think they were right. Trailers practically show the entire movie, viewers already know how the movie will end, yet people still go back for more. Reality television is all about showing the process.
Speaking of reality television, I saw Dan's name in the credits for On The Lot. In the beginning of that show I would blame the people behind the scenes over Adrianna Costa for some of the verbal mistakes during the show. When I saw Dan's name I realized it definitely wasn't the writing. Maybe her beauty blinded me for a sec. Moving on.
My writing partner and I got word back about our feature from a producer with a first look deal with Lionsgate. Great story, but not what they're looking for. At least we got some feedback this time out.
Until that day,
Matt
After listening to your podcasts about the "room" it really gives one a new perspective on how the process works. I approach watching shows a little differently now.
Someone once told me the process in any project is usually more interesting, more memorable than the finished project. I think they were right. Trailers practically show the entire movie, viewers already know how the movie will end, yet people still go back for more. Reality television is all about showing the process.
Speaking of reality television, I saw Dan's name in the credits for On The Lot. In the beginning of that show I would blame the people behind the scenes over Adrianna Costa for some of the verbal mistakes during the show. When I saw Dan's name I realized it definitely wasn't the writing. Maybe her beauty blinded me for a sec. Moving on.
My writing partner and I got word back about our feature from a producer with a first look deal with Lionsgate. Great story, but not what they're looking for. At least we got some feedback this time out.
Until that day,
Matt
posted by: Matt on Mon, 7/16 09:21 PM EDT
Hi guys,
My question isn't related to episode 32, but is instead regarding submissions. A friend of mine works at an animation production company in Boston and is helping me submit my animated pilot to his bosses. I've got my one pager, my cover letter, the script...am I missing anything?
Thanks!
My question isn't related to episode 32, but is instead regarding submissions. A friend of mine works at an animation production company in Boston and is helping me submit my animated pilot to his bosses. I've got my one pager, my cover letter, the script...am I missing anything?
Thanks!
Hey everyone –
Sorry it’s been a million years since Jim and I did a podcast. No excuses – but a million of them. I thought I’d take a quick second (mostly because I should be writing and I already read everything on the New York Times site) to fill you all in on what’s been going on in Sam and Jim land.
After wrapping up writing for The Dead Zone at the end of May, we’ve been hard at work on the Stephen King pilot we’re writing for ABC/Touchstone. We wrote a long complicated outline for the producers/studio/network/agents – and then rewrote it a half dozen times. Still, after that many rewrites, no one was quite sure we’d nailed our characters. This was tough, because Jim and I are convinced that you really CAN’T nail a good character without hearing them speak, and outlines just don’t have much dialogue. Obvious archetype characters, sure, but real ones – nah. At least we don’t think you can.
So we asked them to take a leap of faith and let us write a draft and prove that we did in fact know our characters. Because they’d worked with us before – and with deadlines looming – they agreed, hoping for the best. If I may say so, we nailed it, everyone was happy – and then we got 7 more pages of notes. Another rewrite. And then more notes. This is the normal process, and we’re hard at work on this draft. It IS getting better, but it’s a bit of a slog – hence the quiet from this part of the world.
Still, we all have that feeling that we’re onto something, that we have something special. It’s that delusion, er...belief that keeps us writing.
We’ll try to check in soon. At some point we’ll have to turn it in and wait for a decision – perfect time to share our anxiety.
Cheers,
Sorry it’s been a million years since Jim and I did a podcast. No excuses – but a million of them. I thought I’d take a quick second (mostly because I should be writing and I already read everything on the New York Times site) to fill you all in on what’s been going on in Sam and Jim land.
After wrapping up writing for The Dead Zone at the end of May, we’ve been hard at work on the Stephen King pilot we’re writing for ABC/Touchstone. We wrote a long complicated outline for the producers/studio/network/agents – and then rewrote it a half dozen times. Still, after that many rewrites, no one was quite sure we’d nailed our characters. This was tough, because Jim and I are convinced that you really CAN’T nail a good character without hearing them speak, and outlines just don’t have much dialogue. Obvious archetype characters, sure, but real ones – nah. At least we don’t think you can.
So we asked them to take a leap of faith and let us write a draft and prove that we did in fact know our characters. Because they’d worked with us before – and with deadlines looming – they agreed, hoping for the best. If I may say so, we nailed it, everyone was happy – and then we got 7 more pages of notes. Another rewrite. And then more notes. This is the normal process, and we’re hard at work on this draft. It IS getting better, but it’s a bit of a slog – hence the quiet from this part of the world.
Still, we all have that feeling that we’re onto something, that we have something special. It’s that delusion, er...belief that keeps us writing.
We’ll try to check in soon. At some point we’ll have to turn it in and wait for a decision – perfect time to share our anxiety.
Cheers,
Many, many thanks on such an outstanding, enjoyable podcast series.
I'm hoping that you guys find yourselves a bit of time (I know, scads of that laying about, eh?) and manage to crank out another.
Not to overstate it or get all maudlin on you but your podcasts come from such a generous place.
I miss 'em.
Best to you both in both your professional and personal lives.
I'm hoping that you guys find yourselves a bit of time (I know, scads of that laying about, eh?) and manage to crank out another.
Not to overstate it or get all maudlin on you but your podcasts come from such a generous place.
I miss 'em.
Best to you both in both your professional and personal lives.
You're a good couple of blokes and I too miss hearing your tales. It was great listening while you were on the uphill slog of the journey, but to know that you have actually broken through is brill. Those of us who 'knew' you in back the day are proud. Also, hope all well with wives and kiddies.
Http://www.happiness-project.com/happiness_project/2007/05/this_wednesday__3.html
is a page of tips for succeeding as a television writer. It's funny and echoes a number of things Sam and Jim have said.
is a page of tips for succeeding as a television writer. It's funny and echoes a number of things Sam and Jim have said.
posted by: Michael Jacobs on Sun, 9/2 11:48 AM EDT
Great to hear you guys are still alive and haven't out grown your podcast!! I was saving the last podcast for a few days, hoping I could check iTunes and see a new download. Nothing... so I inched the dial and pressed play at work last night and listened to the final podcast to date. Just finishing up film school here in Arizona and getting closer to that plung, which is LA. In the meantime, hoping to hear a new podcast from you guys and I'll keep making films out here in the desert. I definitely plan to look you guys up, once I get to LA.
Cheers!
Jon Ray
Cheers!
Jon Ray
posted by: Jon Ray on Wed, 9/5 11:35 AM EDT
Sam and Jim,
I have been a loyal listener from episode 6 onward. When you asked for us to vote for you on podcastalley.com, I faithfully did so; when you asked for positive feedback, I left positive comments on this site. But now I can't help but feel like you've betrayed us. You asked us to encourage you when you were down, but now that you've made it, you've forgotten your friends! I know you're incredibly busy (who isn't?) but it's been four frickin' months since your last update! Whatever happened to loyalty? Now we're left sucking your exhaust.
I have been a loyal listener from episode 6 onward. When you asked for us to vote for you on podcastalley.com, I faithfully did so; when you asked for positive feedback, I left positive comments on this site. But now I can't help but feel like you've betrayed us. You asked us to encourage you when you were down, but now that you've made it, you've forgotten your friends! I know you're incredibly busy (who isn't?) but it's been four frickin' months since your last update! Whatever happened to loyalty? Now we're left sucking your exhaust.
Sam & Jim -
Your podcast is great. It's March 2009 and I've been devouring every episode chronologically. (I feel like a time-traveler, listening to shows from 3 years ago as though they were hot off the presses.)
I gave up on "the biz" years ago, but the goal of writing and directing continues to nag at me. (Will it happen? Who the hell knows!) But hearing about your struggles with the craft of screenwriting and the frustrations of "the biz" has been reassuring.
The shows about getting on staff and being in the writer's room have been particularly satisfying. And informative. It's intriguing that, even after having achieved that goal, you can't rest for long. The industry forces you to keep moving, like the shark in "Jaws". (If you stop swimming, you die.) Hey, how's the old-timey radio-show coming along?
My suggestion to fans who can't wait for new podcasts is to go back and listen to the old shows again. There's good stuff there and it's worth revisiting.
Okay, I'm going to read "West Wing".
(Any chance "The Simpsons" will return?)
Keep up the great work, guys!
GTO in Pittsburgh
Your podcast is great. It's March 2009 and I've been devouring every episode chronologically. (I feel like a time-traveler, listening to shows from 3 years ago as though they were hot off the presses.)
I gave up on "the biz" years ago, but the goal of writing and directing continues to nag at me. (Will it happen? Who the hell knows!) But hearing about your struggles with the craft of screenwriting and the frustrations of "the biz" has been reassuring.
The shows about getting on staff and being in the writer's room have been particularly satisfying. And informative. It's intriguing that, even after having achieved that goal, you can't rest for long. The industry forces you to keep moving, like the shark in "Jaws". (If you stop swimming, you die.) Hey, how's the old-timey radio-show coming along?
My suggestion to fans who can't wait for new podcasts is to go back and listen to the old shows again. There's good stuff there and it's worth revisiting.
Okay, I'm going to read "West Wing".
(Any chance "The Simpsons" will return?)
Keep up the great work, guys!
GTO in Pittsburgh
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