Well, it's pretty easy to tell you why you're circling the vortex, Rob. (I'm using "you" here in the collective sense to describe the whole Hollywood/show biz ecology.) You're not producing movies or television shows. You're producing "content."
Here's the deal about narrative: It's strongest when it reflects a singular vision. There's a …
Well, it's pretty easy to tell you why you're circling the vortex, Rob. (I'm using "you" here in the collective sense to describe the whole Hollywood/show biz ecology.) You're not producing movies or television shows. You're producing "content."
Here's the deal about narrative: It's strongest when it reflects a singular vision. There's a reason why "Yellowstone" and "Curb My Enthusiasm" are the two strongest shows in the vast streaming wasteland: They reflect a _singular_ creative point of view.
Yeah, yeah, yeah—writers' rooms are necessary to connect the dotted lines, to fill in the blanks. It's virtually impossible to know if jokes work if you don't have a sounding board, so yeah—you need a writers' room for that. Great dialogue kinda works by the same rule. And I suppose storylines, too, to some extent, since once a storyteller is finished with the characters in his or her own head, it can be difficult to envision what comes next.
But narrative by committee? No, no, no.
My understanding is that according to the 2020 Schedule of Minimums, even the lowliest of low writers can anticipate making $4,000 to $5,000 a week. That might be chump change in the Hollywood ecology, but it's serious bank to some of us.
All of which is a roundabout way off saying even if I had access to the world's tiniest violin, I wouldn't play a sad song for you on it.
Well, it's pretty easy to tell you why you're circling the vortex, Rob. (I'm using "you" here in the collective sense to describe the whole Hollywood/show biz ecology.) You're not producing movies or television shows. You're producing "content."
Here's the deal about narrative: It's strongest when it reflects a singular vision. There's a reason why "Yellowstone" and "Curb My Enthusiasm" are the two strongest shows in the vast streaming wasteland: They reflect a _singular_ creative point of view.
Yeah, yeah, yeah—writers' rooms are necessary to connect the dotted lines, to fill in the blanks. It's virtually impossible to know if jokes work if you don't have a sounding board, so yeah—you need a writers' room for that. Great dialogue kinda works by the same rule. And I suppose storylines, too, to some extent, since once a storyteller is finished with the characters in his or her own head, it can be difficult to envision what comes next.
But narrative by committee? No, no, no.
My understanding is that according to the 2020 Schedule of Minimums, even the lowliest of low writers can anticipate making $4,000 to $5,000 a week. That might be chump change in the Hollywood ecology, but it's serious bank to some of us.
All of which is a roundabout way off saying even if I had access to the world's tiniest violin, I wouldn't play a sad song for you on it.