They always tell writers to kill their darlings but some darlings never die.
In 2011, I came up with a cool action/horror sequence for The Walking Dead but we ended up doing something else. That happens. The episode we did, Killer Within, is pretty damn good. 1/
In 2017, I was breaking a Sin City tv series. That sequence worked perfectly as an opening but the Weinsteins had the rights and that show never happened. 2/
This year, I was breaking another series and needed something. "Well, hello, my favorite sequence, are you still lying around in my workshop? Why don't I just see if you fit here? Yes, yes, you do." 3/
That show sold but before the deal could close, the executive left the streamer for another gig. The deal was killed and with buyers not really buying this year, the show died. 4/
So now I'm breaking something else. Something I truly love. And you know who showed up, who fits perfectly? Yeah, that's right. My old friend. We finally found the right place. 5/
If you want to be a TV writer, it helps to have patience and to play the long game.
Stories have lives of their own. You just have to listen.
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#TheShield was inspired by the LAPD Rampart scandal involving LAPD's CRASH unit. Community Resources Against Street Hoodlums. That should tell you a lot.
Over 70 cops were accused of wrongdoing. Look it up. Pretty interesting stuff. Cops acting as criminals.
#TheShield was originally announced as RAMPART. LAPD shit itself. They threatened to sue FOX if we ever mentioned that our show was based on the LAPD.
For many years, I’ve spoken with thousands of writers about writing for TV. I’ve given advice not only on the craft but also how to navigate the nuttiness that is the entertainment industry.
My friend & I thought this is the perfect time to try doing this for a larger audience over Zoom. So I am announcing THE 100, an online conversation designed to help beginning and mid-level TV writers.
I’ll give tips on how to approach finding representation, common pitfalls in scripts, staffing, how to interview with showrunners, time management, the writing process, you name it.
Call me crazy but I believe that white men, feeling threatened by recent pushes to hire more women & POC, are not voting for films made by those people because that would validate those films & create a shift in the market place.
I'm hearing a lot of guys say they can't get jobs, that it's hard for white guys out there in Hollywood these days. The numbers don't support that but it's the current narrative.
These folks aren't used to competing against people with different backgrounds and perspectives.
Some thoughts on #PayUpHollywood: Yes, showrunners need to advocate for higher pay for assistants but very often the studios will just give you a flat no. Here are a few other ways to make a difference that may be not have been mentioned yet.
I buy my assistant lunch and coffee every day. It saves them hundreds per month.
I read my assistants’s scripts and give detailed feedback. Believe me, I’m tough but supportive.
When staffing TV writers rooms, it’s important to get references on a potential hire from both men & women.
If the writer is a woman, men’s feedback may be biased. Very often, when women contribute (and challenge male writers), men will say “they don’t get the show.”
So women are fired and studios/networks blackball them because “they didn’t work out."