I'm sure I've posted about this before...but trust me...it bears repeating.
1. Spell Check!
If your script has spelling and grammatical mistakes don't submit it! The dirty secret is that development monkeys (like me) are looking for reasons to not read your script, don't give it to us.
2. Do your research!
Don't pitch us ideas that don't fit our company. If it's not a fit, we won't consider it (funny that).
3. Don't harass us!
Your average development monkey will have anywhere from 5 to 10 scripts to read at any given time (at least from my personal experience). It will take AT LEAST several weeks to get back to you. If you harass me it'll take longer.
4. Learn to take no for an answer!
It's not personal. If I tell you a project's not for my company, that's just it, no need to get hostile.
5. Have something else to pitch!
If we like you, we'll ask you what else you have. If you don't have anything else (even if it's rough) you'll go to the bottom of the pile.
Have something else.
Showing posts with label The Biz. Show all posts
Showing posts with label The Biz. Show all posts
Friday, July 11, 2008
Monday, November 19, 2007
Thursday, November 8, 2007
Strike!
Sorry for the lack of updates...chalk it up to doing lots of other writerly things...
I'm sure everyone knows that the WGA's out on strike at the moment. I'm not going to rehash it other than to say that they're fighting the good fight. If you're curious or want to know why they're striking (or are just hungry for news) I've added some great links on the sidebar...
This one's for the whole shebang kids...
I'm sure everyone knows that the WGA's out on strike at the moment. I'm not going to rehash it other than to say that they're fighting the good fight. If you're curious or want to know why they're striking (or are just hungry for news) I've added some great links on the sidebar...
This one's for the whole shebang kids...
Tuesday, September 4, 2007
Scheduling Dumbassery
Just how stupid can a network be?
Well, if the rumors are true, pretty fucking stupid.
What could possibly possess Sci-Fi to consider running the final season of BSG in two parts over TWO YEARS! Yup...that's right. They'd air 10 episodes in 2008 and then the other 10 in 2009. Sure you could stretch out the final season into two (sort of), but at what cost?
You'd think that the suits would've learned their lesson after watching shows like Jericho implode after a long lay off. Audiences don't want to stick around, twiddling their thumbs.
Then again, they might just be counting on the rabidness of BSG fans. We may bitch and moan, but at the end of the day we're still going to tune in to watch the finale.
But boy do I ever hope this is just an unfounded rumor.
Well, if the rumors are true, pretty fucking stupid.
What could possibly possess Sci-Fi to consider running the final season of BSG in two parts over TWO YEARS! Yup...that's right. They'd air 10 episodes in 2008 and then the other 10 in 2009. Sure you could stretch out the final season into two (sort of), but at what cost?
You'd think that the suits would've learned their lesson after watching shows like Jericho implode after a long lay off. Audiences don't want to stick around, twiddling their thumbs.
Then again, they might just be counting on the rabidness of BSG fans. We may bitch and moan, but at the end of the day we're still going to tune in to watch the finale.
But boy do I ever hope this is just an unfounded rumor.
Friday, July 20, 2007
Emmy Insanity
So the 59th Primetime Emmy Nominees are up. I’m not a big fan of awards shows. In fact I usually think that they have their collective heads up their collective asses. Have half the voters seen the shows they’re voting for? I seriously doubt it. This Emmy nominee list is just the latest bit of evidence to bolster my argument.
Friday Night Lights was largely ignored. No Best Drama nod. No writing or acting nods. This is a show widely considered to be the BEST SHOW ON NETWORK TELEVISION. Shut out. That’s disgraceful. Here’s hoping that Ben Silverman doesn’t use the lack of Emmy noms to get rid of FNL early (especially if he replaces it with his Venezuelan Breast Show).
The Wire and Deadwood were both ignored as well. Okay, slight exaggeration. Deadwood got some tech noms (hairstyling, makeup and the like), but no writing or acting nods? Really? I’m sure Al Swearengen would have some choice words about that, most likely starting with mother and ending in suckers.
Even harder to deal with is The Wire’s oversight. This is by far the best show on television (FNL is the best show on network TV, The Wire best show once you factor in cable). But it airs on HBO, is shot in Baltimore (which might as well be the North Pole as far as Ho’wood’s concerned), and features a cast of unknowns. Oh, and did I mention that they’re all black? Just one more reason why no one’s (read: Emmy voters) heard of The Wire.
Alright. Fine then. Surely they couldn’t have gotten it all wrong. The Sopranos got some much deserved noms. Not sure 15 were in order, but I’m willing to go along with the majority of them (that and I’m still afraid Tony might come around and whack me if I disagree too loudly). James Gandolfini and Edie Falco both got acting nods. They also picked up three out of five writing nods. That I can’t agree with, especially when shows like Friday Night Lights and The Wire were shut out. Give David Chase a directing nod for “Made in America” (that crash to black was genius). Give Terence Winter a writing nod for “The Second Coming” (Anthony’s suicide attempt and the aftermath was great freakin’ tv). But do they really need 2 more writing nods? I don’t think so.
The nomination I’m really stoked about would have to be Battlestar Galactica’s writing nom for “Occupation” and “Precipice.” Those are virtuoso episodes of a great, great show. It’s about damn time Sci-Fi crawled out of its ghetto and got some recognition. BSG also snagged a directing nom for “Exodus: Part 2.” Frakkin’ awesome.
Lost rounds out the drama writing noms. Personally I think that Lost really struggled this season, though it started to find its legs towards the end. Not sure that it deserves this nom though.
On the comedy side of things 30 Rock picked up two well-deserved writing nods, as did The Office. If I had to lay money on it I’d go with The Office, which is too bad because Extras (which also got a nom) really deserves it. But being a drama guy at heart I wouldn’t use my advice to decide who you’re going to bet on.
I could spend some time talking about the acting noms, but I don’t really want to (Alec Baldwin? As a LEAD?), cause it’s just going to make me crazy (or crazier).
Good thing that these awards mean absolutely nothing in the long run…but if NBC uses this to cancel FNL early, well, I’m going to take a page from Al Swearengen's book and have some choice words about Mr. Silverman…
Friday Night Lights was largely ignored. No Best Drama nod. No writing or acting nods. This is a show widely considered to be the BEST SHOW ON NETWORK TELEVISION. Shut out. That’s disgraceful. Here’s hoping that Ben Silverman doesn’t use the lack of Emmy noms to get rid of FNL early (especially if he replaces it with his Venezuelan Breast Show).
The Wire and Deadwood were both ignored as well. Okay, slight exaggeration. Deadwood got some tech noms (hairstyling, makeup and the like), but no writing or acting nods? Really? I’m sure Al Swearengen would have some choice words about that, most likely starting with mother and ending in suckers.
Even harder to deal with is The Wire’s oversight. This is by far the best show on television (FNL is the best show on network TV, The Wire best show once you factor in cable). But it airs on HBO, is shot in Baltimore (which might as well be the North Pole as far as Ho’wood’s concerned), and features a cast of unknowns. Oh, and did I mention that they’re all black? Just one more reason why no one’s (read: Emmy voters) heard of The Wire.
Alright. Fine then. Surely they couldn’t have gotten it all wrong. The Sopranos got some much deserved noms. Not sure 15 were in order, but I’m willing to go along with the majority of them (that and I’m still afraid Tony might come around and whack me if I disagree too loudly). James Gandolfini and Edie Falco both got acting nods. They also picked up three out of five writing nods. That I can’t agree with, especially when shows like Friday Night Lights and The Wire were shut out. Give David Chase a directing nod for “Made in America” (that crash to black was genius). Give Terence Winter a writing nod for “The Second Coming” (Anthony’s suicide attempt and the aftermath was great freakin’ tv). But do they really need 2 more writing nods? I don’t think so.
The nomination I’m really stoked about would have to be Battlestar Galactica’s writing nom for “Occupation” and “Precipice.” Those are virtuoso episodes of a great, great show. It’s about damn time Sci-Fi crawled out of its ghetto and got some recognition. BSG also snagged a directing nom for “Exodus: Part 2.” Frakkin’ awesome.
Lost rounds out the drama writing noms. Personally I think that Lost really struggled this season, though it started to find its legs towards the end. Not sure that it deserves this nom though.
On the comedy side of things 30 Rock picked up two well-deserved writing nods, as did The Office. If I had to lay money on it I’d go with The Office, which is too bad because Extras (which also got a nom) really deserves it. But being a drama guy at heart I wouldn’t use my advice to decide who you’re going to bet on.
I could spend some time talking about the acting noms, but I don’t really want to (Alec Baldwin? As a LEAD?), cause it’s just going to make me crazy (or crazier).
Good thing that these awards mean absolutely nothing in the long run…but if NBC uses this to cancel FNL early, well, I’m going to take a page from Al Swearengen's book and have some choice words about Mr. Silverman…
Friday, June 15, 2007
Television vs Film: Round One
"So, what do you do?"
"I'm a screenwriter."
"Cool! You write movies then?"
"Actually no, I write for television."
"Oh...so how bout that local sports team?"
I've had a couple of conversations like that the past couple of days. Guess it's understandable that most people think of features when they think of screenwriting. Telewriting just doesn't have the same ring to it.
In reality people are usually pretty chuffed to hear about my ambitions. "It's cool that you want to write for TV, but wouldn't you prefer to make movies?" Somehow that "but" always creeps its way in. Stealthy bugger.
The answer is No. No, I don't much care for features, I'd rather work in television thanks, and let me tell you why (as if yall didn't see that one coming). Here are some reasons off the top of my head:
Format
I think it was Alex Epstein who wrote that (and I'm paraphrasing here) "Movies are a fling, TV's a relationship." The fact that a TV show allows you to keep coming back to your audience week in week out lets you spin much more complex narratives and create deeper characters than in a film. As a storyteller that's incredibly appealing.
Development Cycles
Theoretically at least, TV development cycles are shorter than their film counterparts. This is more applicable to the States, but we'll let that slide for now. It usually takes years to bring a feature from script to screen. In the world of television people are expecting a bevy of new shows EVERY YEAR. This breakneck pace continues once you go into production, after all you need to write a new episode for the crew to shoot the following week. Once a film goes into production, more often than not, the writer's done.
Roles
Features are a directors medium. Television is a writers medium. Directors are the ones who helm a feature, exerting the most influence on what it will become. In television it's the showrunner (always(?) a writer) who exerts that level of control. I think that it's probably every (television)writers dream to be a showrunner.
Creativity
I think TV is where most (not all, but most) of the cutting edge storytelling is being done. Shows like Battlestar Galactica and Deadwood. The Wire and Friday Night Lights. Slings and Arrows and Intelligence. Life on Mars and Doctor Who. These are shows that confounded my expectations and blew my socks off. I'd be hard pressed to name as many recent films that managed to do the same. And I could go on!
Future Trends
I also think that TV, and the people who work in TV, will be the first to adapt and exploit the opportunities created by new media. Just look at things like Sanctuary (from the team behind Stargate), the BSG Resistance Webisodes or the award winning ReGenesis Extended Reality Game. This is the future of traditional media, and the fierce competition in the television world is going to force use to adapt or die.
That's an incomplete list of why I chose TV over film. I could go on and on (and on), but I don't want to excessively bore anyone.
I love both mediums, I just love TV a little bit more.
Does that make film the read headed stepchild?
"I'm a screenwriter."
"Cool! You write movies then?"
"Actually no, I write for television."
"Oh...so how bout that local sports team?"
I've had a couple of conversations like that the past couple of days. Guess it's understandable that most people think of features when they think of screenwriting. Telewriting just doesn't have the same ring to it.
In reality people are usually pretty chuffed to hear about my ambitions. "It's cool that you want to write for TV, but wouldn't you prefer to make movies?" Somehow that "but" always creeps its way in. Stealthy bugger.
The answer is No. No, I don't much care for features, I'd rather work in television thanks, and let me tell you why (as if yall didn't see that one coming). Here are some reasons off the top of my head:
Format
I think it was Alex Epstein who wrote that (and I'm paraphrasing here) "Movies are a fling, TV's a relationship." The fact that a TV show allows you to keep coming back to your audience week in week out lets you spin much more complex narratives and create deeper characters than in a film. As a storyteller that's incredibly appealing.
Development Cycles
Theoretically at least, TV development cycles are shorter than their film counterparts. This is more applicable to the States, but we'll let that slide for now. It usually takes years to bring a feature from script to screen. In the world of television people are expecting a bevy of new shows EVERY YEAR. This breakneck pace continues once you go into production, after all you need to write a new episode for the crew to shoot the following week. Once a film goes into production, more often than not, the writer's done.
Roles
Features are a directors medium. Television is a writers medium. Directors are the ones who helm a feature, exerting the most influence on what it will become. In television it's the showrunner (always(?) a writer) who exerts that level of control. I think that it's probably every (television)writers dream to be a showrunner.
Creativity
I think TV is where most (not all, but most) of the cutting edge storytelling is being done. Shows like Battlestar Galactica and Deadwood. The Wire and Friday Night Lights. Slings and Arrows and Intelligence. Life on Mars and Doctor Who. These are shows that confounded my expectations and blew my socks off. I'd be hard pressed to name as many recent films that managed to do the same. And I could go on!
Future Trends
I also think that TV, and the people who work in TV, will be the first to adapt and exploit the opportunities created by new media. Just look at things like Sanctuary (from the team behind Stargate), the BSG Resistance Webisodes or the award winning ReGenesis Extended Reality Game. This is the future of traditional media, and the fierce competition in the television world is going to force use to adapt or die.
That's an incomplete list of why I chose TV over film. I could go on and on (and on), but I don't want to excessively bore anyone.
I love both mediums, I just love TV a little bit more.
Does that make film the read headed stepchild?
Thursday, June 14, 2007
Hip-pocketed? Hip-checked!
It's official. I've been dumped. Not romantically (thankfully), but professionally.
A while back I took part in a pitch festival here in Vancouver. I wasn't really looking for anything other than experience pitching (I actually quite like pitching, but that's another story entirely). I went in with a couple of pitches for television pilots, met some cool people, had some good (and some ugly) pitches, and basically thought that was that.
And then The Agent called (well, emailed actually). This was off one of my better pitches. She wanted to see the pilot. I send it off. She reads it. She loves it. She asks me to come down to talk about my "future."
Hot damn, right? An agent's interested! I'm on my way!
Yeah. Not so much.
She spins some song and dance about how she likes to rep her clients on a "project by project" basis. No overarching contract, but she'll step in if and when one of my projects gets some traction.
Now I'm a newbie writer, but I'm not a complete rube (at least I like to think I'm not). It's not like a just fell off the turnip truck. I knew this wasn't the way things are usually done, but after giving it some consideration I couldn't really see a downside to it.
So time passes. I check in with Agent every month or so, don't actually get any meetings out of it (in fact the only meetings I attended were ones I managed to set up my own damn self), but I'm still thinking that "Hey! I have a sort-of agent and that's better than nothing."
And then the it starts taking longer and longer to return my calls. Days turn into weeks, weeks into months, and all of a sudden it's six months later. Not a peep.
Talked to an actor friend of mine last night who astutely pointed out that I'd been hip-pocketed. Agent was interested in one of my projects, but not interested in spending the time to break a new writer in. If the project got some steam she'd be there, otherwise I was on my own.
Back to square one I guess.
Sometimes this business frakkin' sucks.
A while back I took part in a pitch festival here in Vancouver. I wasn't really looking for anything other than experience pitching (I actually quite like pitching, but that's another story entirely). I went in with a couple of pitches for television pilots, met some cool people, had some good (and some ugly) pitches, and basically thought that was that.
And then The Agent called (well, emailed actually). This was off one of my better pitches. She wanted to see the pilot. I send it off. She reads it. She loves it. She asks me to come down to talk about my "future."
Hot damn, right? An agent's interested! I'm on my way!
Yeah. Not so much.
She spins some song and dance about how she likes to rep her clients on a "project by project" basis. No overarching contract, but she'll step in if and when one of my projects gets some traction.
Now I'm a newbie writer, but I'm not a complete rube (at least I like to think I'm not). It's not like a just fell off the turnip truck. I knew this wasn't the way things are usually done, but after giving it some consideration I couldn't really see a downside to it.
So time passes. I check in with Agent every month or so, don't actually get any meetings out of it (in fact the only meetings I attended were ones I managed to set up my own damn self), but I'm still thinking that "Hey! I have a sort-of agent and that's better than nothing."
And then the it starts taking longer and longer to return my calls. Days turn into weeks, weeks into months, and all of a sudden it's six months later. Not a peep.
Talked to an actor friend of mine last night who astutely pointed out that I'd been hip-pocketed. Agent was interested in one of my projects, but not interested in spending the time to break a new writer in. If the project got some steam she'd be there, otherwise I was on my own.
Back to square one I guess.
Sometimes this business frakkin' sucks.
Wednesday, June 6, 2007
Fans Unite!
Looks like all it took was lots and lots of nuts!
I think that it's great CBS is bringing Jericho back. It's an opportunity for the writers to wind up the story and close it out the way it was meant to close.
Now if the networks were really listening (to me) they'd bring back a few other shows...
Deadwood - You mother****ing ****suckers!
Veronica Mars - Whoever decided to cancel Veronica is the "obligatory psychotic jackass" of the CW.
Dead Like Me - But only if they hire me to write for them!
Undeclared / Freaks and Geeks - Judd Apatow for life!
Firefly - Joss is a (the?) God!
Any other beloved shows you'd like to see come back? Write them down! Maybe if we all start sending them bags of nuts some other shows will come back!
I think that it's great CBS is bringing Jericho back. It's an opportunity for the writers to wind up the story and close it out the way it was meant to close.
Now if the networks were really listening (to me) they'd bring back a few other shows...
Deadwood - You mother****ing ****suckers!
Veronica Mars - Whoever decided to cancel Veronica is the "obligatory psychotic jackass" of the CW.
Dead Like Me - But only if they hire me to write for them!
Undeclared / Freaks and Geeks - Judd Apatow for life!
Firefly - Joss is a (the?) God!
Any other beloved shows you'd like to see come back? Write them down! Maybe if we all start sending them bags of nuts some other shows will come back!
Saturday, June 2, 2007
What Canadians should be doing...
...we should be loosening up.
Let me explain...
I was fortunate enough to take part in a conversation with some of the fine folks over at Telefilm Canada recently. The conversation centered around one of the projects my company had submitted with the aim of getting development financing. Eventually we just started talking about the types of submissions that Telefilm gets in general, practically all of which are serious, earnest, dark dramas.
Now don't get me wrong. I like serious, earnest, dark dramas as much as the next guy (which probably isn't as much as the next girl, but that's a subject for another post), but I don't think that they're the kind of films we should be making loads of. Why? Because they're just not that popular.
The general public wants to go and see the latest Shrek or Pirates or Spiderman. Given the choice between some piece of light fluffy entertainment and a serious drama, they're going to choose the fluff.
We need to start making fluff.
Now that's not to say I think we need to start making commercial crap. Fluff doesn't mean commercial crap (no matter what serious artistic types are wont to tell you). We need to take a page out of the Brits book and start making movies that are smart, quirky, funny or scary, but most importantly, that are commercially viable.
Let's toss out some examples, shall we? I'm talking about movies like Shaun of the Dead and Hot Fuzz. The Descent and Severance. There are already some Canadians who're doing this. If you haven't seen Andrew Currie's Fido you're missing out.
EDIT: I can't believe I forgot to mention Bon Cop, Bad Cop. Mea Culpa.
My point is that it's making those kind of movies with a Canadian spin that's going to save our industry (or at least it's the way that I think our industry should be moving).
It's time to start catering to what people want to see, not what we think they should see...
Let me explain...
I was fortunate enough to take part in a conversation with some of the fine folks over at Telefilm Canada recently. The conversation centered around one of the projects my company had submitted with the aim of getting development financing. Eventually we just started talking about the types of submissions that Telefilm gets in general, practically all of which are serious, earnest, dark dramas.
Now don't get me wrong. I like serious, earnest, dark dramas as much as the next guy (which probably isn't as much as the next girl, but that's a subject for another post), but I don't think that they're the kind of films we should be making loads of. Why? Because they're just not that popular.
The general public wants to go and see the latest Shrek or Pirates or Spiderman. Given the choice between some piece of light fluffy entertainment and a serious drama, they're going to choose the fluff.
We need to start making fluff.
Now that's not to say I think we need to start making commercial crap. Fluff doesn't mean commercial crap (no matter what serious artistic types are wont to tell you). We need to take a page out of the Brits book and start making movies that are smart, quirky, funny or scary, but most importantly, that are commercially viable.
Let's toss out some examples, shall we? I'm talking about movies like Shaun of the Dead and Hot Fuzz. The Descent and Severance. There are already some Canadians who're doing this. If you haven't seen Andrew Currie's Fido you're missing out.
EDIT: I can't believe I forgot to mention Bon Cop, Bad Cop. Mea Culpa.
My point is that it's making those kind of movies with a Canadian spin that's going to save our industry (or at least it's the way that I think our industry should be moving).
It's time to start catering to what people want to see, not what we think they should see...
Friday, June 1, 2007
Why I do bother
Why do I even bother?
-OR-
The State of the Canadian Industry
I'm usually a pretty upbeat person. I know that I've chosen a hard road. It's a tough game this thing we call screenwriting, but I just can't see myself doing anything else. Of course that doesn't mean that I don't question my sanity at times.
Especially when I see things like this.
That's the CBC's coverage of their fall schedule announcement. Now let us forget for a moment that it's a case of a broadcaster providing coverage of themselves (wonder what the slant on that coverage is going to be?), and look at what they're saying.
Frankly, I was shocked. This year the CBC is charging headlong into producing reality television. Dragon's Den, Test the Nation, No Opportunity Wasted, Triple Sensation. All reality. All a departure from the types of shows Canadians are used to seeing on their public broadcaster.
This wouldn't necessarily be a bad thing, particularly if there were a bunch of scripted dramatic series waiting in the wings.
I'd say guess what, but I'm sure everyone can see where this is going...
Four reality shows in its fall schedule and the CBC's only planning on having two dramas. Intelligence (which I do give them kudos for renewing) and a new drama called Heartland. The CBC's also bringing back Little Mosque and a couple of miniseries St. Urbain's Horseman, Showtime's The Tudors (which barely counts since it was mainly an Irish endeavor).
Guess I was hoping for better from the Ceeb.
Why does this depress me? Well it's another symptom of the declining opportunities for Canadian creatives. I think that the CBC has its head up its collective arse if they think that Canadians want to see more crappy reality television (okay...that might've been unfair, but I'm venting) rather than dramas or comedies.
The joys of the Canadian industry.
Let us review:
Screwed up government regulations. Check!
A plain screwed up government. Check!
Commercial pressure? Check!
We could go on (and on) but others have commented much more eloquently (and with more experience) than yours truly (people like Mr. McGrath and Mr. Henshaw...my heroes!).
So what's a young writer to do?
Honestly I haven't a clue. Could always try my luck south of the border, but that would involve all sorts of nasty things like green cards (not to mention I really do love living in Canada).
Nope. Nothing for it but to keep on plugging away.
That reminds me that I have a pilot treatment to finish off...
Back to the grindstone...
The State of the Canadian Industry
I'm usually a pretty upbeat person. I know that I've chosen a hard road. It's a tough game this thing we call screenwriting, but I just can't see myself doing anything else. Of course that doesn't mean that I don't question my sanity at times.
Especially when I see things like this.
That's the CBC's coverage of their fall schedule announcement. Now let us forget for a moment that it's a case of a broadcaster providing coverage of themselves (wonder what the slant on that coverage is going to be?), and look at what they're saying.
Frankly, I was shocked. This year the CBC is charging headlong into producing reality television. Dragon's Den, Test the Nation, No Opportunity Wasted, Triple Sensation. All reality. All a departure from the types of shows Canadians are used to seeing on their public broadcaster.
This wouldn't necessarily be a bad thing, particularly if there were a bunch of scripted dramatic series waiting in the wings.
I'd say guess what, but I'm sure everyone can see where this is going...
Four reality shows in its fall schedule and the CBC's only planning on having two dramas. Intelligence (which I do give them kudos for renewing) and a new drama called Heartland. The CBC's also bringing back Little Mosque and a couple of miniseries St. Urbain's Horseman, Showtime's The Tudors (which barely counts since it was mainly an Irish endeavor).
Guess I was hoping for better from the Ceeb.
Why does this depress me? Well it's another symptom of the declining opportunities for Canadian creatives. I think that the CBC has its head up its collective arse if they think that Canadians want to see more crappy reality television (okay...that might've been unfair, but I'm venting) rather than dramas or comedies.
The joys of the Canadian industry.
Let us review:
Screwed up government regulations. Check!
A plain screwed up government. Check!
Commercial pressure? Check!
We could go on (and on) but others have commented much more eloquently (and with more experience) than yours truly (people like Mr. McGrath and Mr. Henshaw...my heroes!).
So what's a young writer to do?
Honestly I haven't a clue. Could always try my luck south of the border, but that would involve all sorts of nasty things like green cards (not to mention I really do love living in Canada).
Nope. Nothing for it but to keep on plugging away.
That reminds me that I have a pilot treatment to finish off...
Back to the grindstone...
Friday, May 25, 2007
Thoughts and Musings
...big shout out to Zach Lipovsky who managed to blow away the judges on On the Lot last night. Not only does Zach have some great shorts to his name (Crazy Late anyone?), but he's also from Vancouver! Gotta support the locals!
...maybe I'm missing something being a heterosexual male, but paying $350K to kiss George Clooney? At least it was going to a good cause...
...is anyone else looking forward to The Bionic Woman? I am! And not just because one of my favorite actresses is in it (and apparently stealing the show!).
...I know NBC had a rough season, but I'm not sure that firing Kevin Reilly is the best call. Hopefully they'll still give Friday Night Lights a chance...
Maybe I'll get it together to write a real post later tonight...but I wouldn't count on it (being Friday and all)...
...maybe I'm missing something being a heterosexual male, but paying $350K to kiss George Clooney? At least it was going to a good cause...
...is anyone else looking forward to The Bionic Woman? I am! And not just because one of my favorite actresses is in it (and apparently stealing the show!).
...I know NBC had a rough season, but I'm not sure that firing Kevin Reilly is the best call. Hopefully they'll still give Friday Night Lights a chance...
Maybe I'll get it together to write a real post later tonight...but I wouldn't count on it (being Friday and all)...
Thursday, May 24, 2007
Breaking Into the Box
Clark Perry has a great recap of this seminar that was held down in LA last weekend. A must read for anyone who dreams of breaking into writing for television.
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