Mon, 11 February 2008 At long last, the WGA strike is over. What does it mean for the future of Hollywood? More importantly, what does it mean for us? Comments[28] |
Thanks cranking out another podcast guys. It is great to have a podcast that tells it like it is. I think if anyone has a romantic illusion of life as a Hollywood writer being pure fun and easy money, this series of podcasts will punch a hole in that.
With that said, anyone who can listen to all the BS you guys have gone through and say they still want to be a writer, it is a good sign they do have a passion for the craft.
Good luck with the projects. I hope when you guys are show runners, that you do what Ron Moore has done over at BSG and have podcasts from the writers room, an occassional cast & crew roundtable show, and just more behind the scenes podcasts.
With that said, anyone who can listen to all the BS you guys have gone through and say they still want to be a writer, it is a good sign they do have a passion for the craft.
Good luck with the projects. I hope when you guys are show runners, that you do what Ron Moore has done over at BSG and have podcasts from the writers room, an occassional cast & crew roundtable show, and just more behind the scenes podcasts.
Awesome to hear the news from you guys that the strike is pretty much over!!! I've been waiting to hear before I continue my plans on moving out there later this year. Yeah.. I know.. last thing Hollywood needs is another Writer-Director.. but its time to put dream to pavement and hit the ground running against other world-class artists.
posted by: Jon Ray on Wed, 2/13 03:49 PM EST
More importantly, what does it mean for ME?
Remember guys, it's all about me and my needs.
Hopefully, at some point, you'll be able to lower yourselves for a season or two and come work with me.
Remember guys, it's all about me and my needs.
Hopefully, at some point, you'll be able to lower yourselves for a season or two and come work with me.
posted by: Guyot on Thu, 2/14 09:46 AM EST
Just heard the new episode; congratulations on the strike ending. I'm graduating from film school this may, then trying to land an internship on whatever series I can, with the ultimate goal of creating and running my own shows, so your insights have proved more valuable than half my classes. Keep up the good work, and as I've been catching up on your old podcasts, I have to say: The final cylon? Harry Mudd. It just makes sense. Peace!
Hi guys - I've been following your podcast since episode #5, and this is my first comment. Congrats on succeeding with the strike!
I'm a layperson when it comes to the Hollywood world of writing, but I've been following it as a curious observer. I've been so impressed with what you guys did that I wrote about the lesson the rest of us folks can take away from the success of the WGA strike.
"Now back to your regularly scheduled unemployment..." Good luck guys, we're all rooting for you!
I'm a layperson when it comes to the Hollywood world of writing, but I've been following it as a curious observer. I've been so impressed with what you guys did that I wrote about the lesson the rest of us folks can take away from the success of the WGA strike.
"Now back to your regularly scheduled unemployment..." Good luck guys, we're all rooting for you!
posted by: Al at 7P on Sun, 2/17 08:04 PM EST
You guys mention future TV Shows being done for the internet and them not having the budget to look as good as CSI. I think the internet shows will have to be more character focused and less about fancy effects and tracking shots.
Maybe the sitcom will make a comeback on the internet since there are very few good ones left on network TV.
Maybe the sitcom will make a comeback on the internet since there are very few good ones left on network TV.
Great show (as usual). Your comparison between when “writers strike is different from when coal miners strike because writers are the coal� is a dangerous one and probably the biggest reason writers get so much disrespect in this town. Right or wrong; to a producer, writers are not the “Coal� in our business, imagination is; and a lot of people will tell you that they have a pretty good imagination… they just need someone with the skill to pull it out of the ground and refine it for them. Some people are under the misconception that any writer can do this and therefore anyone who says ‘they’ are the ‘coal’ comes off as arrogant. Arrogant writers are a turn off. Arrogant producers are also a turn off, but their assholes anyway so who cares! I say take the high road and acknowledge that anyone can dig in the ground for sand, but it takes someone with a certain skill set to turn that sand into something usable like a glass, a bottle, or even a work of art.
posted by: Tom A on Tue, 2/19 05:49 PM EST
Dear Sam & Jim,
Thanks for your show. I really enjoy your podcast.
Very funny and helpful in demystifying the business of
writing in Hollywood. Wish there had been a "Sam &
Jim Go To Hollywood" podcast when I was in school.
Of course, that was before Al Gore invented the series
of tubes called the internets, so the only people
creating "podcasts" back then were German performance
artists who used real pods. So I guess what I'm saying is, thanks for not being German performance artists.
Wonder if you guys have seen the current (March '08)
issue of Vanity Fair? It's the Hollywood issue.
(Aren't they all?) In it, Michael Wolff has a kind of
interesting take on the writers' strike and on the
future of writing for TV.
If you get the chance, check out his article/editorial. I'd like to hear what you guys think of his thesis.
Thanks again and congratulations on prevailing in the
strike,
Lawrence
ps: I originally sent this note to your email, so you can just delete that, if you haven't already.
Thanks for your show. I really enjoy your podcast.
Very funny and helpful in demystifying the business of
writing in Hollywood. Wish there had been a "Sam &
Jim Go To Hollywood" podcast when I was in school.
Of course, that was before Al Gore invented the series
of tubes called the internets, so the only people
creating "podcasts" back then were German performance
artists who used real pods. So I guess what I'm saying is, thanks for not being German performance artists.
Wonder if you guys have seen the current (March '08)
issue of Vanity Fair? It's the Hollywood issue.
(Aren't they all?) In it, Michael Wolff has a kind of
interesting take on the writers' strike and on the
future of writing for TV.
If you get the chance, check out his article/editorial. I'd like to hear what you guys think of his thesis.
Thanks again and congratulations on prevailing in the
strike,
Lawrence
ps: I originally sent this note to your email, so you can just delete that, if you haven't already.
Hey guys,
Good to hear from you again. Glad to hear things are moving ahead. I eagerly await the day I set my TIVO to record your show.
Good luck!
-Jim
Good to hear from you again. Glad to hear things are moving ahead. I eagerly await the day I set my TIVO to record your show.
Good luck!
-Jim
posted by: Jim Endecott on Thu, 2/21 12:51 PM EST
Hey guys,
Thanks again for taking the time to put together a podcast. I hope someday I can pay you back with a free beer or two. I don't mean to sound like a broken record, but how about a retrospective broadcast sometime? Looking back over the past few years to see what you would have done differently. What regrets do you have?
Would you do it again? How do your wives feel etc...
Just my two cents! keep up the good work
Thanks again for taking the time to put together a podcast. I hope someday I can pay you back with a free beer or two. I don't mean to sound like a broken record, but how about a retrospective broadcast sometime? Looking back over the past few years to see what you would have done differently. What regrets do you have?
Would you do it again? How do your wives feel etc...
Just my two cents! keep up the good work
It has taken a month, and I have now completed listening to all your podcasts. Every day for the past month and a bit, I have enjoyed listening to your story while I took my dog for a walk. Thank you guys for a great story, and inspiring me on my own film making journey.
Hey Everybody –
Thanks for posting! Jim and I have been crazy-busy these last days (daze) working on our pilot and another Shrek video game, so I’m not sure when we’ll do another show. But my family is out for a bit, so I thought I’d respond to some of the posts:
Tom A: While I agree Jim’s metaphor about “writers being the coal� isn’t perfect, I do agree with his central premise: writers create from nothing. We are the source material for everything that hollywood makes. Everything fiction, anyway. This doesn’t lessen anyone and everyone’s contribution to the process, we certainly couldn’t do it alone, nor should we. BUT, we are, like so many others in the process of creating entertainment, irreplaceable. Producers occasionally seem to think they can just grab the latest writer off the bus, pay him/her nothing and create something special. Nope. True, “new� writers succeed, but peel back the surface a bit and you’ll usually find that they’ve been writing for some time, professionally, and just haven’t been “discovered� yet. You watch; if Jim and I get a show on the air, we will be “an overnight success story.� (I, um... wish.) case in point, The writer of JUNO, Diablo Cody. Where’s she come from? Don’t know, but I did just see an ad in The New Yorker for a book she wrote before all of this...
Matt C.: I agree that character based stories are perfect for the web – but in order to compete with regular TV the shows will have to look pretty good. Not CSI level, but good. And that ain’t cheap. it is, however, doable for a lot less than $3,000,000 (or more) an episode. I’m really curious to see what hits on the web first, when it all finally goes head to head on the same TV in our living rooms.
Lawrence: Yeah, I wish I had our podcast when we were starting out, too. It’s why we do it at all, really. That and to listen to the sweet, sweet sound of our own voices. I don’t read Vanity Fair; I used too, but after a while I came to the conclusion that it’s a magazine that makes me feel like there’s all these cool kids having glamorous lives and I’m not allowed in. Which, unsurprisingly, is exactly what it’s like to be a writer in Hollywood. So I skip it. What does make me feel cool, though, is hanging with other writers. (I’ll check out the article though, thanks).
Why Me: I think a retrospective is a cool idea, and we’ll do one just as soon as we get the pilot made. Seems like a –potentially – MADE IT moment, and so a good time to look back. To be absolutely honest, as always, looking back sometimes depresses the hell outta me. The road has been hard, we gave up alot to do this, and we ain’t there yet. However, I’m starting to see that there ain’t any “there� there, it’s just the road, and we’re all on one road or another. I do get to be here with my best friend, tackling together this crazy life and learning something everyday. Maybe that’s enough. As for the wives: well, we had a great year last year, made some money finally, and so that helped them relax a bit. But they, like all true friends, just want us to be happy. And we have been just that lately.
Derek: Thanks for the kind words. We hear often that we inspire people to keep writing, to make the big move. Truthfully, we don’t know what to make of this. After listening to how hard it’s been for us, the low, low points and the despair, I can’t understand how that inspires anyone! True, we’ve had a bunch of successes, and plan to have many more, but as you all know it ain’t been easy. We want to honestly inform writers about our journey so that they can learn from our experiences. And we’re thrilled that we can inspire anyone to do anything. But man, talk about unintended consequences...
Cheers to all,
Sam
Thanks for posting! Jim and I have been crazy-busy these last days (daze) working on our pilot and another Shrek video game, so I’m not sure when we’ll do another show. But my family is out for a bit, so I thought I’d respond to some of the posts:
Tom A: While I agree Jim’s metaphor about “writers being the coal� isn’t perfect, I do agree with his central premise: writers create from nothing. We are the source material for everything that hollywood makes. Everything fiction, anyway. This doesn’t lessen anyone and everyone’s contribution to the process, we certainly couldn’t do it alone, nor should we. BUT, we are, like so many others in the process of creating entertainment, irreplaceable. Producers occasionally seem to think they can just grab the latest writer off the bus, pay him/her nothing and create something special. Nope. True, “new� writers succeed, but peel back the surface a bit and you’ll usually find that they’ve been writing for some time, professionally, and just haven’t been “discovered� yet. You watch; if Jim and I get a show on the air, we will be “an overnight success story.� (I, um... wish.) case in point, The writer of JUNO, Diablo Cody. Where’s she come from? Don’t know, but I did just see an ad in The New Yorker for a book she wrote before all of this...
Matt C.: I agree that character based stories are perfect for the web – but in order to compete with regular TV the shows will have to look pretty good. Not CSI level, but good. And that ain’t cheap. it is, however, doable for a lot less than $3,000,000 (or more) an episode. I’m really curious to see what hits on the web first, when it all finally goes head to head on the same TV in our living rooms.
Lawrence: Yeah, I wish I had our podcast when we were starting out, too. It’s why we do it at all, really. That and to listen to the sweet, sweet sound of our own voices. I don’t read Vanity Fair; I used too, but after a while I came to the conclusion that it’s a magazine that makes me feel like there’s all these cool kids having glamorous lives and I’m not allowed in. Which, unsurprisingly, is exactly what it’s like to be a writer in Hollywood. So I skip it. What does make me feel cool, though, is hanging with other writers. (I’ll check out the article though, thanks).
Why Me: I think a retrospective is a cool idea, and we’ll do one just as soon as we get the pilot made. Seems like a –potentially – MADE IT moment, and so a good time to look back. To be absolutely honest, as always, looking back sometimes depresses the hell outta me. The road has been hard, we gave up alot to do this, and we ain’t there yet. However, I’m starting to see that there ain’t any “there� there, it’s just the road, and we’re all on one road or another. I do get to be here with my best friend, tackling together this crazy life and learning something everyday. Maybe that’s enough. As for the wives: well, we had a great year last year, made some money finally, and so that helped them relax a bit. But they, like all true friends, just want us to be happy. And we have been just that lately.
Derek: Thanks for the kind words. We hear often that we inspire people to keep writing, to make the big move. Truthfully, we don’t know what to make of this. After listening to how hard it’s been for us, the low, low points and the despair, I can’t understand how that inspires anyone! True, we’ve had a bunch of successes, and plan to have many more, but as you all know it ain’t been easy. We want to honestly inform writers about our journey so that they can learn from our experiences. And we’re thrilled that we can inspire anyone to do anything. But man, talk about unintended consequences...
Cheers to all,
Sam
You have to love a critic who seems to be unable write well himself based on all the foul language he needs to use to express his opinion. Thankfully, I already know Sam and Jim could careless about a posting like Jake Gyrobi put up. The sadder part is I am sure Sam and Jim have had worse things said to them by people in Hollywood. What I would point out, is Sam and Jim have done more in the industry then most people trying to become writers will ever do. Stephen King thought Sam and Jim were great and he has sold millions of books and won many awards. Now that is an opinion to value.
I would add those who have had less success should not have their opinions valued that much, which should in Jake. History has shown writers who have been bashed and told they are worthless have found great success later.
For those who follow Sam and Jim, the posting by Jake Gyrobi is a great reminder of the lovely comments you have to deal with at some point of your career. If you cannot handle the load of negative comments someone makes about you or your work, then you may need to find another career.
I would add those who have had less success should not have their opinions valued that much, which should in Jake. History has shown writers who have been bashed and told they are worthless have found great success later.
For those who follow Sam and Jim, the posting by Jake Gyrobi is a great reminder of the lovely comments you have to deal with at some point of your career. If you cannot handle the load of negative comments someone makes about you or your work, then you may need to find another career.
posted by: This was bound to happen someday on Sun, 2/24 05:46 PM EST
Whoa. That is one pissed off dude, Jake. Our very first freak out post, hating us full on. It’s actually kind of cool, in a wild west kinda way. In case we’ve already taken down the post, here’s the summary; Jake hates us, wants to beat us up, we can’t write, etc. etc. Of course, his post is poorly written, he’s wrong about what we’ve actually written and the whole thing is probably just a meth-fueled 2 am rant. Funny thing is, he IS actually the first person to tell us he hates our writing; out here, if they hate your writing you get a “didn’t spark to it� or just silence.
I’m also pretty sure nobody hates our writing more than us – at least the almost-always-disappointing first drafts, where the reality of what’s on the page betrays the beauty of the idea in our mind’s eye.
Still, I’m going to ask Jim to remove the post (he does all the tech work) because it’s essentially pointless. I can’t think of a good discussion it would spark, or the opposing view it represents. If Jake wants to take the time to actually make his case, cool, we’ll leave it on, of course. Blast away. But if you’re going to criticize our writing, or anyone else’s for that matter, do us a favor and tell us why you hate it, or what you hate about it. Otherwise, change the f%$#$%g channel and move on.
I’m also pretty sure nobody hates our writing more than us – at least the almost-always-disappointing first drafts, where the reality of what’s on the page betrays the beauty of the idea in our mind’s eye.
Still, I’m going to ask Jim to remove the post (he does all the tech work) because it’s essentially pointless. I can’t think of a good discussion it would spark, or the opposing view it represents. If Jake wants to take the time to actually make his case, cool, we’ll leave it on, of course. Blast away. But if you’re going to criticize our writing, or anyone else’s for that matter, do us a favor and tell us why you hate it, or what you hate about it. Otherwise, change the f%$#$%g channel and move on.
I was torn, but I had to agree with Sam. I pulled the post, it was pointlessly obscene. Jake thinks we're assholes, ok, he's hardly alone -- but the post itself was eerily reminiscent of 8th grade. Jake, you've got some heavy emotional maturity issues to tackle. If you're getting that worked up over these podcasts, you need some meds, dude. Seriously, you're gonna sprain something crucial. Cheers, everybody.
Jim
Jim
I have to say, though awfully vulgar, that Jake guy did ring some truth in one particular aspect, and as much as I love the podcast, you guys do have a tendency to whine a bit. Other than that I have no complaints and I think it was maybe a good move that you deleted the post, although it would serve as a great example for a man attempting to put obscenities to work as a vale for poor writing. But who am I to say the writing was poor, I ain't no f*(@&*#$g English professor.
posted by: Brick on Mon, 2/25 08:45 PM EST
Brick -
Yeah, I can go along with that – we do whine, or at least I do. Jim mostly just grinds his teeth. Of course, we are trying to be as authentic as we can, and talking about the travails of the writing life as honestly as we can – but I guess if you’re working a straight job in Cleveland listening to me bitch about the writing life it can sound like whining. Hopefully the laughing and having the good-time vibe we generally have can offset that, but it be what it be.
Yeah, I can go along with that – we do whine, or at least I do. Jim mostly just grinds his teeth. Of course, we are trying to be as authentic as we can, and talking about the travails of the writing life as honestly as we can – but I guess if you’re working a straight job in Cleveland listening to me bitch about the writing life it can sound like whining. Hopefully the laughing and having the good-time vibe we generally have can offset that, but it be what it be.
Wow. Sam and Jim whine? I must be listening to some other podcast.
Trust me, if you think Sam and Jim are whining, then you have spent not one minute working in the television business. Whining this is not, people. Being themselves, being open and honest (almost to a fault) this is, but whining, no. Not even close.
I would ague that anyone who does feel these guys whine is most likely a frustrated writer - meaning someone who has yet to be paid for their work. Those folks have a tendency to poke the eyes of working writers with an overly critical (and unfair) stick.
Also, anyone who listens to these guys and doesn't like them is a complete moron. Now, look at what I said... anyone who LISTENS to them. If you don't like them, don't listen to them. Makes sense, right? Probably too much.
Anyone wanting to break into the business, or just breaking in, or simply interested in an honest pov of the business would do well to listen to these guys. One day this is all going to end, once Sam and Jim realize how much quality writing time they're wasting, and we will all be wishing for those days of whine and postings.
Trust me, if you think Sam and Jim are whining, then you have spent not one minute working in the television business. Whining this is not, people. Being themselves, being open and honest (almost to a fault) this is, but whining, no. Not even close.
I would ague that anyone who does feel these guys whine is most likely a frustrated writer - meaning someone who has yet to be paid for their work. Those folks have a tendency to poke the eyes of working writers with an overly critical (and unfair) stick.
Also, anyone who listens to these guys and doesn't like them is a complete moron. Now, look at what I said... anyone who LISTENS to them. If you don't like them, don't listen to them. Makes sense, right? Probably too much.
Anyone wanting to break into the business, or just breaking in, or simply interested in an honest pov of the business would do well to listen to these guys. One day this is all going to end, once Sam and Jim realize how much quality writing time they're wasting, and we will all be wishing for those days of whine and postings.
posted by: Guyot on Thu, 2/28 01:33 PM EST
I agree with much of what Guyot said. It is a great service to new writers to get a chance to hear what is living diary of two writers trying to break into the business and reach their dreams. Writers can learn something about writing, but more importantly, learn what a pain in the butt the business can be. For every writer that seems to be treated like a god, there is a million trying to survive while doing what they love. Their podcast helps to take the illusion of the business away.
As far as the whining, I have never felt it was to much. Go spend a few hours at busy daycare and you will likely discover true whining by many of the kids there. Sam and Jim express disappointment and fustration, not what I would call whining. Unlike most real whiners, Sam and Jim are trying to do something about their situation. For me, a true whiner is someone who complains about trival things or the same thing all the time and does nothing about it.
As far as the whining, I have never felt it was to much. Go spend a few hours at busy daycare and you will likely discover true whining by many of the kids there. Sam and Jim express disappointment and fustration, not what I would call whining. Unlike most real whiners, Sam and Jim are trying to do something about their situation. For me, a true whiner is someone who complains about trival things or the same thing all the time and does nothing about it.
Hi Sam & Jim. Love your podcast! Long time listener, first time poster... I\'ve got a question I\'ve been wondering about for awhile:
Where do bad screenplays come from? What I mean is -- if getting a script written, sold, and produced in Hollywood is as hard I believe, shouldn\'t the movies we see on screen all have flawless writing?
That\'s not the case, of course; we often get movies like Norbit and Transformers, which have (arguably) poor writing. In both cases, I guess you could argue that the film was made on its strength as a comedy or as an action film, IN SPITE OF its sloppy script.
But with thousands of writers competing in Hollywood, surely one of them could have written a better Eddie Murphy-comedy than Norbit or a better Transformers movie than Transformers, right?
In other words: with so many talented writers in Hollywood, why does sloppy writing ever have to exist?
Hope my question makes sense. Keep up the amazing work with the podcast; it\'s amongst the best on the Internet! =)
Where do bad screenplays come from? What I mean is -- if getting a script written, sold, and produced in Hollywood is as hard I believe, shouldn\'t the movies we see on screen all have flawless writing?
That\'s not the case, of course; we often get movies like Norbit and Transformers, which have (arguably) poor writing. In both cases, I guess you could argue that the film was made on its strength as a comedy or as an action film, IN SPITE OF its sloppy script.
But with thousands of writers competing in Hollywood, surely one of them could have written a better Eddie Murphy-comedy than Norbit or a better Transformers movie than Transformers, right?
In other words: with so many talented writers in Hollywood, why does sloppy writing ever have to exist?
Hope my question makes sense. Keep up the amazing work with the podcast; it\'s amongst the best on the Internet! =)
Hey, guys! I discovered you around episode 15ish, then actually went back and listened to all the ones I'd missed, so I'm one of those oddballs who have listened to every one. I am primarily interested in screenwriting for the movies at the moment, but I love to listen to your insiders' view of the business side of things. I am going to be in LA (from Toronto) the week of March 14-21, and figure, what the heck ... worth a shot. So ... buy you a drink? I am not a pyscho. Am in a committed relationship. Have no designs on anything other than saying thanks for keeping me company during many a long commute and buying you a bevvie — so, if you're not working too hard that week, would love to buy you a pint or two. I assume you can access my e-mail on this thingy, even if it's not shown. I am a professional writer — writing car reviews, mind you, not that there's anything wrong with that — and can give you a couple of URLs where you can check out my writing, or offer reliable references, just to allay any fears that I might be a stalker. I'm a real writer, honest.
And thanks for sharing it all!
And thanks for sharing it all!
I've listened to every single one of the shows Sam and Jim have put together and generally love the hell out of 'em. My criticism was merely hinting at the idea that they started the show out talking more about writing and less about the results of the writing. No, I do not work in the television business and quite frankly have no interest in doing so. Maybe the question is then, are Sam and Jim a little to esoteric at times? I really don't have a problem with the show in any regard other than wishing the boys would talk about the creative process a little more. Of course, its not my show and I don't have any ground to stand on in so far as making a solid argument about what Sam and Jim should do with THEIR show.
Show #40 is up next. Every show is special, but maybe for the 40th show there can be something special. Let's see there is a budget of zero dollars, hmmmm, maybe, hmmm, how about, hmmmm, there has to be something. I think I sound like a studio executive now. You know "Make a great show, just do it for nothing, but do not make it look cheap."
Looking forward to the next podcast when ever it happens.
Looking forward to the next podcast when ever it happens.
CHW asked Sam and Jim:
"Where do bad screenplays come from?"
I think the answer is obvious... my computer.
"Where do bad screenplays come from?"
I think the answer is obvious... my computer.
posted by: Guyot on Sat, 3/22 05:36 PM EDT
Hey guys, love the podcast, keep up the good work. I really enjoy your insight into the world of writing and Hollywood, you give a lot of really good info! I had a question and didn't know if I should post it or e-mail it, but here it goes. I recently wrote a screenplay and it found it's way into the hands of a L.A. based literary manager. He enjoyed it but thought it needed a re-write. I gave him a second draft and he said that it was a good improvement but a tad long (it was 129 pgs) and he thought the tone of the script could be changed a little. The script is an action/ adventure/comedy, the manger thought I should lessen some of the slapstick humor and go a little more towards the action feel of Pirates of the Caribbean. As I write this he is looking through the script to see where the tone can be changed and where some cuts can be made. My questions regarding this are: is there any negatives to signing with a literary manager? He is not asking for any fee upfront only 15% afterwards. He said he could also introduce me to an agent, do I need both an agent and a manger? Do managers usually have a lot of input on the scripts that one works on? There is no contract signed yet and he hasn't officially asked to represent me, yet he has been working on my script for a little while, is this common? What possible ups and downs can you see with my situation that I have described?
I hope this post is not too long and rambling :) Any info would be greatly appreciated. Thanks.
I hope this post is not too long and rambling :) Any info would be greatly appreciated. Thanks.
Guyot, your comment about where bad scripts come from made me laugh out loud. Literally.
Hey Sam & Jim! It's March 2009.
I've listened to all but the latest two shows (I'm savoring them!) and wanted to make a suggestion for a future podcast. I'd love to hear a show (or two) on dialogue.
I've always been more of a story/structure kind of guy. (More Jim than Sam perhaps.)
My latest feature script is an adaptation of a comedic one-act play and is, naturally, very dialogue-heavy.
But I never feel that the words coming out of my characters' mouths are quite witty enough.
With that in mind, what tips can you offer on comedic dialogue? How can a guy who failed his improv classes succeed in giving his characters great wit? Surprise is a major ingredient in comedy. But I'm never quite surprised by what my characters say to each other.
I'd also enjoy a show on more dramatic dialogue as well. You touched on some of this during your chat about the ending of "Notting Hill". How do you keep your characters from saying too much? (My characters tend to wear their hearts on their sleeves and spill their guts in every scene of Act One, leaving nothing for Act Three.)
I know we need to show, not tell. I try to apply this to everything I do. But what are your rules for dialogue?
What is your litmus test to determine whether a line or block survives a scene?
Thanks, guys! Any thoughts you provide would be greatly appreciated.
Keep up the good work.
GTO (in Pittsburgh)
Hey Sam & Jim! It's March 2009.
I've listened to all but the latest two shows (I'm savoring them!) and wanted to make a suggestion for a future podcast. I'd love to hear a show (or two) on dialogue.
I've always been more of a story/structure kind of guy. (More Jim than Sam perhaps.)
My latest feature script is an adaptation of a comedic one-act play and is, naturally, very dialogue-heavy.
But I never feel that the words coming out of my characters' mouths are quite witty enough.
With that in mind, what tips can you offer on comedic dialogue? How can a guy who failed his improv classes succeed in giving his characters great wit? Surprise is a major ingredient in comedy. But I'm never quite surprised by what my characters say to each other.
I'd also enjoy a show on more dramatic dialogue as well. You touched on some of this during your chat about the ending of "Notting Hill". How do you keep your characters from saying too much? (My characters tend to wear their hearts on their sleeves and spill their guts in every scene of Act One, leaving nothing for Act Three.)
I know we need to show, not tell. I try to apply this to everything I do. But what are your rules for dialogue?
What is your litmus test to determine whether a line or block survives a scene?
Thanks, guys! Any thoughts you provide would be greatly appreciated.
Keep up the good work.
GTO (in Pittsburgh)
Sam & Jim - no need to post this comment, just a technical note here. I apologize if my submissions are coming through more than once, but reCAPTCHA (of "Please do not click submit more than once" fame) always forces me to resubmit! [It says, "Please make sure you type the words exactly as they appear in the image, and fill out a name, email, and comment." even when I've done that. I'm not some newbie to the web, reCaptcha!) So it fails on the first submission and also (as a bonus) throws in some extra slashes anywhere I've placed apostrophes within my text. I feel compelled to edit those out when I go to submit the 2nd time. I'm using Firefox currently. Should I be using IE? (I'll try it next time, but I won't like it!) Anyways, just wanted you to know in case other people are having the same issue. If this text comes through twice, you'll know why. But this time I'm not fixing the slashes. Peace out! GTO (in Pittsburgh)
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