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04-08-2011 , 02:23 AM

#176

VarianceMinefield

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maybe a no money head up joke. you could connect it to blow job or something.

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04-13-2011 , 02:13 PM

#177

Conz

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Do people in the hiring process frown upon specs as it is really only you mimmicking an already established character? Is it better to actually write your own pilot and show that you can develop plot, character, and all that?

Sorry if this has been asked, I really need to read this thread top to bottom. I'd kill to do this for a living.

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04-13-2011 , 02:23 PM

#178

SnotBoogy

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how much political bs goes on in hollywood? i would imagine a lot considering all the terrible projects that make the tv and movie screen. or are many decision makers just that stupid?

I feel like if we on 2p2 collectively decided on 5-10 shows/movies to make out of 100s of suggestions, we'd pick way better **** than the average hollywood studio.

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04-13-2011 , 03:44 PM

#179

Conz

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adding to my previous question...

When writing a spec, should you introduce the extablished character as if you were writing a pilot and first introducing them to the reader, or just write it like people already know them?

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04-13-2011 , 09:58 PM

#180

freddy827

adept

Join Date: Apr 2007 Posts: 1,076

Whats a better show community or parks and recreation?

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04-14-2011 , 02:26 PM

#181

fsoyars

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Quote:

Originally Posted by Conz

No they don't frown upon specs. It's the opposite. They want to know that you can successfully write in the voice of an already existing show. That way they know if you are put on staff you will be able to handle it. Having said that, they also like to see original pilots. Ideally, you should have one of each.

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04-14-2011 , 02:28 PM

#182

fsoyars

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Originally Posted by SnotBoogy

Yes, a lot. People who make important decisions about tv shows, namely network executives, often make big decisions based on what they are guessing their boss would want, not what they want. And often they guess wrong. Also, a lot of decisions are driven not by the quality of a show but by what executives think may or may not get them fired.

Also nepotism obviously runs rampant and a lot of good projects and talented people get screwed bc of it.

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04-14-2011 , 02:30 PM

#183

fsoyars

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Quote:

Originally Posted by Conz

Just write them as if they are already established. You don't have to write "Michael Scott enters, early 40s, desperately wants to be everyone's friend..." Just write, "Michael enters."

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04-14-2011 , 02:32 PM

#184

fsoyars

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Originally Posted by freddy827

Whats a better show community or parks and recreation?

I haven't seen enough Parks and Rec to really say so I'll have to go with Community. I really pushed my agent to get us a staffing meeting on that show when I first read the pilot but alas we couldn't get in.

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04-14-2011 , 02:32 PM

#185

SnotBoogy

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I grew up in So Cal, I know a lot of kids of executives/writers that got into the business based solely on who their parent is. Most of them had little to no talent or interesting value whatsoever.

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04-14-2011 , 02:35 PM

#186

Dr. Spaceman

worth 1000 words

Join Date: Apr 2007 Posts: 7,978

Quote:

Originally Posted by fsoyars

How much turnover is there year-by-year on a typical sitcom? If there are 12 writers are they basically set in stone or is there a lot of movement?

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04-14-2011 , 03:56 PM

#187

Dids

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Originally Posted by fsoyars

I love Community- but P&R is by far the best written thing on TV right now (with the caveat that I haven't been watching Justified).

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04-14-2011 , 03:58 PM

#188

SnotBoogy

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what do you guys think of that show that comes on after modern family? the one that is trying to be the new "friends". I didn't like it at first so I turned it off

(hope that's not your show lol)

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04-14-2011 , 05:26 PM

#189

fsoyars

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Originally Posted by Dr. Spaceman

How much turnover is there year-by-year on a typical sitcom? If there are 12 writers are they basically set in stone or is there a lot of movement?

Typically most to all return. People usually only leave if they get fired or sell a show that is going to series. Out of 12 I'd say you'd expect to see at least 10 return. Although staffs tend to grow as a series goes on as the budget increases.

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04-14-2011 , 05:28 PM

#190

fsoyars

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Originally Posted by Dids

I love Community- but P&R is by far the best written thing on TV right now (with the caveat that I haven't been watching Justified).

I'll check it out. I watched like two eps from the first season and wasn't that into it but I'll give it another shot.

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04-14-2011 , 05:31 PM

#191

fsoyars

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At Beavis and Butthead right now and have been reminded by MTV that when making fun of jersey shore The Situation would not like to be called a cockblocker.

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04-14-2011 , 07:01 PM

#192

Dids

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The first season isn't even the same show basically. 2nd and 3rd are significant orders of magnitude better.

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04-14-2011 , 09:37 PM

#193

NozeCandy

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Quote:

Originally Posted by fsoyars

Yes, a lot. People who make important decisions about tv shows, namely network executives, often make big decisions based on what they are guessing their boss would want, not what they want. And often they guess wrong. Also, a lot of decisions are driven not by the quality of a show but by what executives think may or may not get them fired.

Also nepotism obviously runs rampant and a lot of good projects and talented people get screwed bc of it.

Christ, QFT. Literally all of the worst people I have ever worked with have been products of nepotism. So unbelievably frustrating. I have stories if anyone actually cares but I might get too angry to finish writing them.

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04-14-2011 , 09:47 PM

#194

fsoyars

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Haha bring 'em on. This is a safe space.

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04-14-2011 , 10:12 PM

#195

SnotBoogy

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yeah + 1 to hearing stories of nepotism in hollywood

i've always been suspicious - almost everyone i know who has "made it" in one way or another has a parent in teh industry. I know VERY few people who tried to get in the biz that didn't have a relative already in it who stuck around long or could get work. grew up in glendale/burbank area so I knew a ton of people whos parents did something to do with lalaland

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04-14-2011 , 10:41 PM

#196

fsoyars

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Originally Posted by SnotBoogy

Actually as far as the writers I know, almost none have parents or relatives in the business. Probably because it requires at least some talent. But other positions like being a network or studio exec or being a producer, you see it a lot more.

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04-15-2011 , 12:09 AM

#197

NozeCandy

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Yeah if you're a lazy child of an executive you aren't going to write. You're going to produce or be one of those *******s that gets their DGA card when they're like 20.