Tue, 10 June 2008 Ageism? Sexism? Racism? That's the big listener mail topic this time. There's more mail, of course, and the inevitable career update (hint: we're being flown to Seattle! Woo-hoo!) Comments[17] |
Hey Sam and Jim,
When are you going to turn your story into a TV show? Call it "Table of Contents". I can see season 1 being at the restaurant. Season 2 working at Disney and so on. I think of other faux reality shows that do very well ("The Office" and "Extras").
I've been following your podcast from the beginning and I'll tell you what people not listening are missing out. Your story should go to the masses!
You've already have your pitch... you say it at the beginning of every podcast!
When are you going to turn your story into a TV show? Call it "Table of Contents". I can see season 1 being at the restaurant. Season 2 working at Disney and so on. I think of other faux reality shows that do very well ("The Office" and "Extras").
I've been following your podcast from the beginning and I'll tell you what people not listening are missing out. Your story should go to the masses!
You've already have your pitch... you say it at the beginning of every podcast!
Another great podcast, thanks guys.
Also, thanks for touching on the topic of trying to hard to be original. I value being original, but there are somethings that just work so well that not using it can be as dumb as reinventing the wheel.
As far the above comment about the TV show based on your adventures, if it is a sitcom, I could see it. If it is an action drama like "24", then I cannot. :D
Hope the meeting(s) with MS go smoothly in Seattle. I think any writer developing their career needs to think about video games, webepisodes, podfilms, etc. Your choice to work in things beyond TV is a great example of why writers need to be open. In the end, the media does not matter, it all goes back developing good characters, solid stories, with hopefully excellent dialogue.
Major kudos for talking about the reality of hiring practices in the Hollywood culture. My limited experience in TV backs your opinions of those who are hiring are hiring people that want to hang out with. I have seen unqualified people hired just because they were cool to hang out with. When you consider the long hours working media demands, it is important to be able to get along.
I think the sexism, ageism, racism, thing is everywhere and in any industry. You have the right message about you fight it. For newbies to the industry like me, it looks like the best thing we can do is just make our skills the best they can be. If you look at pro sports, it was great skills that help bring down racism. If someone becomes a great writer, sooner or later they will get discovered, but they have to keep banging away at it. That is my hope at least.
For what is worth, I like TriggerStreet.com. Since many people do not have access to good writer groups, TriggerStreet.com seems like a good option. I have done a few script reviews and found some useful comments on their message boards. Their video podcast is good considering it is done on dime. I will be submitting my first script to their site sometime this year. I will let you know how good or bad that goes.
Looking forward to the next podcast.
Also, thanks for touching on the topic of trying to hard to be original. I value being original, but there are somethings that just work so well that not using it can be as dumb as reinventing the wheel.
As far the above comment about the TV show based on your adventures, if it is a sitcom, I could see it. If it is an action drama like "24", then I cannot. :D
Hope the meeting(s) with MS go smoothly in Seattle. I think any writer developing their career needs to think about video games, webepisodes, podfilms, etc. Your choice to work in things beyond TV is a great example of why writers need to be open. In the end, the media does not matter, it all goes back developing good characters, solid stories, with hopefully excellent dialogue.
Major kudos for talking about the reality of hiring practices in the Hollywood culture. My limited experience in TV backs your opinions of those who are hiring are hiring people that want to hang out with. I have seen unqualified people hired just because they were cool to hang out with. When you consider the long hours working media demands, it is important to be able to get along.
I think the sexism, ageism, racism, thing is everywhere and in any industry. You have the right message about you fight it. For newbies to the industry like me, it looks like the best thing we can do is just make our skills the best they can be. If you look at pro sports, it was great skills that help bring down racism. If someone becomes a great writer, sooner or later they will get discovered, but they have to keep banging away at it. That is my hope at least.
For what is worth, I like TriggerStreet.com. Since many people do not have access to good writer groups, TriggerStreet.com seems like a good option. I have done a few script reviews and found some useful comments on their message boards. Their video podcast is good considering it is done on dime. I will be submitting my first script to their site sometime this year. I will let you know how good or bad that goes.
Looking forward to the next podcast.
Hi guys,
Thanks so much for tackling my ageism question. You confirmed some things I've heard in the past and reminded me about utilizing my age and experience instead of only seeing it as a terminal liability. I guess it comes down to focusing on the things I can control and not dwelling on things that are out of my hands.
All the best in Seattle and thanks again.
Thanks so much for tackling my ageism question. You confirmed some things I've heard in the past and reminded me about utilizing my age and experience instead of only seeing it as a terminal liability. I guess it comes down to focusing on the things I can control and not dwelling on things that are out of my hands.
All the best in Seattle and thanks again.
I've been listening for a while. You guys brightened my commute to CBS (in New York, so relax -- I can't help writers, if I could, I'd help myself) when I went through your entire back library. I'm now at MTV Networks, anyway. I'm a fan and writer.
So, the reason why I am posting isn't to flatter you or anything like that. Far from it. I just noticed you guys mentioned writing a sci-fi videogame and then referenced Planet Xenon, did I hear that right? ...Are you guys writing SpaceQuest?!
So, the reason why I am posting isn't to flatter you or anything like that. Far from it. I just noticed you guys mentioned writing a sci-fi videogame and then referenced Planet Xenon, did I hear that right? ...Are you guys writing SpaceQuest?!
Another informative show guys, keep \'em coming! Here\'s a couple questions about writing partners...
I am currently working with a writing partner and was curious if it would be beneficial to form an official company or partnership. If we get paid for a project, would a \"company\" be better than just two \"individuals\" when it comes to taxes and expenses deducted, etc If we plan to work together for some time, I would think that we could save some money by going that route. Do you two have a official business/partnership and what benefits do you see? If you do have a business with someone as a writing team, does that prevent you from working with other people or submitting projects on your own? When working with a partner, how do you decide who\'s name is first when listed on the official credits. Alphabetical? Can you take turns on each project with whose name is listed first, or once the decision is made, you should keep the order on all projects? I don\'t know if this concern sounds petty, but it is a subject that came up and we were curious. Even though it sounds a little silly, that darn thing called the ego wants a little bit of recognition every know and again. :)
Continued success and I\'ll be looking forward to the next podcast!
I am currently working with a writing partner and was curious if it would be beneficial to form an official company or partnership. If we get paid for a project, would a \"company\" be better than just two \"individuals\" when it comes to taxes and expenses deducted, etc If we plan to work together for some time, I would think that we could save some money by going that route. Do you two have a official business/partnership and what benefits do you see? If you do have a business with someone as a writing team, does that prevent you from working with other people or submitting projects on your own? When working with a partner, how do you decide who\'s name is first when listed on the official credits. Alphabetical? Can you take turns on each project with whose name is listed first, or once the decision is made, you should keep the order on all projects? I don\'t know if this concern sounds petty, but it is a subject that came up and we were curious. Even though it sounds a little silly, that darn thing called the ego wants a little bit of recognition every know and again. :)
Continued success and I\'ll be looking forward to the next podcast!
I am working on a sci-fi script and I have a holographic communications device. When I write scenes where the other person is on screen, do I need to note it next to their name each time in the script, or is just having it described once in the action good enough? I would put V.O., but you can see the character on the holographic screen. Maybe I should put (O.S.) or (On Screen) by their name. Just wanted your opinion on this. Thanks.
Kev,
If you don't mind, I think I can answer your question, or at least offer some advice. This sounds to me like a 'telephone' scene, except that you are using a holographic device as opposed to a telephone.
Typically, in a telephone scene, two people talking on the phone, the first thing you need to establish is that we have two characters who are speaking by phone. There are a couple of ways to establish this.
INT. BOBBY'S ROOM
Bobby sits on his bed, phone in hand.
BOBBY
(into phone)
Hey, Jimmy, are you on for tonight?
INT. JIMMY'S ROOM
Jimmy sits at his computer, a cell phone to his ear.
JIMMY
(into phone)
Sure. I just need to stop by the store for some cigs first.
At this point, you have established that both characters are on the phone. The next step is to explain that the following dialogue will also be via phone. Note: You are not the director (unless you are), so you don't want to try to write actual shots. As a writer, your responsibility is to write the dialogue and the action; let the director worry about how to actually shoot it.
One way I've seen to write the next slug line to continue the conversation is as such:
BOBBY AND JIMMY ON PHONE
The conversation continues...
BOBBY
OK. Just don't take twenty minutes this time.
JIMMY
You make it sound like I shop for cigarettes.
BOBBY
Don't you?
JIMMY
Well, hardly. I'm... selective.
... and so forth.
Hope that helps.
If you don't mind, I think I can answer your question, or at least offer some advice. This sounds to me like a 'telephone' scene, except that you are using a holographic device as opposed to a telephone.
Typically, in a telephone scene, two people talking on the phone, the first thing you need to establish is that we have two characters who are speaking by phone. There are a couple of ways to establish this.
INT. BOBBY'S ROOM
Bobby sits on his bed, phone in hand.
BOBBY
(into phone)
Hey, Jimmy, are you on for tonight?
INT. JIMMY'S ROOM
Jimmy sits at his computer, a cell phone to his ear.
JIMMY
(into phone)
Sure. I just need to stop by the store for some cigs first.
At this point, you have established that both characters are on the phone. The next step is to explain that the following dialogue will also be via phone. Note: You are not the director (unless you are), so you don't want to try to write actual shots. As a writer, your responsibility is to write the dialogue and the action; let the director worry about how to actually shoot it.
One way I've seen to write the next slug line to continue the conversation is as such:
BOBBY AND JIMMY ON PHONE
The conversation continues...
BOBBY
OK. Just don't take twenty minutes this time.
JIMMY
You make it sound like I shop for cigarettes.
BOBBY
Don't you?
JIMMY
Well, hardly. I'm... selective.
... and so forth.
Hope that helps.
Absolutely agree on the writers workshop. I was lucky to fall into a really strong group, and in addition to hearing my stuff out loud (read by actors no less) and getting all that solid feedback, you also become much better at receiving notes in a subjective fashion. Instead of saying, Oh, that's just crazy! you end up thinking, Well, why didn't this person get that joke? (Although sometimes it is because they are crazy.)
posted by: Greg White on Wed, 8/13 12:27 PM EDT
Helllllooooooooooo???
Hope you guys haven't returned to the restaurant business ;-)
Regards,
Mike
Hope you guys haven't returned to the restaurant business ;-)
Regards,
Mike
posted by: Mike on Wed, 8/13 08:28 PM EDT
more about the idea of originality in stories: Even Kakheperresenb's Complaint that the enormous amount of "complaint poems" in ancient Egyptian literature left nothing else to complain about turned out to be uttered by several poets before.
posted by: Hapax Legmonenon on Wed, 8/20 12:04 AM EDT
Has anyone seen any numbers on how well Hulu, Fancast, and ABC's video site are doing. I do not have cable so I use those sites all the time, but I have not heard any real numbers. The web does real well as replacement for cable in my opinion. I wish I could get Formula One Racing live online and those guys at SciFi screwed my viewing up when they decided to delay the online feed of Battle Star Galactica by two weeks from the broadcast date. I had to get BSG through other sites.
Was just curious if anyone had a good source for the numbers for network online viewers numbers.
Not that you guys know me, but I am getting married on October 4th and I could use something good to listen to on my trip back to Vermont for the wedding, so can you get another show done in September? :)
Keep up the great work Sam and Jim.
Was just curious if anyone had a good source for the numbers for network online viewers numbers.
Not that you guys know me, but I am getting married on October 4th and I could use something good to listen to on my trip back to Vermont for the wedding, so can you get another show done in September? :)
Keep up the great work Sam and Jim.
Hi, guys. I'm a long time listener, first time poster. I had a question regarding spec pilots, since they're becoming more and more of a necessity in our portfolios. Do you think that the climate has changed for selling a spec pilot? Is it possible or even likely for a newbie writer to sell a pilot, as one can sell a spec feature? I know in the past it has been established writers who sell a pitch for a show, then write the pilot. But now that beginning writers are required to have spec pilots, I wanted to know if production companies and studios are - or are becoming - more open to purchasing original material. I ask because I have an established producer and established director attached to one of my pilots, and we're going out soon to several studios. Thanks, guys! Look forward to the next podcast, whenever that may be...
Love your podcast, and miss you guys. Hope all is well and you're kicking ass in a room somewhere!
posted by: Michael Heister on Thu, 9/4 04:15 AM EDT
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