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Big Chris engages in a thoughtful discussion about the youth of Atlanta with @simpsonrd_Bojack and @atlhulio. The conversation on identifying effective ways to connect with Atlanta's youth and fostering a supportive community that empowers them.
QUER APOIAR O PIRATAS?Meses atrás, Carol convenceu Luã a assistir a Bojack Horseman e compartilhar sua experiência no podcast. Hoje, continuamos a conversa sobre a série dramédia da Netflix sobre um ator decadente que por acaso também é um cavalo antropomórfico, falando dessa vez sobre a terceira e a quarta temporada. O que nos aguarda na grande montanha-russa emocional de Bojack Horseman? Ouça e descubra!Primeiro episódioPARTICIPANTES: Victor Gurgel, Luã Bitencourt, Carol BardiniEDIÇÃO: Victor GurgelASSUNTOS DO EPISÓDIO:0:00:00 Introdução: Um beijo pro algoritmo0:07:46 Bojack quer ser uma pessoa melhor?0:11:32 SPOILERS de Bojack Horseman temporada 31:00:49 SPOILERS de Bojack Horseman temporada 41:46:27 Como estamos com Bojack indo pra 5ª temporada1:55:03 Considerações finaisREDES SOCIAIS:Bluesky do VictorTwitch do VictorTikTok do VictorBluesky do LuãINSCREVA-SE E RECEBA NOVOS EPISÓDIOS ASSIM QUE LANÇAREM:FEEDYOUTUBEAPPLE PODCASTSSPOTIFYENDEREÇO DIRETO DO SITE:Acesse aqui: www.piratasdoespaco.com/QUER TER O SEU COMENTÁRIO LIDO NO PRÓXIMO PIRATAS?Comente aqui, no YouTube, ou envie-nos um email: pirataespacialshow@gmail.comVocê também pode se juntar à discussão no Twitter, por reply ou usando a tag #PiratasPodDeixe uma mensagem para nós!
Grab your seat because we're at the World's Martial Arts Tournament! Get ready to cheer on Team Dragon as they fight space thugs in BOJACK UNBOUND! Reading from: https://dragonball.fandom.com/wiki/Dragon_Ball_Z:_Bojack_Unbound#Summary
The Official Theme Song Of The Dreadlock Demolition Machine BOJACK!
Chelsea-Brighton, Manchester City-Newcastle, Tottenham-Manchester United ma anche chi è il Mr. Peanutbutter della Premier League, brutte parole su Van Nistelrooy e il ritorno di Beto Betuncal. Britannia è il podcast sulla Premier League che vi tiene aggiornati abbastanza da potervi bullare con gli amici.A raccontarvi cosa succede nel mondo di oltremanica sono le voci di Alessandro Giura, Federico Sborchia e Nicola LozuponeI nostri social:TwitterInstagramSottofondo: Chasing the Dragons - Joel Cummins, Kris Myers, Andy Farag, fornita da Gregorio Parisi
Sagace, corrosivo, commovente, assurdo, maturo, amaro. Questi sono solo alcuni degli aggettivi che descrivono Bojack Horseman, cartone animato scritto da Raphael Bob Waksberg e disegnato dalla fumettista Lisa Hanawalt.Bojack e il suo mondo rappresentano uno spaccato grottesco della società dello spettacolo degli States e in particolare della bizzarra fauna che ruota attorno a Hollywood. Il protagonista infatti non è altri che la star di una sit com per famiglie degli anni ‘90 che, dopo un paio di tentativi fallimentari di ritornare sulla cresta dell'onda, prova la carta del libro di memorie scritto a 4 mani con una giovane ghostwriter idealista... “Animazione” è il format del podcast di Mondoserie dedicato alle diverse scuole ed espressioni del genere, dall'Oriente alla scena europea e americana. Parte del progetto: https://www.mondoserie.it/ Iscriviti al podcast sulla tua piattaforma preferita o su: https://www.spreaker.com/show/mondoserie-podcast Collegati a MONDOSERIE sui social: https://www.facebook.com/mondoseriehttps://www.instagram.com/mondoserie.it/ https://twitter.com/mondoserie_it https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ https://www.linkedin.com/in/mondoserie/
#wrestlingroadstories #prowrestling #lifestories This week, we are joined by Dani Mo! They tell us about wild car trips, switching tag partners and answers some questions! Pro Wrestling Tees: https://www.prowrestlingtees.com/facade Follow [name] for information on upcoming appearances: Instagram: https://www.instagram.com/realdanimo Facebook: https://www.facebook.com/realdanimo Twitter: https://twitter.com/realdanimo TikTok: https://www.tiktok.com/@realdanimo Follow us on social media: Twitter: https://twitter.com/RoadWrestling IG: https://www.instagram.com/wrestlingroadstories Facebook: https://www.facebook.com/profile.php?id=61550062107832 LinkTree: https://linktr.ee/WrestlingRoadStories Edited by: Bojack
In this episode of CORNDOWN, I dive into some strange scenarios involving change and poison, with wastedmemory joining in for some piano music and a second dose of poison talk. Spoiled milk and sandwiches get their time in the spotlight, with Snappy Bakes adding a creative twist with a meat drawing. There’s Kevin McAllister references and a sandwich upgrade, while BoJack rounds things out with a vegan upgrade. We also deal with lost room keys, melted cheese, and even a butt dial sandwich incident. A mix of quirky problems and amusing solutions! This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating via patreon or paypal! powered by rogueserver.com
This week, we are joined by Zane Riley! They tell us about the Gathering of the Juggalos and answers some questions! Follow Zane Riley for information on upcoming appearances: Instagram: https://www.instagram.com/iawzaneriley Facebook: https://www.facebook.com/zanexcore Twitter: https://twitter.com/zanexcore Follow us on social media: Twitter: https://twitter.com/RoadWrestling IG: https://www.instagram.com/wrestlingroadstories Facebook: https://www.facebook.com/profile.php?id=61550062107832 LinkTree: https://linktr.ee/WrestlingRoadStories Edited by: Bojack #wrestlingroadstories #prowrestling #lifestories #aewdynamite #aew #aewrampage #aewcollision
In this episode of CORNDOWN, we explore the many facets of cardboard, from soft cardboard to an ongoing obsession with “gettin’ at cardboard.” The saga continues with a mix of plastic cardboard and even a vegetarian’s variations. Things heat up with a series of chaotic lobby car crashes, and wastedmemory jumps back in with extra cardboard and we deal with a mysterious liquid french cut sandwich. Along the way, we tackle everyday dilemmas like lost safety pins and heating up food. BoJack brings a personal touch with a call about sleeping in the car, rounding out a mix of strange and entertaining moments. This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating via patreon or paypal! powered by rogueserver.com
DRAGON BALL Z BOJACK UNBOUND (REVIEW) #dragonballzbojackunbound #dragonballz #anime link- https://youtu.be/mHDfBR3wvnI HEY GUYS BACK AGAIN FOR ANOTHER VIDEO CHECK IT OUT. ANY AND ALL COPY RIGHTS AND ARTWORK BELONG TO THERE RESPECTFUL OWNERS LINKS DOWN BELOW http://gamsterindustries1.wixsite.com... https://twitter.com/Gamsterwolf92 https://www.facebook.com/Gamster92 https://www.instagram.com https://anchor.fm/gamster-world
This episode of CORNDOWN is packed with quirky hotel adventures, starting with the recurring theme of striving for those elusive five stars, which we revisit throughout the episode. We touch on flimsy bedsheets and dive into the odd world of fox teeth. BoJack joins in with a double dose of front desk chaos and explores the mysteries of the PB toilet. There’s a focus on food, from tracking food records to ensuring eggs for everyone. We also get into the drone drama, including stolen hats and broken eggs, with contributions from Dog Lettuce and CrieFaux. Join us for these offbeat calls and more! This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating via patreon or paypal! powered by rogueserver.com
#wrestlingroadstories #prowrestling #lifestories #PowerSlap This week, we are joined by Cooper Housley! They tell us about Power Slap, being stuck in traffic for HOURS and answers some questions! Pro Wrestling Tees: https://www.prowrestlingtees.com/ Follow Cooper Housley for information on upcoming appearances: Instagram: https://www.instagram.com/cooperhousley Facebook: https://www.facebook.com/cooper.housley Twitter: https://twitter.com/HousleyCooper Follow us on social media: Twitter: https://twitter.com/RoadWrestling IG: https://www.instagram.com/wrestlingroadstories Facebook: https://www.facebook.com/profile.php?id=61550062107832 LinkTree: https://linktr.ee/WrestlingRoadStories Edited by: Bojack
In this episode of CORNDOWN, the SPlink covers for wastedmemory as we dive into a series of quirky and hilarious scenarios. From the unconventional issues of car barnacles and illegal dumping to the art of cloning keycards and the strange liability issues surrounding dumpsters, there’s no shortage of bizarre topics. SPLink adds a comedic twist with tales of bathroom surveys and navigating the world of locksmiths, while Snappy Bakes covers the unexpected antics of hotel twerking. Meanwhile, BoJack discusses the finer points of smoking fee calculations. Whether it’s tackling the mystery of too many edibles, the concept of dream holes, or the nocturnal habits of night squirrels, this episode is filled with laughter and unexpected insights. This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating via patreon or paypal! powered by rogueserver.com
This week, we are joined by Chris Harris! They tell us about Traveling with Abyss, Road Rage and answers some questions! Follow Chris Harris for information on upcoming appearances: Instagram: https://www.instagram.com/amwwildcatchrisharris Twitter: https://twitter.com/AMWwildcat Follow us on social media: Twitter: https://twitter.com/RoadWrestling IG: https://www.instagram.com/wrestlingroadstories Facebook: https://www.facebook.com/profile.php?id=61550062107832 LinkTree: https://linktr.ee/WrestlingRoadStories Edited by: Bojack#wrestlingroadstories #prowrestling #lifestories
This week, we are joined by Jarrod Fritz! They tell us about falling asleep on the road to rooming with multiple wrestlers and answers some questions! Pro Wrestling Tees: https://www.prowrestlingtees.com/ Follow Jackson for information on upcoming appearances: Instagram: https://www.instagram.com/jarrod.fritz Twitter: https://twitter.com/jfritzreffit Facebook: https://www.facebook.com/jarrod.fritzlmt Follow us on social media: Twitter: https://twitter.com/RoadWrestling IG: https://www.instagram.com/wrestlingroadstories Facebook: https://www.facebook.com/profile.php?id=61550062107832 Edited by: Bojack#wrestlingroadstories #prowrestling #lifestories
This week, we are joined by Jackson Drake! They tell us about their first wrestling event, peeing in a bottle and answers some questions! Pro Wrestling Tees: https://www.prowrestlingtees.com/ Follow Jackson for information on upcoming appearances: Instagram: https://www.instagram.com/03jacksondrake Twitter: https://twitter.com/JacksonDrake03 Follow us on social media: Twitter: https://twitter.com/RoadWrestling IG: https://www.instagram.com/wrestlingroadstories Facebook: https://www.facebook.com/profile.php?id=61550062107832 Edited by: Bojack#wrestlingroadstories #prowrestling #lifestories
This week, we are joined by Clara Carter! They tell us about Crazy Driving, Taking Danhausen to the hospital and answers some questions! Pro Wrestling Tees: https://www.prowrestlingtees.com/ Follow Clara for information on upcoming appearances: Instagram: https://www.instagram.com/clarawrestling Twitter: https://twitter.com/clarawrestling Follow us on social media: Twitter: https://twitter.com/RoadWrestling IG: https://www.instagram.com/wrestlingroadstories Facebook: https://www.facebook.com/profile.php?id=61550062107832 Edited by: Bojack#wrestlingroadstories #prowrestling #lifestories
This week, we are joined by J.A.C.! He tells us about almost running out of gas in a small town, his tryouts for wrestling in Japan and answers some questions! Follow [name] for information on upcoming appearances: Instagram: https://www.instagram.com/jacisabadman/ Twitter: https://twitter.com/JACisabadman Follow us on social media: Twitter: https://twitter.com/RoadWrestling IG: https://www.instagram.com/wrestlingroadstories Facebook: https://www.facebook.com/profile.php?id=61550062107832 Edited by: Bojack #wrestlingroadstories #prowrestling #lifestories
The valiant Pluto Jackson leads a contingent of Caspia's greatest warriors into the city of Drakkenheim to face down it's most terrifying monsters. Monster Stats: Lob Frog https://drive.google.com/file/d/1AxdxQhEpIhTnc5gpE6-CKXDYVoWcBLeO/view?usp=drive_link Bojack https://drive.google.com/file/d/1_talMQOH9zwbmKtW3qdbnOA-h_T6pTMs/view?usp=sharing Hazewing Moth https://drive.google.com/file/d/1-y0-5xVvHMbOfAt8PoDy8DzE4g0gXDpg/view?usp=sharing ____________________________ Purchase our adventures and player options for D&D 5e here: https://ghostfiregaming.com/dungeons-of-drakkenheim/ MONSTERS OF DRAKKENHEIM is 300+ pages of eldritch horror inspired monsters for 5e by the Dungeon Dudes. Coming to Kickstarter March 26th: https://www.kickstarter.com/projects/dungeondudes/monsters-of-drakkenheim-5e Join our Patreon community: https://www.patreon.com/dungeon_dudes Get our custom t-shirts: http://bit.ly/dungeondudesmerch
CTC covers BoJack Horseman for the first time! I know I know, our episode a couple weeks ago included BoJack, but check this out—We recorded this one first! Bet you feel dumb now. I'll tell you who's not dumb: our guest this week! The podcast welcomes YouTube legend—and creator of Hazbin Hotel and Helluva Boss—Vivienne Medrano aka VivziePop! Episode discussed: BoJack Horseman "Ruthie" s04e09 Hosted by Johnny2Cellos and ToonrificTariq Executive Produced & Edited by Michael Yunez Character and Logo Art by Kerrifique Theme Song by Jakeneutron
This week, we are joined by Katrina Krize! She tells us about being a wrestler and a refree, bring pulled over by the cops TWICE and answers some questions! #wrestlingroadstories #prowrestling #lifestories Pro Wrestling Tees: https://www.prowrestlingtees.com/wrestler-t-shirts/katrinakrize.html Follow [name] for information on upcoming appearances: Instagram: https://www.instagram.com/officialkatrinakrize/ Facebook: https://www.facebook.com/profile.php?id=100073434158906 Twitter: https://twitter.com/KatrinaKrize Follow us on social media: Twitter: https://twitter.com/RoadWrestling IG: https://www.instagram.com/wrestlingroadstories Facebook: https://www.facebook.com/profile.php?id=61550062107832 Edited by: Bojack
When the darkness of struggle seems unyielding, it's the beacon of hope that guides us through. Captured in the heartfelt narrative of Bo, an entrepreneur whose faith and tenacity carved the path from trial to triumph, this episode is a testament to the resilience of the human spirit. His journey from battling alcoholism to establishing Bojack's Mississippi Made Mixes unfurls as a true inspiration, illustrating the potent blend of perseverance and divine intervention. Bo's story isn't just one of transforming family recipes into a thriving business—it's about the incredible power of hope and the steadfast support found in a marriage fortified by shared faith and love.Imagine a partnership where the trials of entrepreneurship and life's uncertainties are met with unwavering support and shared conviction. Bo and his wife Pat's 35-year union exemplifies this, as they've navigated the creation of a unique deer stand that revolutionized the hunting industry, and the subsequent birth of a food mix venture that honors cherished family traditions. This episode offers a heartfelt exploration of the give-and-take that sustains a marriage and the inventive spirit that can bring an idea to life. Listeners are invited to witness the strength of marital unity and the catalytic moments that prompt us to reach for innovation and transformation.As we close our conversation, we're reminded that each shared story is a spark of God's grace, illuminating the path to overcoming life's hurdles. Whether it's the simple yet profound transformation of a family hush puppy recipe into a growing legacy or my own journey of impacting millions, the episode is an invitation to recognize the divine breakthroughs awaiting our grasp. Embrace the passion that fuels your dreams, and allow the hope within to illuminate even the darkest of paths. Join us, and let the power of these real-life stories embolden you to chase after the purpose set ablaze in your soul.If you would like to share your story, click this link: https://thepromoter.org/story/ Thanks for Listening, and subscribe to hear a new episode each week!
In this Dailycast episode of Wrestling Coast to Coast, Chris Maitland and Justin McClelland review House of Glory Wrestling's Reckoning, with a main event of Mike Santa vs. Penta El Zero Miedo for the World title, Mustafa Ali facing off against Alex Shelley, Carlos La Sombra Ramirez fighting Lance Anoa'i, and more. For VIP listeners, they delve into Justin's other passion - Oscar talk - ahead of this weekend's Academy Awards, plus, from the Scenic City Rumble, Adam Priest vs. Derek Neal and Tank vs. Bojack.
Alex flies solo this week as he talks Bears cutting Whitehair and Bojack, White Sox potential new stadium, Cubs as spring training starts, Lukas Reichel's demotion, and a little Bulls talk. All this and more on the latest Swerski Sports. Make sure to follow us on: Twitter: @SwerskiSports Facebook: /SwerskiSports www.SwerskiSports.com youtube.com/SwerskiSports https://feeds.feedblitz.com/-/871720841/0/billswerskissportstalkchicago.mp3 and subscribe on iTunes or Stitcher or the TuneIn app Click the icon below to listen. Related StoriesPodcast: State of Bears post Super Bowl, Bulls have no plan, when will the Cubs do somethingPodcast: White Sox making moves, Bulls middling, and Bears being BearsPodcast: Bears hire new DC, Blackhawks bottom out, Bulls are meh, and something something Cubs
Turns out Ian Miles Cheong is alive and still tweeting
This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating at https://www.patreon.com/dragonmere ! Embark on a humorous and quirky journey with wastedmemory and me in this episode of CORNDOWN, where we tackle calculator conundrums, room descriptions, and the antics of Brian Style. Join us as we encounter friendly squirrels, chicken orders in Kosovo, and the peculiar art of making soup in bed. With contributions from SPLink, BoJack, IceCat, Edmund, and more, this episode promises a blend of humor and unexpected twists. Tune in for a delightful exploration of found keys, bad-smelling food, and the unique tales that make each call a memorable and entertaining experience. powered by rogueserver.com
This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating at https://www.patreon.com/dragonmere ! Embark on a poolside adventure with wastedmemory and me in this episode of CORNDOWN, where we dive into the intricacies of QR codes, pool boys, and atmospheric pressure arguments. Join us as we navigate the challenges of high water pressure, bathroom attendants, and the sound business plan behind it all. With contributions from SPLink, snappy bakes, BoJack, Devon Anustart, and more, this episode promises a mix of humor and unexpected twists. Tune in for a delightful exploration of found keys, illegal room gambling, and the curious tales that make each call a unique and entertaining experience. brought to you by rogueserver.com
This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating at https://www.patreon.com/dragonmere ! Join wastedmemory and me on a journey through a series of quirky calls in this episode of CORNDOWN. We explore the mysteries of women's toilet paper, decode alarm clock instructions, and even encounter the enigma of the mode button. Dive into the humorous tales of room checks, air fresheners, and the art of finding car keys. With contributions from BoJack, Devon Anustart, and more, this episode promises a blend of humor and unexpected twists. Tune in for a delightful exploration of hotel escapades, spite tows, and the peculiarities of borrowing hoses. brought to you by rogueserver.com
Waddap Mutha Fuckas! This episode, I made city calls with my friend Bojack! The intro backing track is Tame Impala - Lost In Yesterday, and the outro track is Adanna Duru - If I Was a Boy. Thanks to Naglerr for the intro the drop! Don't forget to leave a voicemail for the show by calling 1-866-420-LEON! Huge news! We're now streaming live shows at LeonHaberdashery.com. Join the website, hop in the chat, listen to my 24/7 Live Prank Station, and catch my next live show! Continued thanks to all of the Patreon Supporters: B Horseman, Andy Eccentric, OprhanAngry, D-Nella Doodle, BenJammin', Licketysplit972, Greta Garbage, Jason, Cincinnati Drew, Bubba WhoaTep, Dragonmere, Joshua, Gaydoff Hitler, Tylerosaurusrex, Theo, Chrispy808, and Social Media User! Website & Live Streams: http://www.LeonHaberdashery.com Discord: http://www.LeonHaberdashery.com/discord Youtube: https://www.youtube.com/channel/UCCyHy7PseHk_guYwII4lPCg Twitch: https://www.Twitch.tv/LeonHaberdashery Facebook: https://www.facebook.com/LeonHaberdashery Reddit: https://www.reddit.com/r/LeonsHaberdashery Support the show and get access to all my latest unrelased content by joining my Patreon: http://www.Patreon.com/ItsLeonMofo You can also follow my twitter to sign up for notifications when I go live: http://www.Twitter.com/LeonMuthaFucka Also, if you want me to prank someone you know, visit http://www.LeonHaberdashery.com/request and fill out the form. You can also send numbers to request@leonhaberdashery.com Finally, to purchase merch, visit: https://shop.spreadshirt.com/leons-haberdashery
This show was recorded on 29-30 December 2023. A weird show taking place a day before new years eve ends up tying up a few loose ends and getting some bad advice along the way. Features calls by: BoJack, Chrispy808, Gordo, WastedMemory, DTB, Milkman, Dwight the Janitor & Akspa Individual Calls: https://www.patreon.com/file?h=94156131&i=17158634 We wish to […]
This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating at https://www.patreon.com/dragonmere ! Embark on a tech-infused journey with wastedmemory and me in this episode of CORNDOWN, as we explore the intricacies of floor updates, police late passes, and backend changes. Discover the challenges of being stuck in various places, from bags to trash cans, and even desks. Join us in navigating the amusing world of WiFi porn, mustache thieves, and Christmas services. With contributions from SPLink, BoJack, Matthew4, JimmyDeans Guy, Akspa, and more, this episode promises a blend of humor and the imaginative minds behind these unique and tech-savvy conversations. Tune in for a quirky exploration of the unexpected moments in everyday life. brought to you by rogueserver.com
This show was recorded on 22-23 December 2023. This show was rocky at the start, but quickly gained momentum in the 2nd half with some unique and fresh calls from: BoJack, Luxapol, nutella, Turbo, WastedMemory, Milkman, Dwight, Tedwwweb and Akspa. Individual Calls: https://www.patreon.com/file?h=94156131&i=17094697 We wish to give thanks to the following people for helping make […]
BoJack's turned his life around and has finally found happiness and we're sure that won't immediately implode causing him to lose everything and everyone near and dear to him. No way! We debate if 'The View from Halfway Down' deserves its litany of plaudits, discuss how well they 'landed the plane' and wonder what the show might have looked like if they'd gotten two full seasons as originally planned. Plus a whole portion on the Community movie, obviously!
In this Dailycast episode of Wrestling Coast to Coast, Chris Maitland and Justin McClelland review MLW's One-Shot as they conclude MLW month with a real mixed bag of a show main evented by Alex Kane vs. Matt Cardona for the MLW World title, a fantastic match between Tom Lawlor and Satoshi Kojima, and Rocky Romero vs. Mascara Dorado in a good lucha-style match, plus the World Titan Federation beats an unfunny joke into the ground, commentary that infuriates them, and more. For VIP listeners, they continue Alex Kane's big weekend as he goes to ACTION Wrestling to face Adam Priest and Krule for the Action title, plus up-and-comers Bojack and Austin Luke face off in a fun bout.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3276210/advertisement
They released it in two parts, so we're talkin' about it in two parts. Deal with it! BoJack is in rehab, Diane is in Chicago, Mr Peanutbutter is in hot water of his own making and Princess Carolyn is really not doing so well juggling work and her new child. Plus Todd's complicated family dynamic is at least revealed. Is the part one/part two thing ever called for? Would this have been better as two longer seasons or one truncated one? Was it even time to end the show at all? Let's find out!
Bojack has landed the lead role in WhatTimeIsItRightNow.Com's prestige TV drama, Philbert, but it turns out a chaotic production and prescription pain pills aren't good for a drug addict with an extensive history of Terrible Deeds. Elsewhere, Diane and Mr. Peanutbutter respond to their break-up in very different ways, Princess Carolyn is desperately trying to adopt a child and keep her agency afloat, and Todd has created a delightful monstrosity.
This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating at https://www.patreon.com/dragonmere ! Take a ride with wastedmemory and me as we navigate a series of intriguing calls in this episode of CORNDOWN. From rain discounts and gas machines to the curious world of returning stolen merchandise and digital scales, each call unveils a different facet of life's peculiarities. Join us for a journey through all-you-can-eat thirty dollar specials and found keys. With contributions from snappy bakes, BoJack, Lux, and more, this episode promises a blend of humor and the creative minds behind these diverse and unexpected conversations. brought to you by rogueserver.com
BoJack has a daughter?!? Ruh-roh! Unpacking some secret Horseman family history definitely won't unleash new levels of trauma on our cast! Probably... Maybe.... Hmm.... Meanwhile Mr. Peanutbutter is running for Governor of California, Diane is struggling with her thoughts (and prayers), Princess Carolyn has some big family and career decisions to make, and Todd has some bold ideas for better business. As always, Ben tries to recall the plot of every episode from memory, the hosts pick their two favourite episodes for a deep dive, we break down the new characters joining the show, and take a stab at the always tricky tongue twisters!
All aboard the Oscar Train, because against all odds BoJack is in the running for Best Actor! We meet his ruthless publicist, Ana Spanakopita, Todd's ex-girlfriend, Emily, Princess Carolyn's new boyfriend, Ralph, and the enigmatic Cuddlywhiskers. Some minor disagreement when comparing Seasons 2 and 3, but as always we select our two favourite episodes, Ben tries to remember all the plots without any notes and we take a stab at the litany of tongue-twisters.
BoJack's book is a hit, and so is this podcast! Okay one of those things is true. BoJack films his dream movie, Mr. Peanutbutter has a new hit show, Diane takes down a beloved public figure, Princess Carolyn starts her own agency and Todd wins big in copyright court. We break down the new recurring characters and surprisingly big name cameos, Ben tries to remember the plot of every episode, we each pick a favourite episode, and of course try to tackle some tongue twisters.
This interview is from 10-10-23 Chris, Jack and Bojack joins the podcast to talk about Ronin's sophomore album entitled "Valak the Defiler" via Pavement Entertainment. We also talk about the writing process of the new album, working with producer Frank Mitaritonna, artwork of the album and adding Bojack Hernandez on bass
Embark on a fascinating auditory odyssey in this episode of CORNDOWN, where not-wastedmemory and I unravel an eclectic mix of calls. From the comical chaos of fake heart attacks to the curious world of folded napkins, each call unveils a unique narrative. Join us as we explore McDonald's deals, library noises, and the perplexing concept of a whole onion. With contributions from Lux, BoJack, BreadSandwich, and snappy bakes, this episode weaves a tapestry of humor, curiosity, and unexpected twists. Tune in for a captivating glimpse into the imaginative minds behind these intriguing conversations. This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating at https://www.patreon.com/dragonmere ! brought to you by rogueserver.com
Join me and wastedmemory on the latest episode of CORNDOWN as we journey through a series of calls that range from amusing to thought-provoking. From meatball mishaps to ice-related incidents, we tackle everyday scenarios with a humorous twist. Dive into the Platonic Hotel for a dose of laughter, and explore topics like room privacy and the eternal question of where to put your shoes. Special guests, including Lux and BoJack offer their unique takes on subjects like getting too high and dealing with unwanted orders. Tune in for a light-hearted exploration of life's quirky moments and unexpected encounters on CORNDOWN. This show is made possible by donations from listeners like you. If you enjoy what you hear, please consider donating at https://www.patreon.com/dragonmere ! brought to you by rogueserver.com
This week on JOY, we have one of Craig's classiest friends, the beloved American actress Wendie Malick. Wendie, amongst other things, is the voice of Beatrice Horseman, the mother of BoJack on Netflix's animated psychological comedy/drama, BoJack Horseman. Listen to these two catch up with one another and talk life, work and so much more. enJOY!See omnystudio.com/listener for privacy information.
D & B watch Bojack Horseman: S06E06 - The Kidney Stays In The Picture, in which Todd ponders giving a kidney to his mother, Bojack is forced to leave rehab and the Hollywoo assistants go on strike, and Stella: S01E06 - Novel, the one where writer Jane Burrows (Janeane Garofalo) inspires Michael, Michael and David's to write a novel, the tries to steal it for herself.
In this Dailycast episode of Wrestling Coast to Coast, Chris Maitland and Justin McClelland head to Greensboro, North Carolina for AML Wrestling's Confrontation, a solid wrestling card with an old-school feel headlined by Brad Attitude vs. Axton Ray for the AML title, Mike Bailey vs. Billy Brash, Jacob Fatu vs. Bojack, a potential farewell match for the Beer City Bruiser, the toughest tables ever, and much more. For VIP listeners, they appropriately go to VIP Wrestling for two special Matches - the tag team of Fly Def vs. Flip Gordon & Chandler Hopkins and Miranda Alize vs. Low Rider.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3276210/advertisement
Legends from the Pacific: Book 1 is available on Amazon. Get your copy today. https://amzn.to/3CIYo6m (Amazon Affiliate link) What is a Tikbalang? Tikbalang are Philippine spirits who are shapeshifting tricksters that commonly appear as horse-like humans. Discover this trickster who may have been influenced by the Spanish. Featured Song: "Funky Tango", by Kalei Gamiao, courtesy of HI*Sessions Join our email list https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Visit our store: https://legendsfromthepacific.com/store Theme Song: "Mystery" by Tavana, courtesy of HI*Sessions Sound Effects: Sound Effects Factory Music Coordinator: Matt Duffy AKA DJ TripleBypass Link to this episode on our website: https://legendsfromthepacific.com/136-tikbalang Please give us a rating, write a review, subscribe, follow us, and share us with your friends and family. ***** Join our email list and claim your exclusive unaired episode today: "Hawaii's Faceless Ghost - Mujina" (Unaired Episode) https://legendsfromthepacific.ck.page/32ca50bd23 *We respect your privacy. We will not share your email. You can unsubscribe at any time. Listen to unaired Hawaiian stories, and Kamu's paranormal experiences by becoming a Patreon supporter today: https://www.patreon.com/legendsfromthepacific Send your unusual Pacific experience to be shared on a future episode. https://legendsfromthepacific.com/feedback Visit our Fan Art Section: https://legendsfromthepacific.com/fan-artwork Instagram: legendsfromthepacific Twitter: LegendsPacific Follow Legends from the Pacific wherever you listen to audio. → Follow via Apple Podcasts: https://podcasts.apple.com/us/podcast/legends-from-the-pacific/id1501091122 → Follow via Google Podcasts: https://podcasts.google.com/search/legends%20from%20the%20pacific → Follow via Spotify: https://open.spotify.com/show/5qhdkYUl8R7hSw6OZYJLye → Here's our RSS feed: https://legendsfromthepacific.libsyn.com/rss www.LegendsFromThePacific.com
Get another inside scoop of what it's like to work in Hollywood as Michael Jamin sits down and talks with Eric Fogel, a DreamWorks animator.Show NotesEric Fogel Website: https://www.eric-fogel.com/Eric Fogel Wikipedia: https://en.wikipedia.org/wiki/Eric_FogelIMDB: https://www.imdb.com/name/nm0283888/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TranscriptEric Fogel (00:00):You gotta have, you know, there's, there are a couple of key ingredients, right? You, you gotta have the passion, right. For it, for the craft. You have to have the ability mm-hmm. to have, to have the skills. Michael Jamin (00:14):But you didn't have the ability when you started. Right?Eric Fogel (00:18):I had some ability.Michael Jamin (00:19):Some ability. AndEric Fogel (00:20):I kind of, yeah. I mean, a lot of it is you, you have to immerse yourself and you have to just make things. And you have to learn as you make things. You can't, you know, you can watch YouTube videos all day long, but you gotta like, just get in it.Michael Jamin (00:35):You're listening to Screenwriters Need to hear this with Michael Jamin.Michael Jamin (00:43):Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. This is the podcast that it's not just for screenwriters. Cuz I, I have a special guest today. This is my friend and once collaborator Eric Fogel. And he, we were, we were debating like, how do I, how do I introduce him? Cuz he does so much. He's a writer, he's a director, he's an animator. He's now a dreamworks. And Eric Fogel's now gonna tell us is how, how, how all this works. He's gonna explain to me, Eric Fogel, thank you so much for being on the show. Say hi. Hello.Eric Fogel (01:13):Hello. Hello. Hello.Michael Jamin (01:15):You're not an actor though. That's the one thing you, that's the one credit you don't get.Eric Fogel (01:19):I do a little voice acting.Michael Jamin (01:20):Do you do, doEric Fogel (01:21):You know I've done, yeah, I, yeah, I I actually got my SAG card. Yeah.Michael Jamin (01:25):ReallyEric Fogel (01:27):Little, little.Michael Jamin (01:28):So, so for everyone's listening, so Eric and I worked together years ago on a show called Glen Martin dds, which he cr co-created. And on that show, he was the he was one of the, he directed with me, directed the animation. He was in charge of all the designs, all the character designs. And then he had the misfortune of having to fly back and forth from Los Angeles to Toronto, like every week to oversee the animation focal. How did that, how, how did that all come about? How did, how did you sell that show? How did it come about that show?Eric Fogel (02:01):Man so yeah, I think I was, I was in town. I was, you know, I was living in New York at the time, and so I, I was I, I did a trip out here to, to LA to do like, around the meetings. And I was, I was in my I was up in my manager's office and the, the owner of the company, Gotham sh just kind of walked by and she goes, oh, yeah, he should meet Scoop,Michael Jamin (02:31):Right?Eric Fogel (02:31):And I'm like, what the fuck is a scoop? Can I say ? Is that all right?Michael Jamin (02:37):We all, we're all thinking of it.Eric Fogel (02:38):Yeah. Yeah. What's, what's a Scoop scoop?Eric Fogel (02:43):That was my, so that was my introduction. So yeah, we, we set up a meeting, I met with Scoop in LA on that same trip, I think it was my last meeting. And they had a scriptMichael Jamin (02:55):Just a, so Scoop was a, the nickname of one of the executive producers, or Michael Eisner's company.Eric Fogel (02:59):Scoop is a human. Yeah. He was, I guess running development for Michael Eisner's company, which was Tornante. Yeah, right. And they had, they had a script. They had like a version of a pilot that was written by Alex Berger. Right, right. And you know, it was still pretty rough at that time. It needed, needed some love. And, you know, there was no, there were no designs. You know, there was nothing there. But couple weeks later I met, I g I met with Michael Eisner in New York, and we sat down, we started talking about this project, and he had seen some stuff on my reel, and he saw some, some stop motion that I did, you know, I created Celebrity Death Match. So I think he was aware of, of that. But I, I did this other show called Star Val with a studio called Cup of Coffee in Toronto.Michael Jamin (03:51):I didn't realize that was Cuppa, but Wait, hold on. Was that, was, was what Network was surveillance onEric Fogel (03:56):EMichael Jamin (03:57):E. So I wanna, I wanna slow this down. Yeah. I wanna interrupt you for a second. So celebrity Death Match was like a huge hit. I was on MTV for a couple seasons, right? Yeah. And it was a stop motion animation, and you were in charge, and you create, created that with custom and you were in charge of the a It was a big, it was like a big deal for like, I don't know, 10 minutes, but it was .Eric Fogel (04:17):Yeah, no, we, we, we, we ran for Yeah. A couple years and, you know, close to a hundred episodes a lot.Michael Jamin (04:23):So, all right. But then, okay, so back it up and how, cuz you have a very unusual career because you kind of, you've carved a career for yourself that doesn't really, it doesn't even exist really. You know, not many people who do what you've done. Like, how, how did you start when you were a kid? Did you wanna, what did you wanna be?Eric Fogel (04:41):I, I knew I wanted to be in the film business in some way. I think, you know, when I was, you know, I was always drawing like little comic books when I was a kid. And these, these comic books were basically storyboards.Michael Jamin (04:54):Right. Eric is really good, talented artist. So that, I should mention that Illustra Illustrate. I don't know what you would call yourself. You're good though. Go on. You're okay.Eric Fogel (05:03):But by the time I was like, you know, in, in high school, I, I sort of learned that there was like, you could actually go to school to learn how to make films. Yeah. You know, like, there was such a thing. And, and I became aware of, you know, Y u and that, that sort of became my, you know, the thing that was driving me. I even before that, I started taking some film while I was still in high school. I took a couple film classes at, at school of Visual Arts, just taking college level classes there while, you know, still still a kid in high school and starting to like, figure out how to make, make films and, you know, put stuff together. And then I gotMichael Jamin (05:42):Live, it wasn't stop motion, it wasn't animation, it was just film.Eric Fogel (05:45):It was live action. I was still, I was also experimenting, you know, I got, I got a super eight camera, so I was trying, I was trying some stop motion. I was doing like, hand drawn animation. I was just trying everything I want. I was just absorbing everything. Yeah. You know? And yeah. And then got accepted to NYU and inMichael Jamin (06:05):The film program.Eric Fogel (06:06):Film program. Okay. 19. Yeah. Graduated class of 91.Michael Jamin (06:13):91.Eric Fogel (06:13):And, you know, I was pretty prolific there. Like they, I think they only required you to make, to finish like one film. And I ended up making four, finishing four films. Two were live action and two were animated. Right. And one of the animated films was this really violent like a post-apocalyptic thing. It was called The Mutilated. I've heard ofMichael Jamin (06:39):It. Ok.Eric Fogel (06:40):That, yeah, there's actually a,Michael Jamin (06:42):Well, look, you gotta sell. Okay.Eric Fogel (06:44):Yeah. There's a mu later.Michael Jamin (06:46):That's from, and that was from a college?Eric Fogel (06:48):Yeah, this was my college. This was my college film. Mutilate. But the, so this film got got licensed to like a, an animated like a film festivalMichael Jamin (07:02):Called, well, you, wait, you submitted it to a film festival. What doEric Fogel (07:04):They They saw it, they saw it in the Y U Circuit. Okay. Cause premiered there. And then they reached out to me and they said, we wanna a license Mutilators to be, it was a Spike and Mike spike and Mike's Festival of Animation.Michael Jamin (07:19):Right.Eric Fogel (07:20):AndMichael Jamin (07:21):So they paid you forEric Fogel (07:22):It? They, they wrote me a check, and that was the first time, you know, someone was like, paying me to, to make a thing.Michael Jamin (07:30):And then what happened?Eric Fogel (07:31):So I said, all right, that, that worked well. I want to keep doing that. So I just kept making, making like little short films. And I, I licensed a couple more to, to those guys, to the Spike and Mike Festival. And they would do this thing where they would, they would option the film, but they would also give you like com like a little money to, to finish the film. Which was, which was pretty, you know, it's not a, not a great deal. But it was, at that timeMichael Jamin (07:59):It was, these were like shorts, right?Eric Fogel (08:01):Yeah. Yeah. Just shorts. But, you know, you would send them, like, you could send them like a pencil test, and then they, they'd say like, here's a couple grand to finish it. And then, then they would like show it in their, their circuit.Michael Jamin (08:15):So, all right. So then, but you're okay, you're selling some stuff. It's got after college, you're not making a fortune. Yeah. You're, but you also have like a day job.Eric Fogel (08:24):I was I was hired. So I started working in a, in a small animation studio in New York, Uhhuh at that time. And I was learning, you know, just learning stuff. So one of the one of the directors at that studio he, he had a little problem with substance, substance abuse problem. Interesting. I'm not gonna mention any, any names, but he would, he would spend a lot of time just sleeping, sleeping it off. Yeah. And I, and he and I would, I would be animating his shots. And that's how I learned a lot of, a lot of stop motion. It was, it was like a stop motion studio. And I learned a lot. SoMichael Jamin (09:01):You, so you're right. So this is before computer animation, really. You're just kind of you're drawing, you're basically cell by frame By frame.Eric Fogel (09:07):Yeah. Yeah. And just using like a big old Mitchell 35 millimeter camera, just frame one frame at a time.Michael Jamin (09:14):And then, okay, so you did that for a little bit, then what happened?Eric Fogel (09:17):So at, so at the same time, I'm still making these little short films eventually.Michael Jamin (09:23):What was the point of making these short films, though? They're not adding slide actionEric Fogel (09:26):To get a reel together. So, so you to have like a sample sample of your, your stuff. Right. So eventually this real end ends up on the desk at the president of MTV Animation.Michael Jamin (09:40):How, how did it wind up there?Eric Fogel (09:42):I don't know.Michael Jamin (09:44):, but this is a good point. Like, cuz you're just putting your work out there. Yeah. And it's gonna, and it's good. So it's making the rounds, right?Eric Fogel (09:51):Yeah. It's, well, it's, it's, it's making the rounds. I don't know if it's good, but PE people are, there's no, but if itMichael Jamin (09:58):Wasn't good, they wouldn't pass it along. I mean, that's the truth.Eric Fogel (10:01):Yeah. Well, it, it was something, you know, at that time, M T V was, you know, animation was brand new and they, they were looking, you know, they were just looking for weird shit. Yeah. You know, and they saw, they, you know, they probably saw this, this spike in Mike festival and, and you know, like liquid television was becoming a thing. Right, right. And so they were hungry for stuff and, you know, just weird stuff. Right. And I, you know, I had some weird stuff on my reel.Michael Jamin (10:27):Yeah, you did. Well, yeah. And so, okay, so then what happened?Eric Fogel (10:31):So they, so M T v made, made me a deal to option this mutilated.Michael Jamin (10:37):Okay. AndEric Fogel (10:37):The plan was to have the, the Mutilators character appear within the Beavis and Butthead show. Mm-Hmm. . And, and it would be like, it was gonna be like this thing that they were gonna watch on tv and it was gonna be this cool thing that they liked. Right. Kind of fit, fit with their, their thing. Yeah. And then something, something tragic happened there were, there were some kids out west somewhere who burned their family's trailer down. And they said they, they learned how to, like, about fire from Beavis and Butthead.Michael Jamin (11:15):Oh, I, I At least it wasn't mutilated.Eric Fogel (11:18):No, no. But this created this whole wave, like this backlash. And all of a sudden MTV got scared and they said, oh, you know, we got, we can't, we have to be careful. And Mutilators was like violent. Yeah. Even though it was, it was sci-fi it was fantasy violence. It wasn't real. Yeah. But they were, they were just, they got cold feet. So I went to this meeting knowing that they were gonna shit can Mutilators and, and I had already set up like a little studio in my, in my house at, on Long Island, and I was like in production on this thing. So I was, I was nervous. Yeah. So I go to this meeting and, and Mike Judge is actually there. Mike Judge, the creator of Beavis and Butthead, he's, he's in this meeting and they're like, Eric, you know, we we're not, we can't go forward with Mutilators, but we, we like you, do you have anything else?(12:08):And I, I had this storyboard. I actually brought it to that meeting. And this, it was for this other thing that I had come up with about this guy with like a giant head and, and an alien that lived inside of this head. And it was like, about the symbiotic relationship Yeah. Between a guy, a guy, and an alien. And my judge, I just, I'll never forget this. He was kind of like hanging back and he was looking at my drawings and he was just laughing. Yeah. And these other two MTV execs were like, oh, Mike, Mike likes it. We should buy this. And they did and,Michael Jamin (12:44):And Muo was that,Eric Fogel (12:45):That was called the Head. Right. And that was it was part of like, it was called MTV's Oddities.Michael Jamin (12:51):Uhhuh .Eric Fogel (12:51):And that was, I was like 24 or 25. And that was the first show that I ran as a creator.Michael Jamin (12:58):But this is the kind of, this speaks to which is so important. It's like you were making this stuff because you were making it, and you were, it wasn't like, it wasn't even like, you weren't trying to sell that you were just making, you had, you have to have stuff to have.Eric Fogel (13:09):I had an idea.Michael Jamin (13:10):Right. And you worked on it. You didn't wait to get paid on it. You worked on it.Eric Fogel (13:14):Yeah.Michael Jamin (13:15):Right. And so, and you were, you were right. Did you have a small staff on that show?Eric Fogel (13:20):Yeah, we had, you know, we had a full staffMichael Jamin (13:23):On that and now was at Outta New York.Eric Fogel (13:26):We, we did, we ran the, the show out of, yeah. Out of MTV Animation in Midtown Manhattan. Wow. You know, set up shop there. I wrote, and I wrote an and show around that show with a, I had a, a writing partner at that time. And yeah, we wrote all the episodes and it was, it was wonderful because it was like, it's not like now, like, it was like, they were hands off, like creatively. They were like, yeah, great. It's great. Just do it. Do it. Do what you want. Do what you want.Michael Jamin (13:57):Interesting. That's so interesting. Wow. And then, and then at what point was this? Is there, what point did you make a leap to LA? Or, or am I missing something in between?Eric Fogel (14:05):Yeah, so I, you know, I stuck it out. So after the head, I did Celebrity Death Match.Michael Jamin (14:10):Right. That was outta New York.Eric Fogel (14:11):And then, you know, I continued working at small studios in New York. MTV animation closed, like shortly after nine 11, they shuttered. And, you know, business in New York kind of started to dry up after nine 11.Michael Jamin (14:27):There wasn't, there was never even a lot of business in New York. But I didn't even, you know,Eric Fogel (14:30):You No, but there was, yeah, there was, you know, m there was M T V and then there was some small commercial studios there. And I continued working at some of those smaller studios. You know, and we, all our family was there, so Right. We were sort of resisting the, the, the big move to, to la And then finally in 2008 when Glen Martin happened, and we made the move.Michael Jamin (14:54):Right. With your whole family. Yes. And then you flew back to tra that was the tragic part. If you had only stayed in New York, , your flight would've been soEric Fogel (15:02):Much. Yeah. I was like, honey, here's, here's our house kids. There's, there's your rooms. I gotta go. You guys figure it out.Michael Jamin (15:11):Enjoy the sunshine.Eric Fogel (15:13):My, my wife's still, she, you know, she, she's still pissed at me. We, no, we love each other, but No, it was, it was a tough move. We didn't know anybody here in la. Right. You know, it was a big, it was a big, big adjustment. And yeah, it was bit a shock.Michael Jamin (15:29):What does she think of it now? Is she happy you're here or No,Eric Fogel (15:31):I think, yeah, we've, we've made our peace with it. You know, we still miss our family. Our families are still all back east. Yeah. but we, we feel like it was a good thing for our family, you know, for our kids.Michael Jamin (15:44):Oh, you think so? You think they're, they're probably getting ready for college now. Your kids?Eric Fogel (15:48):Oh, they're almost done.Michael Jamin (15:50):They're almost done withEric Fogel (15:50):Cops. Well, one is, yeah. One our oldest is out. He's already graduated. And our, we have twin girls and they're graduating this this year.Michael Jamin (15:57):Oh God. We'll talk about that one. I know. Wonder what that's gonna happen. What happened there? Okay, so then, and then, alright. We did Glen Martin. And the thing about that is, so my partner and I were siber, we write these episodes. We come into your office and say, this is, this is the crazy that the craziest job you ever No, probably not. Cuz we would give you an assignment, like, this is the, what does this character look like in your head? Then you'd sketch a design and then we'd maybe give you notes or not. And then you'd run off. Then you'd fly to Toronto and they started a animated this thing. And you had to oversee every time there was a problem, we'd yell at you . And, and then you'd have to fixEric Fogel (16:33):It. Then I go yell at them and you'dMichael Jamin (16:35):Yell at them. And there was, yeah. There was always problems. It's always you know, because it's a, it's such a long process to, it took, you know, nine months to animate that show.Eric Fogel (16:43):That that show. I mean, there will never be another show like that. Right.Michael Jamin (16:49):Why do you feel that way?Eric Fogel (16:50):It was, I mean, just the concept was super ambitious, right? Yeah. You got, you got a family, you know, traveling from, from town to town every episode. Yeah. So every single episode you have to build a brand new world for this family to play in. Yeah. Right. That's a huge amount to build. And you have to build it all from scratchMichael Jamin (17:16):There. And there was a lot, we also did a lot of CGI on. We, not a lot. Some, you know, not,Eric Fogel (17:21):Not a lot.Michael Jamin (17:22):The mouses, the mouses, and also sometimes the backgrounds. Right. We would doEric Fogel (17:26):We would do some green screen. We'd do green screen. But, but a lot of those, I mean, most of those sets were, were Yeah. Physical, practical, physical models.Michael Jamin (17:36):I have all, I still have my dolls, just so you know. They're all here.Eric Fogel (17:40):Oh, hey, wait, IMichael Jamin (17:41):Got one. You have more. I remember when you had, you had your dolls. I was like, how do I get a hand? How do I get my hand on someone? Focals Dolls Eric Fogel (17:48):There.Michael Jamin (17:49):How Steal your dog. Which one's that? What's, oh, wait, but is that, was that from Glen? What was he, what was that?Eric Fogel (17:54):That hok? Honk Hawks The Clown. The Killer Clown. That'sMichael Jamin (17:57):Oh, we see What episode was that?Eric Fogel (17:59):I don't know. Sunshine. Fun, fun, fun. Bill Hawks.Michael Jamin (18:02):The Killer Clown did. There's so much about that show. I don't even remember.Eric Fogel (18:04):Remember who did The Voice?Michael Jamin (18:07):Who?Eric Fogel (18:08):Ty Burrell.Michael Jamin (18:09):That was Ty. Dude. We can you imagine We directed some amazing, amazing, remember we did, we directed Brian Cranston. Yep. When he was coming off break, he was doing BreakingEric Fogel (18:19):Bad. Still doing it. Yeah. Yeah.Michael Jamin (18:21):And he loved it. He's like, this is great.Eric Fogel (18:24):. He was amazing. We almost, we almost had a spinoffMichael Jamin (18:28):With him. Yes. Hi. That's him over here. Yeah. That'sEric Fogel (18:32):Drake Stone.Michael Jamin (18:34):That was a bummer. That didn't happen.Eric Fogel (18:36):Yep.Michael Jamin (18:36):Yep. Oh, well,Eric Fogel (18:38):But the cat, yeah. I, I mean we should talk about some of the other day players on that show because I meanMichael Jamin (18:45):Yeah, we, I mean it was amazing. The cat, we Every,Eric Fogel (18:48):Every day. Mel Brooks.Michael Jamin (18:50):Mel Brooks. Right.Eric Fogel (18:51):Billy Idol.Michael Jamin (18:53):Billy Idol. I don't remember Billy Idol.Eric Fogel (18:55):. He did a, he did the Christmas episode and he sang a song. He sang aMichael Jamin (18:59):Oh, right. Maybe it wasn't there. That I remember we had friend Drescher. Yeah. Remember were you there thatEric Fogel (19:04):Day? Yep.Michael Jamin (19:05):And we couldn't get her Remember? So, so Erica, we direct together, we'd whispered each other and it's not quite right. How did we get her to do, you know? And then I remember we finally walked up to her cuz she wasn't, the character wasn't quite white. And I was said, listen, can you do the nanny? She's like, oh sure. And then the then she started basically doing the nanny.Eric Fogel (19:23):You want the nanny,Michael Jamin (19:25):You want the nanny. You kind of, youEric Fogel (19:26):Want it, youMichael Jamin (19:27):Don't wanna ask. You wanna, you don't really wanna ask. You wanna get them there. Yeah. You know, I don't wanna insult her, but she was like, delight French. She was so sweet.Eric Fogel (19:35):Alison Jenny, she was great. She an Alexander.Michael Jamin (19:38):Yep.Eric Fogel (19:39):George Decay.Michael Jamin (19:40):Decay.Eric Fogel (19:42):My God. Fergie.Michael Jamin (19:44):Yep. Yep.Eric Fogel (19:47):I meanMichael Jamin (19:47):So much. Mc Hammer, we remember we had Mc HammerEric Fogel (19:50):Pen. GilletteMichael Jamin (19:51):Pen Gillette. I forgot. She's the what? A Oh my God.Eric Fogel (19:54):Was Jean Simmons.Michael Jamin (19:57):. Jean Simmons. Yeah. I remember that. . That was a day. And then, okay, so then once, once Glen Martin went down. Yeah. What happened to you then?Eric Fogel (20:08):? I don't know. What happened. So, you know, it was, that was a sort of a tricky time because I, I, I had to kind of reinvent myself. Did.Michael Jamin (20:20):Right.Eric Fogel (20:20):I was here in town. We did that show. That show was ama you know, it was an amazing experience, but nobody fucking saw it.Michael Jamin (20:29):Right,Eric Fogel (20:29):Right.Michael Jamin (20:30):And no one understood what you did on it either, because you create, you, you, you kind of invented a, you were a necessary incredibly important cog. But who, how do you describe, you know, how do you describe it to people? I, cause I'm even asking you, well, you were, you were one of the executive producers, but I'm almost like, well, what was your ion job? I mean, what, that was your job title, but it'd be, it'd be hard for me to describe what you did. Cause you did so much.Eric Fogel (20:53):Yeah. I mean, I guess on that show I was, I was more of a directing showrunner.Michael Jamin (20:58):Is that what you would call it?Eric Fogel (20:59):If you Yeah. Because, you know, I feel like there are some categories, right, with show like showrunners. So there are writing showrunners, which I consider like you and cber were like the writing showrunners. And I was on that show. More of a, the directing maybeMichael Jamin (21:14):Actually May in King of the Hill. I think they would call it a supervising director. Is that what you wereEric Fogel (21:18):Maybe. I mean, I don'tMichael Jamin (21:21):Supervise all the directors,Eric Fogel (21:22):Basically. It's different. Yeah. I guess there's, they're different credits.Michael Jamin (21:26):Yeah. I re Yeah, it was hard. It was a hard, there was so much for you to oversee. It was crazy.Eric Fogel (21:34):Yeah. And it's, I mean, and, and I love that. Like, that's, for me, that's what I do. It's soup to nuts, just mm-hmm. every, every piece of the production, I just, I I like to have a hand in holiday.Michael Jamin (21:50):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Michael Jamin (22:14):So how did you reinvent yourself? Like what does that mean really?Eric Fogel (22:17):So I was here in town and after Glenn Martin, you know, there were, we had a, there were a couple things, but a couple things fell through. We were gonna do, there was another show mm-hmm. that I, I was developing with to, and it was this was weird. But we, this we, we developed this show alongside BoJack. Right. So it was like Scoop was working on, on BoJack. And then we had this other project and we, we actually sold this other project to a network. We had like, like an a, an agree, like an accepted offer. And it looked like it was going forward until the head of the studio just decided, eh, didn't wanna do animation.Michael Jamin (23:01):Yeah.Eric Fogel (23:02):That happened. So that, that got killed. And so I had to find some, some work. I ended up directing a show at Nickelodeon and it was a CG show. Mm-Hmm. . So I wanted to, it was, it was more of a kids show. Right. And it was, you know, I wanted to have the experience of, of directing cg. Okay. So I did that for a few years and it's, you know, that, and then it, you, you sort of, there you, there's stepping stones andMichael Jamin (23:31):That's just a big learning curve though.Eric Fogel (23:34):There's, there is a learning curve for sure. And it was important to me to, to have,Michael Jamin (23:39):Because you didn't learn, you didn't study that in college. What did you know about it?Eric Fogel (23:41):They didn't have, they didn't have computer animation there. Right. So you just have to, the best way to, to learn is to just be immersed in it. Right. Just on the Jobb training. So I, I did, I got that experience and that, that experience led me to, to Dreamworks.Michael Jamin (24:00):Right. And how, and you've been at Dreamworks for six years. And what do you do, what are you doing at Dreamworks? Basically do, are you, do you have a studio deal with Dreamworks? Is that what it'sMichael Jamin (24:08):Overall deal or something?Eric Fogel (24:09):They, I'm under contract. So right now it's kind of show to show.Michael Jamin (24:15):Alright. So you have a contract and they, they put you on whatever show they have going.Eric Fogel (24:19):Yeah, but they also were nice enough to keep me around. So they sort of put me on an overall deal. Cuz there was like a gap between shows. So that, that was very nice of them. Yeah. Keep me,Michael Jamin (24:31):They don't wanna lose you.Eric Fogel (24:32):I guess. They like me enough to keep me.Michael Jamin (24:34):It's so interesting cause I just had one of my previous guys, I may, I dunno if you know 'em, you probably don't. But John Abel and Glen Glen, they do all the kung They're the writers, the kung fu pander writers. They do a lot of dreamwork stuff.Eric Fogel (24:45):Yeah. Guys.Michael Jamin (24:46):Oh, you do, do you work with them?Eric Fogel (24:48):I haven't, but I'm familiar with them.Michael Jamin (24:50):So what exactly are you doing at Dreamworks then? We, as from jumping from show to show?Eric Fogel (24:55):Yeah. So they hired me initially, this is now almost six years to the day I started doing a show called Archibald's, next Big Thing. Mm-Hmm. , which was created by Mr. Tony Hale.Michael Jamin (25:10):Oh, he created, I know he's in it. I didn't know he created it.Eric Fogel (25:12):Created and voiced and was an, was an exec producer.Michael Jamin (25:18):And, and it's What network is that? Nickelodeon.Eric Fogel (25:21):That was so we started on Netflix. Okay. So we produced here at Dreamworks, we premiered on Netflix season one. And then season two we were on PeacockMichael Jamin (25:34):And Oh, is that, is there, is there a season three in the works or what?Eric Fogel (25:37):No, no. So the thing to know about animation these days is they don't order a a lot of episodes. It's, you know, the, it's, they've, especially on these streaming platforms.Michael Jamin (25:48):Oh, well that's the way it is for a live actually. Yeah. So what are you doing, se like 13 or something?Eric Fogel (25:53):We did two. So for Archibald we did two seasons and it was it was like 50. It ended up being like 50 half hours or fif 50. It's actually a hundred, a hundred episode. There are 11 minute episodes. So we did 111 minute episodes.Michael Jamin (26:08):That's actually, and are you, what are you, are you running the show? Are you running it? AreEric Fogel (26:11):You So I so that on that show, I was, I was exec producing, I was a writer and I was, I was basically doing a little of everything. Same, same thing. Directing, writing, overseeing every aspect of it.Michael Jamin (26:25):But it's not like every writer, there's a writing staff on that show. Right.Eric Fogel (26:29):We, we had, we had a, a staff and we had a couple head writers who, and they, those guys were great. I love those guys. They had never run, run a show before.Michael Jamin (26:39):Uhhuh .Eric Fogel (26:40):So I felt like I could be helpful there, you know, just in the writer's room and, and just, it just sort of organically evolved to where, you know, I didn't expect to be so involved in, in the writing process on that show. It just, it just turned out like, it just was a natural,Michael Jamin (26:57):That's the whole thing. You have a very unusual career path in career because cuz you do so many things.Eric Fogel (27:04):Yeah. I mean, I don't, there's no rules for this. I'm just making thisMichael Jamin (27:07):Up. Yeah. There's no rule. So, I mean, it's quite impressive because like, if I, I don't know what, what would, what, how would you advise? You must have kids come into you, Hey, how do I, how do I get to do what you do? Like what do you tell them?Eric Fogel (27:23):I mean you gotta have, you know, there's, there are a couple of key ingredients, right? You, you gotta have the passion,Michael Jamin (27:31):Right.Eric Fogel (27:32):For it, for the craft. You have to have the ability mm-hmm. have to have the skills. Michael Jamin (27:39):But you didn't have the ability when you started. Right.Eric Fogel (27:42):I had some ability. SomeMichael Jamin (27:44):Ability.Eric Fogel (27:44):And I kinda, yeah. I mean a lot of it is you have to immerse yourself and you have to just make things and you have to learn as you make things. You can't, you know, you can watch YouTube videos all day long, but you gotta like just get in it. And now it's one, you know, we have, the technology has changed so much. It's made it so much easier. Mm-Hmm. to make things. NowMichael Jamin (28:08):With those like those animation program, I mean, do you do anything like that on the side for yourself? Like what? Or, or, I mean, you know, at home for anyone? IEric Fogel (28:17):Don't have time for that. No. I these days. Yeah. I mean, I, I'm, you know, this, this job keeps, keeps me. ButMichael Jamin (28:24):Let's say you had a side project that you just wanted to get off the ground. Yeah. You just pitched the idea.Eric Fogel (28:29):I could, yeah. I mean, I have put things together and I've made, yeah. I've been able to make little animations you know, for projects, original projects that I've pitched. And I'll, I'll put together a whole presentation. I'll do all the visuals. I'll edit it and, and put together Yeah. Like little proof of concepts, right? That yeah. That stuff is, yeah. I love doingMichael Jamin (28:49):That. And that's on your own, but that's on your own time.Eric Fogel (28:51):That is on my own time. YourMichael Jamin (28:53):Own with, with some program you have.Eric Fogel (28:55):Yep.Michael Jamin (28:56):What's, what kind of program is this? What, what is it?Eric Fogel (28:58):I mean, I, you can, you can animate with Photoshop now. Oh. So that's, you know, that's, that's a thing. I, I use Sony movie Maker, which is this archaic system. I, I just, I'm really comfortable with it and I, I can use that to, to build projects and I can even animate on that thing.Michael Jamin (29:16):Are you doing any stop motion anymore?Eric Fogel (29:18):I haven't done stop motion in a long time.Michael Jamin (29:20):Because why the market part?Eric Fogel (29:24):You know, it's, it's just the, the right project hasn't really surfaced. And you know, I've, I've, I've pitched Project stop motion is a hard one to sell. People are afraid of it.Michael Jamin (29:36):Is it the look that's the, that's the criticism I get. They go that, here's the thing. Every, so I've been, I post a lot on social media and people will say, oh, I used to watch Glen Martin. And the, the phrase that comes back is that show is a fever dream. I was like, what's a fever dream? But everyone describes it as a fever dream. And what thatEric Fogel (29:55):Mean? Like, creepy. IMichael Jamin (29:56):Think it means like, like you were, they were in like, it felt like they were in an opium den, den era.Eric Fogel (30:03):. What it felt like for me.Michael Jamin (30:05):What's that?Eric Fogel (30:06):It's what it felt like for me Felt likeMichael Jamin (30:07):To, I mean, but it's like I, I, I don't know. There's something about like, I always like that format. Cause I always like this old bank and resting,Eric Fogel (30:17):Right. Bank ranking and backMichael Jamin (30:18):And best. Yeah. I always thought,Eric Fogel (30:20):Yeah. I mean, some people have got, I love, I've always loved the, the look of stop motion and you know, it's, there's something super charming and not just like, endearing about the, like the handcrafted aspect aspect of it. Right. Right. It's so cool. ButMichael Jamin (30:35):Don't feel that way. I guessEric Fogel (30:36):It's al it's always been the kind of like the redheaded stepchild of animation though, you know? Yeah. Always on. Always on the, on the fringes. And now, you know, it's hard enough to sell a show, any show. Right. Uhhuh . But it's in ama in the, in the animation industry, it feels like they're, they're only looking for, for CG animation these days. And there's just,Michael Jamin (30:56):Is that right? I mean, what, explain the different types of animation, because obviously there's, there's like, yeah. CG, like Shrek or somethingEric Fogel (31:03):Mm-Hmm.Michael Jamin (31:03): and then go on there actually different levels in terms of, you know, expense. What, how does that work?Eric Fogel (31:11):I mean, there, you know, there, so there there's like traditional hand drawn animation. But even that is all done mostly in computer these days. So there, there's no more like, hand painted cells. Right. But the actual movement, a lot of that stuff can still be done, done by hand.Michael Jamin (31:29):Uhhuh,Eric Fogel (31:29):. And then, you know, you got stop motion, you got cg and there, there are worlds in between where, you know, stylistically they, they're, they're doing a lot of thing, you know, design wise, they're kind of blending the, all the techniques.Michael Jamin (31:44):But it must be in terms of like, when they tell you what the budget of the show is, that greatly determines how good it's gonna look in the, how the, you know, the animation.Eric Fogel (31:52):Right. It can, you know, so right now I'm working on Megamind, the, the sequel to the, to the 2010 film Megamind. Right. And that's gonna air later this year. And I can't say a lot about it cuz they haven't announced a lot about it. Right. But the quality the quality of the animation, the technology has improved so much. Mm-Hmm. that even, even on a, a smaller tier budget, you can still, the quality of the animations really it's really improved.Michael Jamin (32:31):Right. So, so when you sell a show or when they bring you on a show, are you asking these questions or it's like, ah, someone else, you know, in terms of like, how much money do we get to spend on?Eric Fogel (32:42):Well they, yeah. They tell me and then I have to figure out how to make the show.Michael Jamin (32:47):Right. They tell you. Right. And so where will you cut corners or something.Eric Fogel (32:52):Yeah. So, so that's where it gets challenging. And, and you have to become very, you know, creative and, and and problem solving to, to be able to deliver. Right. The show the show you want and the show that they want with within these, you know, what, what can sometimes be a very small sandbox.Michael Jamin (33:10):Yeah.Eric Fogel (33:10):You know,Michael Jamin (33:11):And then so what, so what are you, you know, what are your ambitions or future ambitions or, you know, what, what excites you coming up or whatEric Fogel (33:20):You know, I would, I'd love to expand the Sandbox and be able to make a, make a leap into directing a feature would be really exciting. Oh really? Yeah.Michael Jamin (33:31):At at Dreamworks or, or any place really.Eric Fogel (33:34):Yeah. I mean I love it here. So I I would for sure love to direct a feature here. Right. But that, that would, you know, that would be a, a dream to, to be able to do that someday and, and to be able to, you know, spend three years, you know, focusing on, on like 90 minutes of content as opposed to, you know, hundreds of minutes of, of content to be able to like microfocus on that.Michael Jamin (34:00):It's so interesting cuz for me it's kind of other way around. Like, I, I, you know, I have to, I don't know. Cuz you get to every, every week you get, all right, here's something new. I have to live with something. But you're saying you, because you really wanna make the qual, you really want to spend time to make sure every frame is right.Eric Fogel (34:17):I would love, yeah, that would be, that would be a dream. Because in TV animation, you know, it's, it's like there's always this, this schedule. You're a slave to the schedule.Michael Jamin (34:29):Right.Eric Fogel (34:29):And you, you know. And soMichael Jamin (34:31):Are you, are you in the Glendale campus of Dreamwork? Is that where you are? Yeah. Are you there right now? Yeah, this is, this is really your,Eric Fogel (34:38):This is my office.Michael Jamin (34:39):This is your real office over at Dreamworks. People fa Okay. So you're okay. I don't even know if they with Covid if you're working from home or not.Eric Fogel (34:47):I still, yeah, I'm here a couple days a week.Michael Jamin (34:50):Uhhuh Eric Fogel (34:50):These days.Michael Jamin (34:52):And, and cuz this is your show. So you, well, are you working with writers? You know, how are you, how, how involved are you right now with Theri? Is there a writer's room or whatEric Fogel (35:00):Where, so the writing is, is wrapped on this show, but we were really fortunate because we got the two guys Brent Simons and Alan Schoolcraft, who wrote the original Megamind mm-hmm. were brought, were brought in as, as eps to, to basically help Showrun and, and run the writer's room. So having those guys was, was a gift, you know, cuz they, they kind of, they invented Megamind. So,Michael Jamin (35:30):And this is all on the Dreamworks campus? The writer's?Eric Fogel (35:32):Yeah. We did the writing here. A lot of the, a lot of the, the create a lot of art on this show is done not in Toronto. It's a lot of it's done in Vancouver.Michael Jamin (35:42):Oh, are you, are you ma are you making the trip up there? DoEric Fogel (35:46):You have to? I've been up there. I've been up there a couple of times. But we are, luckily, yeah, now that we've got, you know, zoom, it's, you know, I can do a lot of this right here. A lot of the work I can do right here.Michael Jamin (35:58):See, that's so wait, so, so they are, these subcontract, subcontracting out a lot of the animation at Dreamworks. I I kind of, it was under the impression they did it all themselves.Eric Fogel (36:07):They have always had partner studios, even like on the early features they, they were partnering with, with studios. So there's always been this sort of hybrid model on this particular show. Almost all of the, the, the art, the art side of it is, is outsourced on, on this show. Michael Jamin (36:29):Interesting. And then, and so they're actually, okay, so the animation houses are there. I mean, basically if you're an, so if you're an animator, it's interesting, there's different levels of animation, animators. This is all, and I've worked, I've worked in animation for many years. I still don't understand how it works. But but like, I remember like when we worked I worked at it wasn't Bento Box, it was whoever was doing King the Hill, Fort Bento. But Oh,Eric Fogel (36:56):I know who you're talking about.Michael Jamin (36:57):Yeah. I was, I'm forgetting, I'm blanking now. But they, the animators would've to come take tests. You would apply for a job of animator. Yeah. They'd give you a test, draw this frame or whatever, you know, is that how it still works there? Maybe stickEric Fogel (37:11):Computer. Yeah, I mean there's always, you know, it's like anything else, right? You have to audition, right. Or things. And yeah, there are, there are definitely, there's a big kinda leap in terms of skill levelsMichael Jamin (37:26):OfEric Fogel (37:26):Artists. Right. Because so much of art is like subjective.Michael Jamin (37:31):Yeah. It's so, it's so interesting. That's this career. But, and what about, I don't know, live action? Any interest getting back into doing more or? No,Eric Fogel (37:40):I would love to do some, some live action at some point. I, I've got like a horror movie that I would love to try to do one day. And you know, I, I'm, I'm such a huge like, horror sci-fi nut.Michael Jamin (37:55):Right. Are you, and are you pitching other shows as well? Or, or, you know, is how does it work in Dreamworks? So like, we have an idea, we have to show you're hired Fogal. I mean, is that what it is? Basically?Eric Fogel (38:06):They have, yeah. I mean they have a, an in-house development process. And when you're, when you're here, they, you know, there's like a, you have, there's a first look deal. So you, you, if you have an idea, you're sort of obligated to first.Michael Jamin (38:21):Right.Eric Fogel (38:23):And you know, the, so the industry's a little different right now cuz there's, they're not, you know, there aren't, there aren't a lot of shows being sold or bought right now , because it'sMichael Jamin (38:35):No kidding. Is that and is that the way, I didn't know if that's the way it is for animation as well.Eric Fogel (38:40):It is. So, you know, I'm very, very happy to be working on Megamind right now. .Michael Jamin (38:46):Yeah, right.Eric Fogel (38:47):This will keep me employed, you know, for the next year or so. But it's like, you know, it's like anything else. We, we work job to job and there's never any guarantee Nope. That you're gonna get hired again. You just, you know, it's all kind of on good faith.Michael Jamin (39:02):Are you working with the actors too? Directing actors as well?Eric Fogel (39:05):I'm directing all the voice actors on this show.Michael Jamin (39:08):You're the only director. Yeah. And, and then you're also supervising the animation, the, theEric Fogel (39:14):All of it. Yeah, allMichael Jamin (39:15):Of that. Yep. Good for you, man. Carved out quite a little career for yourself.Eric Fogel (39:20):It's fun.Michael Jamin (39:21):Yeah,Eric Fogel (39:21):It's fun. Keeps me busy. But I, I do love it. I do.Michael Jamin (39:25):Do you have any other advice for anybody to, you know, what's, you know, trying to break inEric Fogel (39:31):Other, I mean,Michael Jamin (39:32):Make more,Eric Fogel (39:33):You know, it's, you have to, I, it's a long time ago someone told me like, the recipe for, for a successful whatever show movie, whatever, you know, you find that, that thing that, that you love. You put, you put your, all your heart into that thing. And then, you know, you take what everyone else loves and, and it's kind of like where these two things come together that, that's kind of like your sweet spot, right? That's, that's your hit, that's your success. And so you gotta, you know, you gotta like focus in on what that thing is and, and put everything you have into it.Michael Jamin (40:08):I'm surprised they're not talking about bringing celebrity death mat back. That's gotta be next.Eric Fogel (40:13):There have been a few conversations over the years and there, there have been a couple of attempts to bring it back and we, we did. Yeah. I mean, it's, it's not dead, but ,Michael Jamin (40:27):Do they reach out to you or are you actively trying to sell that?Eric Fogel (40:30):I have. So I guess it's Viacom or Yeah, m t v. They, they own the rights to the show, but we, we have an agreement to, you know, if, if they want to bring it back, I'm, I'm attached to it. Right. And we've had, we've had some attempts and for whatever, well we, we did, we did get close. And then yes the studio that had made an offer, they went away. Michael Jamin (41:00):They went awayEric Fogel (41:01):As, as these things do. I'll, I'll tell you offline more about it, .Michael Jamin (41:05):Alright. Like, when we put the animation, the, the ama the animation studio that made Glen Martin, we put 'em outta business .Eric Fogel (41:12):They, they didn't stay in business long after that. . And it's Yeah. Funny because they, I, I don't know if they, at the time I, I'm not sure if they realized how, what, what a unique opportunity that show was for them.Michael Jamin (41:26):What do you mean by that?Eric Fogel (41:28):The, you know, I, again, like these shows, these stop,Michael Jamin (41:32):Like they, how many stop motion series have there been? Right, right. You know, they're few and far between. Right. That was the Yeah, that's another thing. There's only, they're one of the few people that actually could do it. And I don't, I don't even know what they were doing beforehand. It's Right. So when they went out of business, like there was like, what else are you gonna do? You know, they wanted be like, people aren't lining up. Yeah. Stop for stop motion shows. Right? There's only a handful. Yeah. Yeah. That's the, yeah. Anyway. Is there any way, is there, do you wanna promote anything? Do you want people to follow you anywhere? Is there anything we can do to help you help grow your brand? Eric Fogel. Violent . You can find me. I'm on you can find me on Twitter. Death Match Guy, I think is my, my oh really?(42:19):Twitter handle. I'm verified there. What? Oh. But not on Instagram, just Twitter. I do a little Instagram. I'm not a huge social media person. Yeah. Well, we'll get you there for some weird reason. Yeah. Cause you're, cuz we're the same age. Anyway. All right, dude, I wanna thank you so much. Yeah. I, you've exposed me. I've learned something. Learned something about you and your craft. Yeah, because I, I even remember when we got hired, they said, yeah, we got this guy on, on Glen Martin. We have this guy Eric Fogel. I was like, what does he do? No one can explain it because we do everything. He's the guy. He's the glue, basically. That's what he he's the glue. Yeah. That's, that's it. Yeah. I'm the glue. Yeah. All right, man. Thank you so much. Thank you so much for, for joining me e. Excellent. that's it everyone. More good stuff next week. Go check out what Eric Fogel's up to. And he's a great guy. Thank you again so much for doing this, man. Don't go anywhere. All right, everyone, until next week.Phil Hudson (43:18):This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok at @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok at @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until max time, keep riding.
Occasionally, I open up my social media to questions from aspiring writers. This week we're tackling the questions you asked. Make sure you follow me @MichaelJaminWriter and look for the post asking for submissions.Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptsMichael Jamin (00:00):When I got hired on King of the Hill, I watched, I got hired on season five. So I watched all see all season four, or either read every episode or watched every episode of King of the Hill so that I could get the voices in my head of all the characters. They have a specific way of talking, and it helps to really, to imitate them on King of the Hill. When in when you're in the writer's room, you always imitated Hank or Bobby. You'd say it the way you, you know, you talk the way Bobby would talk and you know, dang it, you talk the way Hank would talk to get the rhythm so that you could you know, embody the character you're listening to. Screenwriters Need to Hear This with Michael Jamin. Hey everyone, welcome back to Screenwriters. Need to hear this. I'm Michael Jamin. I'm here with Phil Hudson. Hello, Phil.Phil Hudson (00:45):Hey, everybody. Good to be back.Michael Jamin (00:47):Phil is back, and today we're doing an Ask Me Anything, and I thought it, all the questions were gonna be personal and intimate, but instead they're all screenwriting, so, all right. That'll, that'll do.Phil Hudson (00:58):They're a couple general, you're good. We'll, we'll, we'll get into what kind of underwear you wear, which is one of the questions we get out.(01:05):Yeah, no, no, no one asked that, I promise. Okay. yeah, so what I've done today, so it's a little bit different format than what we've done in the past, is I broke the questions out into kind of three or four sections. So we'll get through everything we can. If it merits enough time to do and split this into part two, we'll do that. I think one thing for everybody is listening. Just make sure you're, you're subscribing to Michael or you follow him on Instagram, because whenever we post the blue screenwriters need to hear this tile. That's so, you know, that it's opportunity to get your questions asked. And we get a lot of repeat questions from people, which is great. But it is an opportunity for you to get your questions asked directly from Michael right. On the podcast. So make sure you're following him there and look out for that tile. Let's start it off with our, with our homeboy, Dave Crossman. He's been around the og. He's actually, and I think we talked about this, he was literally the first person to buy your course.Michael Jamin (01:52):Yeah, I a screenwriting course and yeah, Ooz wasn't even on sale. We hadn't even, we were just like, we were testing tinkering or testing. We got a sale and it was crossman.Phil Hudson (02:01):Yeah. So been around. He's a super talented writer. So always good questions. I thought this was really interesting. So a little bit long. So I'm gonna, I'm gonna go through it and if I need to repeat, let me know. I've been told that half hour sitcom page links determine the intended distribution, for example, 30 pages is appropriate for broadcast, while 40 pages is appropriate for streaming. And that the intended distribution also determines the kind of content that is preferable. So, for example, broadcast requires broad humor like Brooklyn 99, while streaming preferred scripts with a more specific content and humor focus, not like heavier emotions like Barry. Is there any merit to this kind of advice or is it just complicating the process?Michael Jamin (02:43):It's probably complicating things. First of all, when you say 30 pages, he's talking about single spaced mul, single camera a single camera formatting. Yeah. And so even 30 would be long, even if it was a multi, even if it's a sorry a network TV show, you'd, you'd want to, your script should be shorter than longer. Cuz the first thing anyone who reads your script is gonna do is gonna flip to the back page and how long do I have to read this thing? So shorter is definitely better. So, you know, I'm talking about mid to upper twenties, probably, depending on the show you, you know. And then in terms of and, and yes, you could have more time, like on a network, there are more time constraints because they have to run commercials, whereas a streamer, there's, they usually give you a window that you have to hit, and so you can go a little longer and a streamer.(03:29):But to be honest, again, it's a writing sample. No one wants to read longer, even if it is intended for a streaming service, a net Netflix or whatever, it's still just a writing sample. No one, whoever, no. Who, whoever's reading it doesn't want to, would write, just get the, they wanna get it over with, or , they just, it's a sample to see if you can write and, and they bring you in for a meeting and hopefully, you know, maybe hear a pitch on something else. So I always say shorter is better regardless of what, whether it's intending for streamers or network. And the second question is does the, I guess the content have to be a little more focused or less broad? Yeah, I suppose. I mean, you know, broadcast is for a, a, a broader audience, whereas on a streamer you can have, it's more niche and, and generally they generally look for edgier content. You know, I hate the word content, but j edgier material. And so, yeah. But does that determine the amount of the, the way you write it? You know, I don't know. I mean, I guess it's just a little more specific, you know, I wish I had a better answer for that, for Crossman over here, butPhil Hudson (04:37):I, I can cite some feedback you gave me, so mm-hmm. , episode 33 last March. If anyone wants to check it out, you gimme notes on, on a pilot that I wrote, and you can go read that pilot and your notes were, this is a b plus, and this would play on cbs, but if you want to be on cable mm-hmm. , you need to be less specific. And I guess it was, it was less on the nose, maybe less, less tell, more show . So I don't know if that's nec necessarily speaks to tone, however, for example, you know, including language, including violence, including you can do a lot more with a cable type script than you can. Yeah. And I, I get the feeling that the perception is that type of writing is more demonstrative of your capability as a writer. And good considered good writing than just writing something that would show up on broadcast, would you?Michael Jamin (05:27):Well, I, I don't, I don't think broadcast is bad or anything. I just think it's, it's edgier to be on non-broadcast. And when broadcast, you gotta think of it, a lot of these shows are intended to be watched with your family. So fa the whole, everyone can, even the children, they can all sit down and enjoy it together. Right. And when you're writing for a streamer, you don't necessarily have to worry about that. And so you, you want, you can, you can make your content a little edgy content, your material a little edgier. You can make it a little grittier. And it doesn't have to be so neat. And it doesn't have to be, I mean, there's a little more freedom in the way you can write. You know, I was watching a I mean take, like, take like goodwill, Goodwill hunting, so we talk about writing directly and versus indirectly.(06:06):And so that's a really good example. Like Matt Damon's character never comes out and says what his problem is or what he doesn't you know, why he doesn't want to be in therapy or why he, why he's fine. Like, he doesn't come out and say, I don't want wanna do, I don't wanna be here. I don't, he never says it. He, he says it without saying it. So instead he goes into Robin Williams office, he kind of screws with him a little bit and he doesn't answer his questions. He evades it by being a smart ass. And so you're saying it without saying it, whereas often if you're doing a more of a broadcast show, you kind of want to say it so that, so that junior could follow along as well. ,Phil Hudson (06:43):You know. Gotcha, gotcha. That's our like, third reference is Goodwill Hunting, by the way. It'sMichael Jamin (06:48):Oh, it's such a fantastic movie.Phil Hudson (06:50):So impactful, so impactful for me personally. Okay. anything else you want to add to that in terms of you know, thinking about writing for those other platforms? I mean, there's samples and I think one thing you do talk about in your course that I think was really helpful for people is you talk about having different samples of different styles. So right, you want to write, if let's say you're writing adult animation right here, you're gonna be really broad, like family guy, or gonna be really specific, you know, more chip, BoJack, horseman, like mm-hmm. real world just happened to be set in the world with animals. So you talk about like, having different samples in your, in your, yeah. Cap, if you will,Michael Jamin (07:29):Is that, and one thing I talk about in the course really is that like, you'd break both stories the same way, whether it's for a network or for a streamer, you'd really break it. It's just a matter of how you execute it in terms of how you write it after the outline, you know, once you get to the outline stage. But on the board, they're kind of, the way I do it, they're pretty much identical.Phil Hudson (07:48):Got it. Cool. moving on. And again, these are crafts questions. 51 Lego underscore. How necessary is it to establish main characters in the first episode? Is it problematic to wait a couple before focusing on who the story is about as the audience doesn't get as connected with the characters yet?Michael Jamin (08:06):Yeah, it's a huge problem. I mean, in your pilot, you're, you're establishing the world and the character's in it. And if you want to, you can't wait until episode three. What are people watching and what happens to the old characters? No, no, you gotta come right out of the gate. These are, this is the world. These are the characters in the world that's like non-negotiable, non-negotiable.Phil Hudson (08:28):Well, I think it also speaks to, and, and I don't know if it's necessarily bad exercise, but your job is writing pilots to sell a pilot. I think it, I'm kind of learning that it's a mistake to invest eight episodes of a fake series that will never be made. And so if it's part of your practice, tell, make sure you understand how to tell a complete story. Sure. But you're not gonna go out of the gate and sell 3, 4, 5 episodes of this thing. And it could happen, I shouldn't say not, but it's most likely not gonna happen. Mm-Hmm. . So the very exercise is kind of an act of futility because you should be riding other pilots. You should be giving yourself moreMichael Jamin (09:06):At that. It's funny you say that, cuz I was gonna do a whole, someone mentioned this had a question about this a couple of days ago, and I was gonna do a whole post on it because like, I think this person was an author and they were hoping, you know, they have the pilot ands all the way through the end of the series written, and it's like, you're wasting your, I feel you're wasting your time. Just write one episode, one pilot episode, and then move on to write another pilot episode. Because if it sells, don't worry. You'll get a whole writing staff and you'll be able to figure out the whole season. You don't need to do it now.Phil Hudson (09:33):Yeah. I, I think I've seen in produce shows where they do introduce a character in like episode two, and my feeling is, and maybe, you know, my feeling is that that's because the network or the studio, whoever decided to put it on air, said, we need this type of character, or we need this. They found a problem with the pilot, and this is the way to fix that by introducing some other characterMichael Jamin (09:54):Later. I mean, it happens for sure. You take like lost. I mean, the, there was, there were the characters, you know, in the first episode and then you discovered, oh, here's other dynamics work better, and these characters aren't really yet great. And then you find it. But you know, the intention is to introduce everybody. And then of course you have to build up as you run out of stories and you have to create more plot, plot lines. You have to bring more characters in. But now your characteristic should be in the, in the pilot episode.Phil Hudson (10:17):Perfect. saved underscore. Dan Chaz it's not a misspelling by the way. Is it acceptable to write morning or afternoon in the slug line? Or should the general day and night be used to indicate the time is also, is it better to use same or continuous when you, when using multiple slug lines for one long scene?Michael Jamin (10:36):All right, so these are formatting things, but you write whatever you need to write. I mean, if you write interior or what, just say, you know, exterior street morning is not the same thing as exterior street day in the morning. The extras are gonna be sipping coffee. They're gonna be holding a paper, they're gonna be walking, you know, to the, to their office places. If it's lunch, if it's day, the sun is gonna be higher in the sky, people aren't gonna be sipping coffee. They're gonna be, you know, whatever background's gonna be different. The lighting's gonna be different. So you gotta write, you gotta describe the scene, however, whatever the scene is, you know, so don't worry about Yeah. You know, the, the,Phil Hudson (11:12):TheMichael Jamin (11:12):First morning make a morning, thePhil Hudson (11:14):First Eighty's gonna solve that problem for you when he goes, when he or she goes through the script and they make decisions about what day we're in and what time it is mm-hmm. and what, how, what her shooting schedule is. So you don't need to worry about that. Like, they'll, they'll take care of thatMichael Jamin (11:25):On the text, but you gotta put it in the script, whether it's morning or afternoon. What, what's up to you as the writer? What's the second part? What's the second part? Phil Hudson (11:34):Is it better to use the same, you saying we're continuous when you're, you describing one long ZMichael Jamin (11:41):It just, it's whatever, it's convenient to you, you know,Phil Hudson (11:45):Stylistically, right? This is stopping.Michael Jamin (11:46):Yeah. yeah. Interior house the same. I mean yeah, there's no passage of time, so you could might as well write the, the same if there's no passage of time.Phil Hudson (11:54):Yeah. And I would also say think it's your job as the writing to be as clear as possible. And so if it, whatever you put should make it. So there's, it shouldn't be confusing to the reader. Yeah. So make it easy. As long as we understand what we're doing, you're doing your job. Yeah. Or what we're seeing. Cool. Yeah. All right. Uhs Taylor, if you out, if you outline at all how detailed you go into outlining your planning, whatever you're working on before you start riding, Kevin, I used to jump straight into riding with sudden burst of inspiration. I'd avoid outlining at all costs and write off vibes and, and inevitably get lost along the way. Only recently have I fallen passionately in love with outlining learning.Michael Jamin (12:33):Yeah, you gotta outline. I mean, I I, to be honest with you, like every time we write, we sit down, we outline. If you're gonna be, if you wanna work in television or even film, you have to learn how to outline because no writer is going to be, you're not gonna be sent off on script. And the, the showrunner's not gonna say, Hey, write whatever you wanna write. No, no, no. You're writing the outline and the outline is decided upon in the room. We know what the scenes are, what, what the beats are. We've all agreed on it. So you're not gonna go off, off, off the reservation, you're not gonna go off the map and do something crazy. No, you have to learn and you have to learn how to outline. You have to learn how to stick to it. In terms of discovering, no, I, I mean, I understand why this person didn't wanna do it in the beginning because it's so, it kind of takes the organic part out of the process.(13:18):But you wanna work in tv. You know, you can't just, the problem is you think you're gonna find the story, chances are you're never even gonna hit on the story unless you really have a clear map. Even now, when I write, as we talk about, you know, my collection of personal essays, that was the rare occasion. That's the rare occasion where I don't outline where I dis I write, I have an idea, and I start writing. I start writing. But it's so inefficient. It's such a wasteful way to do it. I do it because it's my own writing. I don't, I'm not on schedule. I don't have to answer anybody. But that way, when I'm writing without an outline, halfway through the story, I'm like, if there's no story, I have to go back. And I, I usually, you know, trash the idea or I hope to discover the story. And once I discover the story, you gotta go back and rewrite the hell out of it. It's not efficient, but it's organic. But on tv, and no, you gotta, it doesn't work that way. TV's much more collaborative. So you have to write, you, you would never go off without an outline.Phil Hudson (14:13):Yeah. I think the, if there's anything that you've brought into screenwriting, podcasting or screenwriting social media mm-hmm. , it's awareness of the process, right? There is an actual process that writers follow. If you go to a writer's room, the process is more or less gonna be the same. You're going to figure out what your story, you're telling, you're gonna break the story, you're gonna outline the story. You're gonna, you're gonna do all of those steps. And I think too often, a lot of people, you know, some people who are, in my opinion, younger, they, they feel constrained by the rules, and they don't want to, they don't want to be formulaic. And that's like a big conversation I hear all the time. But I think what you're saying is there's a process, and if your job is, if your goal is to be a professional writer, even if you have aspirations of being a top mega, super showrunner, like a JJ Abrams, you still have to understand this process. And once you go through this process and you understand it, then you can tweak things and you can change it and make it your own process. But it is all built on this foundation of the process that Yeah. Professional writers use.Michael Jamin (15:14):Yeah. Yeah. We all do it. Yeah.Phil Hudson (15:17):All right. Follow up to that. When outlining, is there a specific structure you use to stay on track? Or do you just inherently know?Michael Jamin (15:24):No, I mean, that's what we teach in the chorus is, is story structure. So there is always the same. It's, it's a structure. It's a, again, that's not to say it's formulaic, it's just knowing what kind of beats for the outbreak, what the act break moments are, what the middle act two is. And, and if you don't have these moments in, in your story you, you'll let, you'll, you'll notice it. I watched a movie a couple nights ago on a streamer, and it was like an indie, and these moments were lacking. And you felt it. You felt it. You felt like it was getting boring. It was getting slow. And so you just need it.Phil Hudson (15:57):I just had an experience. Wonder if we watched the same show? show?Michael Jamin (16:02):I don't wanna say. I'll sayPhil Hudson (16:04):Off the air. Yeah.Michael Jamin (16:05):Off.Phil Hudson (16:08):Yeah. Awesome. Moving on. Denzy Pops in LA How do you get into the head of each character as you write, especially when it is a character of someone else's creation,Michael Jamin (16:19):That's your job. I mean, every show I've written on has been created by somebody else. So for example, when I got hired on King of the Hill, I watched, I got hired on season five. So I watched all se, all season four, or either read every episode or watched every episode of King of the Hill so that I could get the voices in my head of all the characters. They have a specific way of talking, and it helps to really, to imitate them on King of the Hill. When in, when you're in the writer's room, you always imitated Hank or Bobby. You'd say it the way, ha you, you know, you talk the way Bobby would talk and, you know, dang the hill. You talk the way Hank would talk to get the rhythm so that you could you know, embody the character. So don't be afraid to say these, to imitate the character's voice out loud. Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you, and it's absolutely free. Just go to michaejamin.com/watchlistPhil Hudson (17:29):A and j. Once you have your main plot points, how do you begin to flesh out in between the in between? So it all feels tight and every scene has a point.Michael Jamin (17:38):Yeah. Well, every scene has to have a point. And, and, and again, we talk, we teach that all in the screenwriters course. But yeah, if a scene, if a scene can be cut, if you can remove the scene from your, from your Teleplay movie and the story still holds together, you, you haven't done your job, it's a bad scene. It, you know, every scene has to have a purpose. And the character's attitude at the top of the scene must be different by the end of the scene. And if it's not, what's the scene for is just because you just want to do a scene at a carnival. Well, that's not good enough. You have to have, there has to be a reason the characters have to change in some small way. And so yeah, unpacking all that, that's, it's a good, that's a great question. That's what we teach, but that's, it's so, it's so critical, you know? Yeah.Phil Hudson (18:26):Yeah. I'm trying to remember. It might have been like episode 34, 35 where you talking about fractals. Mm-Hmm. , I think that's worth listening to, right? With how everything is a sum. The, the hole is a sum of the parts, right?Michael Jamin (18:39):Yeah. If you think of a movie, it has a shape to it. And then if you think of a scene in that movie, it all, it has the similar shape. And if you think of a, a line, it can also have the similar shape, but you're just expanding. And that's a fractal. And so if you look a fractal as an example of, like, if you look at the tree, the tree has branches on it. But if you look on the branch, the branches also have branches coming out. And then if you look at the leaves on the back of the leaves, you'll see the veins of the leaf also have branches coming at 'em. That's a fractal. And that's kind of like how you're repeating these shapes over and over again in, even in your storytelling.Phil Hudson (19:12):Yeah. I loved that podcast, that episode. Go check that out. Wolfen, how do you practice deliberately to become a better writer?Michael Jamin (19:21):Well, you have to write, I mean, that's really the only way of doing it is to sit down and write, and write and write. And it could be a long journey. So this could be your life's journey, unfortunately. And so it doesn't mean you're gonna, you know, so many people want to come out of the gate, Hey, here's a script, hire me. It's like, well, but if you're scripted, if you're not a good writer yet, you're not gonna get hired. You understand that, right? I mean, and so it's a long, long journey and hopefully it's rewarding. But yeah, you gotta put your butt in the chair and just write every day. And, and I would say, don't worry about refining your, your, your, whatever you're working on, draft after draft. Just write your movie, set it aside, and write a second one, and then the third one, and your fifth movie is going to be better than the first.(20:04):It just is. So stop. Mm-Hmm. polishing that first movie and move on. And the same, someone left a comment the other day saying they sh you know, they struggle when they write their they're writing a piece. And they were, they spent so much time in that first paragraph, getting it just perfect. And it's like, is that normal? And it's like, it is normal. It's just not good. And I've done the same thing myself. You're, you're making it absolutely perfect, but meanwhile, it, when you get halfway through the piece, you're gonna realize, oh, you know what? I gotta rewrite that whole first page. Anyway. It's all, it's all different. So don't waste your time getting it all perfect. Just get it out there, and then you can put another coat, another coat, then put it aside, and then move on and look at it with fresh eyes in the future.Phil Hudson (20:45):Yeah. And I'll add to that, if you feel, I think that comes from a fear that you'll never be able to write anything else, right? Mm-Hmm. , but this is the only thing you have. Well, you are correct unless you write something else,Michael Jamin (20:55):Right? Yeah.Phil Hudson (20:56):So write something else,Michael Jamin (20:58):Right? That's your job. Cool.Phil Hudson (21:02):Official Cody Ladue or Ledo, I don't see French lid. Wow. Yeah. What's the difference in writing for a multi-cam show versus a one cam show or single cam?Michael Jamin (21:13):Well there's, there's this structure wise, very similar in terms of the story structure. It's very similar, but you have certain restraints on a multi-camera show. Everything's shot, live on a sound stage in front of an audience. So on the sound stage, you're not gonna have a lot of room for different sets. You're gonna have a standing set that's there every week you know, and then you're gonna have room for a couple of what they call swing sets that you, you can build them a new set this week, there's room, but you don't have a ton of room. So you know, for, let's say, just shoot me, the standing set was the bullpen, the office for the, everyone worked. And then there was j Jack's office to the left of that. We all, we, that was always up. And then Nina's office was always on their right.(21:54):And that was it, right? Those were the three standing sets. And then sometimes we had room, we always had room for swing sets, which we'd built. So maybe it would be like a restaurant we're going to, or you know, a theater or whatever where the characters are going to. But you only have room for like two or three of those on the sta on the stage. So when you're breaking your story, keep in mind you don't have a lot of room. You can't have a million sets. Whereas a multi, a single camera show, you can have far more, because often you're shooting those on location. If sometimes you're shooting on a sound stage, but often you go on location, so you could open it up a little bit more. There's also sing multi-camera shows also feel a little more like live theater because you, you have the audience there. So you tend, the actors tend to get a little bigger kind of playing it for the laugh. So you usually won't put more jokes on a pa on, on the page for a multi-camera show. Not necessarily though. Just depends on the show versus a single camera.Phil Hudson (22:48):Yeah. Awesome. Yeah. And it seems like there's a resurgence of multi-camMichael Jamin (22:54):Is there right now. I haven't, I mean, they always say that and they never put 'em on cut on the air, butPhil Hudson (23:00):, there you go. Maybe I'm just reading the, the trades too much. Alright. I am Chris McClure. How do you and your partner split the writing once the story's broken, you each take scenes, write the scenes together, one type, one pace. We've answered this before, but I thought it was worth bringing up, cuz it comes up quite often.Michael Jamin (23:18):Yeah. It just depends on the partnership. Some, some partners, I'll do act two. You do act one, but the way my partner and I do it, we literally sit in the same room. We have a monitor, a computer with two monitors on it. And so we literally act out the scenes together. Every scene that we write, we do it together. And so that's just how we do it. But you could do it any way you wanna do it with your partner. But I, I would assume that, you know, rewriting your partner's work without their permission or without them in the room might be a little, I know it's people who do it, but it seems like a recipe to piss somebody off.Phil Hudson (23:50):Yeah, I've, I've heard a successful screenwriting partnership that does a lot of stuff, and they assign scenes in order odds evens mm-hmm. , and they write one senate, the other one rewrites. It adds their scene. The other person rewrites the other two. So by the end, by the time they're done, they've rewritten like 20 times. But that's just comes from trust of being professional, working together for years and years.Michael Jamin (24:14):My bosses Brad Buckner and eu, Eugene, Russ Leming, my first bosses that I worked for, that's how they did it. They would trade, they, you know, alternate scenes, but that's not how we do it. Yeah.Phil Hudson (24:24):Yeah. Awesome. leaf, the leaf edits, how much detail do you typically put in a scene description or an action a character is doing? I've seen scripts with barely any, and some that have more, is it dependent on drama versus comedy?Michael Jamin (24:40):The, I say the less the better because no one wants to read those you know, direct stage directions. They're just, no one reads 'em. I don't read 'em. I'll skip right over them. And so I feel like the, the shorter you can make it, the better. If you have to make it longer, make it interesting to read so that, you know, maybe throw a joke in there or make it, write it in such a way that people, but that's hard. Write in such a way that makes people wanna read it. Especially if it's a, a mystery or a thriller. Maybe you want to, you can jazz it up by, and then he walked down the corner. He walks down the corner. Is that, is that a noise? He's, he, you know, he halts in his, you know, whatever you can ma you can write it in such a way that maybe it makes it compelling to to read. But when in doubt I say shorter.Phil Hudson (25:23):Yeah. I think you, my first spec that you ever, I wrote and sent to you, you referred to it as flowery descriptions, right? Yeah. You could. The first time I sat on the screen, on the software, I sat down and I was like, I describing what was in the room. Like I would if it was a novel. And it's just like totally unnecessary.Michael Jamin (25:40):It's, no, you don't need to do that. Right?Phil Hudson (25:41):There's whole departments that do that.Michael Jamin (25:43):Yeah. Let them do it. You could say it's a dimly litz barley, a dimly lit, sparse room. Yeah. You'd only describe what what you absolutely need. If there's a, if there's an ax in the corner of the room and the ax is going to come into play you know, later in the scene, then you might wanna set it up, say, you know,Phil Hudson (26:00):Yeah. Checkoffs a gun, right? Yeah. If there's a gun, if there's a gun in the, the first act that needs to go off in the third act,Michael Jamin (26:05):Right? Yeah. Right. But don't put it there. If it's not gonna go off, we don't need to know about it.Phil Hudson (26:09):Yeah. It's just the detail we're keeping in our head. Cool. this is my last craft question. We can move into professional questions if you want. Wendy h Morgan, can you talk about how to find the funny in your writing?Michael Jamin (26:24):Yeah, I mean, that's hard. That's one thing I say, you know, in, in, in the course that we have, there's a module on joke writing and, and, and and, you know, finding humor and, but I'm, I'm pretty upfront that I don't think hum comedy can be taught. I don't think you could be taught to be funny. I think whatever level you're at, I could probably get you a little higher. I could show you the tricks that I use to get you a little funnier, but if you're not funny, I can't teach you how to be funny. And I don't think anybody can. I think they're just trying to get money outta you. Personally, what I do as a comedy writer, I I I'm able to access the child in me pretty easily. And so children, that's why a lot of my humor is very mature, but children are very black and white.(27:11):They see things black and white as opposed to gray. They don't learn gray, gray, gray has to be learned. And so children also very literal. The very, the very first joke I ever made was like, I was a baby in the crib, and I don't remember my mo but my mom, my mother reminds me of it. She said, oh, Michael, you're so handsome. And I held up my hands like that because I, I heard some hands. She said, handsome, I heard some hands that's literal. And she laughed and everyone laughed, you know. The second joke I made, I was honestly, I was only a couple. I was like a year or this one, I remember I was probably three or what, four, whatever. And somehow we're at a party and somehow, because family gathering, I walk into the room carrying a copy of Playboy magazine and I'm a old boy and it's open to the centerfold and everyone sees this and everyone's aghast, right?(28:05):And then all eyes turn to my mother, how is she gonna handle this one? And and my mother wanted to play cool. She didn't want to traumatize me. So she goes, Michael, what is that woman wearing? And so I look at the centerfold, look at my mom, look back at the centerfold, and I go, earrings, because that's all she was wearing was freaking earrings. And everyone lost it. But I wasn't trying to be funny, I was just being literal. What was she wearing? That's the only thing she was wearing was earrings. Yeah. so I did, I'm able, if that's what I see it, I, I'm able to access. And I'm always thinking of, and it can be annoying. I could be definitely a little annoying. And so I don't, you know, you know, people who are always on, they're always pitching jokes and you never get to know this person cuz they're always on.(28:49):It's like, dude, just relax. I, I can do that. I don't want to. Cause I find it so annoying. But whenever I'm, when I'm driving the car, I'm thinking, what's funny about that? What's funny about that? What's funny about that? And so it's just like an exercise I do. And I don't say it out loud cause it's so fricking annoying, but it's almost just like this itch that I have to scratch or else you know, we were driving to we were driving to Arizona this a couple weeks ago to visit my uncle. And there's part of it by Palms, Palm Springs, you're driving, is it Palm Springs? You're driving, there's these giant windmills. Giant windmills, mills, valley palms, Palm Desert. What is you going on? That's what it's, right. Yep. So these giant windmills generating electricity. And I'm, first, I'm thinking, I'm thinking, it's so freaking hot here.(29:34):They have to have giant fans to cool off the plate, , you know, but like, I'm not saying any of this cause it's so freaking annoying. But that's what's, it's my thinking in my mind. I'm thinking, oh, fans to cool it off cause it's so hot here. But, but that's how I that's just how I approach it. And there's other tricks that I talk about. But again, I don't promise I can make you funny. I can, I could just make you a little funnier. And there's certain things that we, as comedy writers do to make things a little funnier and then go through the list. But those are, those are a few.Phil Hudson (30:03):All right. So at this point, I think we're gonna split into two. We got a ton of questions left. So next step, or the next episode is gonna be professional questions some aspirational questions, and then general question that came in. So definitely worth sticking around for those. Michael, thank you for being here. Thanks for having us. Everyone. Go follow Michael. @MichaelJaminWriter On social media. A couple free things or things you should know about. We do offer a free lesson. The first lesson of the course Michael's been talking about. That's available michaeljamin.com/free. Also, his course that he's mentioned a couple times, go from michaeljamin.com/course. Go check those out. The course when this comes up might be closed, so just keep that in mind.(30:46): We've moved to a almost like a an enrollment period because it's just a demand on time for you and for me and for the support staff. It's just taking up a ton of time when we onboard so many people at once. So we're gonna split that up a little bit. So if it's not there, go sign up and you can get notified when it does open up. There's the watch list. You can get your top three pieces of content every week delivered in your inbox on fridays michaeljamin.com/watchlist, and then your paper orchestra. You're not currently touring, right? ButMichael Jamin (31:17):You no, we're making the, we're we're actually making the ebook now. I gotta talk to you more about that when we get off the , we get off the call. Yeah, that'll be, that'll be coming out hopefully this summer. My book, it'll be dropping as an e-book a paperback and, and an audiobook, and then they'll start touring again. And so if they want, awesome people want to be notified. When any of those are ready, you can go to michaeljamin.com/upcoming and just put your email there.Phil Hudson (31:42):Great. Anything else, Michael?Michael Jamin (31:44):That's it. I'm excited for part two.Phil Hudson (31:46):All right.Michael Jamin (31:47):ThisPhil Hudson (31:47):Q and a for the next one.Michael Jamin (31:49):Okay, thanks everyone.Phil Hudson (31:51):This has been an episode of Screenwriters Need To Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving your review and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.
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