Podcast appearances and mentions of javier grillo marxuach

Mo Ryan's book Burn It Down: Power, Complicity, and a Call for Change in Hollywood is a deep dive into the trends that led to #MeToo and various racial reckonings in the industry, as well as a look at how much has changed in TV and film (and how much hasn't). She joins industry veterans Melinda Hsu Taylor and Javier Grillo-Marxuach (two respected voices also highlighted in the book) for a discussion about the industry's entrenched problems, modeling better forms of leadership, and why so many Hollywood workers are restive, on strike and/or already burning down the old Hollywood in order to build something better.This conversation was recorded live at ATX TV Festival Season 12 (June 1-4, 2023) in Austin, TX.PANELISTS:Javier Grillo-Marxuach (Co-EP / Writer, Cowboy Bebop, The Dark Crystal: Age of Resistance)Melinda Hsu Taylor (Creator / Showrunner / EP, Tom Swift; Writer / Showrunner / EP, Nancy Drew)Mo Ryan (Author, Burn It Down: Power, Complicity, and a Call for Change in Hollywood)SUBSCRIBE to youtube.com/ATXTV for more panels, conversations & events with your favorite TV creatives and casts.FOLLOW ATX TV:Twitter: twitter.com/ATXFestivalFacebook: facebook.com/ATXFestivalInstagram: instagram.com/atxfestival/TikTok: tiktok.com/@atxtv

Emmy-winning TV super-producer Javier Grillo-Marxuach is back. This time, he chats about his wonderful essay "WHAT I DO ON THE PAGE." clarifying that ultimately, the basic mechanics or writing are also the advanced mechanics of writing. HERE is the essay we're discussing: http://okbjgm.weebly.com/uploads/3/1/5/0/31506003/script_essay.pdf HERE is Javi's first appearance on our show: https://podcasts.apple.com/us/podcast/46-writing-great-tv-characters-w-javier-grillo-marxuach/id1501641442?i=1000522797405 HERE is our patreon: www.patreon.com/thescreenwritinglife

This week, journalist and activist Naomi Klein joins Dave and Josh as a special guest to look under the hood of several PragerU “educational” videos that offer a conservative spin on the topics of climate science and green technologies. Klein, who has authored several influential books (including This Changes Everything: Capitalism vs. the Climate), points out how the fossil fuel-funded groups behind videos like these have shifted tactics in the years since COVID, moving from a strategy of “hard denialism” to one that centers on the rhetoric of “personal freedoms.”Here are the PragerU videos discussed with Naomi Klein this week:Climate Change: What Do Scientists Say? (2016)What's the Deal with the Green New Deal? (2019)Dave and Josh also have a lengthy discussion about the recent Vanity Fair exposé detailing the culture of fear that surrounded the actors and TV writers on the landmark mystery series Lost. The article sheds light on many of the same toxic Hollywood workplace issues being raised in the current Writers Guild of America strike. (Here's TV writer Javier Grillo-Marxuach's follow-up statement responding to the article.) If you'd like to support this show, head over to www.levernews.com/audit/ and leave a tip for Dave and Josh. To get access to Lever Premium Podcasts, and all the other benefits of a paid subscription, click here. A transcript of this episode is available here.

In Episode 198, “Strikesplaining,” Elizabeth and Flourish are joined by screenwriter, executive producer, and longtime friend of the podcast Javier Grillo-Marxuach to talk about the Writers Guild of America strike. Javi breaks down how television writing, production, and compensation have changed drastically in his three decades in the industry, and how this action is connected to broader labor struggles facing workers today. They also talk about the specific ways this strike touches fandom, including how streamers' exploitative practices affect everyone from the people making the shows to the people who want to watch them.

Une nouvelle série mystérieuse et intrigante arrive sur Paramount+. Déjà renouvelée pour une saison 2, From va vous rendre addict. Un concept dans un concept La famille Matthews part en vacances. Bloquée par un tronc d'arbre qui leur barre la route, ils font demi-tour pour prendre un autre chemin et traversent une ville… puis se retrouvent encore une fois devant un tronc d'arbre… Ils refont demi-tour et… la ville… le tronc d'arbre. Ils décident de rester dans la ville en attendant de trouver leurs esprits. Mais la nuit tombe et le shérif de la ville leur ordonne de se réfugier ! Il ne faudra pas plus pour que From intrigue déjà par ses multiples high-concepts. La boucle, la ville étrange, le rituel nocturne sont autant d'idées qui auraient pu transformer From en série boursouflée de mystères. Mais il n'en est rien, la série arrive à intriguer par une multitude de personnages, d'ambiance pesante et d'intrigues étranges. https://youtu.be/pDHqAj4eJcM Une équipe bien rodée Derrière ce projet, il y a John Griffin (producteur de Shameless et The White Queen), le réalisateur Jack Bender et les scénaristes producteurs Jeff Pinkner et Javier Grillo-Marxuach qui ont travaillé sur deux séries hautement recommandée : Lost et Fringe. On ne peut pas nier qu'ils aiment les mystères et les énigmes. From donnera quelques réponses, posera de nouvelles questions mais ces éléments ne pèseront pas sur la qualité globale de la série. Sans avoir le fin mot de chaque énigme, on se prend au jeu de cette série huis-clos qui met en scène Harold Perrineau, le Michael de Lost, en shérif un peu perdu, et la famille Matthews avec le père, Jim, joué par Eion Bailey (Pinocchio dans Once Upon a Time, The Stand). Si la série n'avait pas été renouvelée, cela aurait été une liste d'idées et de mystères qui ne créera que de la frustration. La saison 2 est déjà prévue et on sent que la série sait où elle va à défaut de donner des réponses très concrètes. [bs_show url="from"] Si les personnages sont tous inégaux, on est pris dans la spirale From malgré tout avec une ambiance qui prend le dessus. Pour cette première saison disponible sur Paramount+, la saison a de solides idées qui manquent juste un peu de liant qui pourrait bien prendre pour la saison 2.

EPISODE 36: You won't want to miss this one! This week, our brothers in industry podcasting, Javi and Jose - aka the Children of Tendu - dispense incredible advice on how to survive and thrive in the wild world of TV writing. Javier Grillo-Marxuach (Emmy Award-winning writer/producer on "Lost" and creator of "The Middleman") and Jose Molina (writer/producer on "Legacies" "Firefly," "Castle" and "Law & Order: SVU") are the hosts of THE CHILDREN OF TENDU, a podcast with practical, straight-shooting advice on breaking into television and staying there. Check them out on Apple Podcasts: https://podcasts.apple.com/us/podcast/children-of-tendu/id833831151 Don't forget to rate and review this week's UFDP!

Blast from the Past! Mike and Ike interview the creator of The Middleman and other classics.

Kay is back! And just in time for she and Rob to discuss Managing Expectations, Squid Games, the lies of indiefim (via meritocracy) and, of course, The Oscars. Kay also coins the term, "Messy Bitch Draft". Our Weekly Resource: What I Do On The Page, a 41 page screenwriting manifesto (?) by Twitter dad, Javier Grillo-Marxuach, who is very much about managing expectations and screenwriters of all skill levels can learn something from these pages. Notes From the Episode: Chris Stuckman article on Deadline Scott Leger's "Neither and Both" pilot Rob's YouTube Channel How to Make a Movie for $1000 Kay's Twitter Rob's Twitter Email us(!)

LET'S PARTY! Pierrot Le Fou just might be the most memorable episode of Cowboy Bebop, and we were shocked to see it adapted for live action on Netflix. We go to our happy place this week with Javier Grillo-Marxuach, who not only wrote this episode, but also brings stories from his incredible career on LOST, The Dark Crystal: Age of Resistance, and season 3 of The Witcher.

Michael & Phil tackle the subject of writer's rooms, how writer's staffs are organized, and the responsibilities of individual writers at each level. Learn more about the different jobs in a TV writer's room and some interesting ways to break-in.Michael's Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJim Serpico, EP of Maron - https://www.imdb.com/name/nm0785351/Tom Sellitti, EP of Maron - https://www.imdb.com/name/nm0783418/Javier Grillo-Marxuach Website - http://okbjgm.weebly.com/Netflix in Albuquerque - https://www.bloomberg.com/news/articles/2021-05-03/why-hollywood-is-moving-to-albuquerque“Shit My Dad Says” Twitter Show - https://www.imdb.com/title/tt1612578/Michael: (00:00)The next step below, that would be writer's PA and that stands for a production assistant. So the writer's PA usually, usually writers are veal. We are kept hostage in a, in a writer's room like for hours and hours and hours, you don't leave, but they bring you lunch. And when they bring you lunch, that person who is bringing you lunch is a hero because they're feeding you and you, you know, so that the writer's PAs is usually the one who goes out. On a running brings you lunch.Michael: (00:32)Welcome back everybody today. We're going to be talking about various creative jobs in Hollywood, and we're going to probably start, I think, with, with the writer's room. Cause there's a lot of myths that we're going to expose. I think it's a lot of people have misconceptions about how writer's rooms, um, you know, how they actually work. I fell.Phil: (00:48)Yeah. And, and, you know, to, to your point, I think there are a lot of people who don't even understand things like what a showrunner is or what the difference between a co-producer, producer, a story editor, all these different writer's terms. I once had a friend mentioned to me, she's a nurse. She wanted to be an actress. And she's just like, you know, when you watch a TV show and you see all the credits that they're getting that say producer, they're all just writers. And she said it like, it was condescending a little, this is like just writers, like, Okay.Michael: (01:13)She's right, unfortunately. Um, but yeah, so a showrunner is the boss and a TV show in a movie. Uh, the director is Boston. A TV show that the showrunner is the boss. The showrunner is the head writer. Usually the showrunners, the creator of the show, the person who sold it, but not always and often not always the case. So, um, a number of times my partner would have been showrunners and we didn't create that show where the hired hands, because we have experience and were brought on to run the writer's room and the writer's room can consist of, we've been on show, usually around eight writers, let's say, but we've been on shows where we've had as few as four writers. And when we were on King of the Hill, that was Maron. When we were on King of the Hill, uh, there were about 20, at least 20 writers it was a huge writing staff.Michael: (02:00)So there's, there's that. And then all the writers in the writer's room compose the writing staff, but there certainly there are different levels to, to writers. So the showrunner again is the boss, the showrunner decides what kind of stories to tell and how to tell them. And some people, I guess I can maybe I'll get to the misconceptions first. Some people think that well, so where do you get these ideas from? Does the network just tell you what stories they want to have? And no, cause there's no one at the network who knows how to do that. If they did, they'd be writers there, that's not their job. Right. They, you know, so we pitched them our ideas, but we come up with the ideas. We say, we're going to do an episode about X, blah, blah, blah. And then that works. Does that sounds good?Michael: (02:39)Go ahead and do it. And so we have to come up with the ideas and usually it's the writing staff that will pitch the ideas to the showrunner and the showrunner and say, okay, I like that one. Let's talk about that one. Let's turn that. Let's see if we can turn that into an episode or I like the beginning, but not the middle, you know? And so let's stretch it out. Is that that's how do we break that into a story? And another myth I heard all the time, well, years ago it was like, oh, what character? I was around. It came when I was on King of the Hill. They'd say, what character do you write for as if like every writer was responsible for one character's voice. And there are 20 of us and king of the hill. I don't know how many, there were like five characters or whatever, or maybe more there's cause there's periphery characters.Michael: (03:16)But so no. And I used to tell people, I used to write for the dog, the dog, obviously didn't talk or have any lines, but that's when I said, but you write for all the cat, your job is to you get an episode and you write all the characters and that episode. And that's how, that's how it works. And they're so the staff, the writing staff is composed of one or two showrunners usually. And then there's certain levels of writers. So the newest baby writer is called a staff writer. That's the person with no experience. They just broke into Hollywood. Usually, usually they're a staff writer then above them. They, they say they work for a year. They get a promotion. Now they're called a Story Editor. And you'll see that at the end of the credits off. And you see the story that, or it gets a credit.Phil: (03:57)Let me ask this question, because this is something that came up on another podcast. We did, you made a reference that all of these titles that you're probably going to go through right here, that the next year. So are you a staff writer, your first year writing and then you bump a story editor usually, or you're so bad that you could stay staff writer. Is that a chance or do you just lose your job at that point?Michael: (04:20)Sometimes? Yeah. You could lose your job if you're no good. Sometimes you'll be a staff writer on the on one year and then the show gets canceled and then you get another job in a different show and they make you repeat your staff writer. They say, yeah, you're not getting the bump because we don't have a budget.Phil: (04:34)The bump budget-based. I imagine usually.Michael: (04:37)Yeah. I don't know if too many people who had a repeat staff it's like repeating your first year of college, I guess. Right.Phil: (04:45)I got held back in preschool by the way. SoMichael: (04:47)Yeah. Well, I can tell it's obvious when I talk to you.Phil: (04:49)Yeah. The adults don't set your kids in preschool in the middle of the year, guys. They just look stupid when all their friends move on.Michael: (04:55)For the rest of the let's talk about it. Um, so then after a story editor to become Executive Story Editor back in the sixties, the Executive Story Editor, or was they, that was the boss I'm executive story editor mean that was basically being called the showrunner, but these titles have changed over the years. And so executive story at a restorator is at one point it was like the most important person. And now it's one of the least important people on the staff. Um, I remember when I, well, I remember when I had, I had a writing teacher and he was, he like, he wrote on, uh, uh, Get Smart and Andy Griffith Show and all those great shows and Twilight Zone, the original Twilight Zone and all that. And he used to say that you just need to, you got to impress the story. It, the story editors that want to makes all the decisions. And, and this is back in like, you know, the nineties, I was like my old man, what are you talking about? The Story Editors at title has long since changed.Phil: (05:47)Uh, so I was going to ask, so my understanding here is that this changed because cause you're about to get into the producer titles, right? Yeah. So my understanding is that this changed because the story, the writing credit positions pay specific portions of their money into the WGA funds, but the producorial fees you get do not.Michael: (06:10)Yeah separately.Phil: (06:10)And the benefit to the, to the network and the studios is they don't have to match percentages of those funds, to the Writers Guild stuff .Michael: (06:19)To your health and pension. Right. It's separate. Exactly.Phil: (06:23)Where it changes, like how do we get these people and entice them to do this thing with us without having all the other expensive paying percentages of their, their fees?Michael: (06:31)Yeah. We'll give them a fancy title. Yeah. That'll tide them over there. Stupid. Um, so yeah, so there's executives. So is it okay to repeat Staff Writer, Story Editor, Executive Story Editor, then you get Co-Producer and then you become Producer and then you're like, wow, Producer, it's really just another level for a writer. Then you get, uh, after Producer becomes Supervising Producer, then Co-Executive Producer, which often means the number two, the number two writer, the like the number two in command and then Executive Producer. And so in sometimes there's also another title of Consulting Producer, which is just a fancy way of paying you even less money. Got it. So, but those are all just writers and there's very, you know, the producer aspect of those jobs are very limited. So when you're executive producer, you have, you do have many other Producer titles, like your responsibilities, you'll be responsible for casting or post-production... Supervising post production, or maybe editing stuff like that. The Co-Executive Producer doesn't often do those things, but is capable of doing those things.Phil: (07:33)And that's what you currently are on the show.Michael: (07:36)On Tacoma FD I'm a Co-Executive Producer. Right. But, but you know, in the past I've been Executive Producer on other shows. So, uh, you know, the difference in money there's a lot its not that much. Well, the Co-Exec... Co-Executive Producer that gets a good salary without all the stress of being executive producer. It's a good job to it's really the best job to have is a co-executive producer because he made good money, but you don't have all the stress of the boss.Phil: (07:59)Got it. So that's what to aspire to is not be the showrunner, but just be a co you'd be.Michael: (08:03)I remember years ago when I was, you know, thinking before I became a Showrunner, I was like, man, if I were a show runner, I'd do things different, do things better. And then, you know, cause you always think your bosses know what you're doing, they're they're doing. And then, then you become the boss and you're like, Ugh, I just wish I was a Co-Executive Producer.Phil: (08:21)Yeah. You always wish you had the less responsibility, the more, you know, the more, you know, you don't know. Right? Yeah.Michael: (08:26)So, but then, you know, those jobs basically at my level, like those, the two jobs I get, you need to be the boss or the second in command. So there's, I have to take whatever, whatever comes.Phil: (08:36)Now there is another executive producer on the show and that's typically the, basically the guy in charge of, or the woman, the person in charge of making sure that the show is happening from an actual producorial perspective. Right? So not always. So the production. So for example, to come at di we had a production company running things and the owner of that company had the title of EP as well. And that shows up in the credits and that person can be not a writer.Michael: (09:03)And I believe, I believe one of the, uh, managers, David Miner, I believe he's also executive toPhil: (09:09)Both of, both of the guys managers are on our show. They have EP credits because they brought the show to the network and said, we think you should buy this show.Michael: (09:19)Yeah. They help make it. They help sell it. They help make it possible. Yeah. But on other shows, I've worked on this. There's really only there aren't too many co uh, Executive Producers is their Showrunner and maybe no other executive producers, or maybe there's an actor who is so powerful to help got the show me, they might be Executive Producer or maybe often if the show is, is sold through a pod, you have a production company, then they'll get, you know, like you're saying, they'll have a Executive Producer title. Uh, yeah. So some actually that's not really no. And I say that now that I think about it. Yeah. I've always, I've been on other shows where there, there are other executive not they're called non-writing Executive Producers. So when I was on Maron, for example, uh, Jim Serpico, Tom Silletti, they were non-writing Executive Producers. They helps sell the show and their creative involvement in the show. It really depends on what their, what they have time for. Sometimes they're very involved in, sometimes they're not very involved at all.Phil: (10:12)Yeah. Okay. So that's an interesting note. I think, so those people have the same way now from an Office PA perspective. So during production, we still saved those people parking spots, and we understood who they were. And we made sure that they were included on every single email, every single notice that went out, anything that involved creative decisions, they were invited to all meetings. And it was always an understanding they could show up at any time, but also an expectation that they probably weren't going to show up. And so it's an interesting thing like, or, you know, one season of a show, I worked on the, one of these non writing Executive Producers showed up and our Office Production Coordinator didn't know who they were and it, but the secretary did luckily. So they were able to save that situation or it probably would have been a really, you know, egg on the face situation.Michael: (11:00)Yeah. Because sometimes they don't show up. Right. The homes that parking spot is empty all year. Yeah. But you know, sometimes they do show up cause they, yeah. So those are all, those are all creative jobs. So when you see at the front of a TV show, all those producers, like what are all these producers? Most of them are writers. And then some producers, there was always a couple of, there's a Line Producer, he'll get he, or she will get a producer title. And they're in charge of kind of, uh, they're in charge of the, the money and the budget. If, for example, the show runner says, Hey, I want to shoot a show, um, in a submarine. And like, I bet, you know, how do you make that happen? Well, the line producer, their job is to figure out how to make that happen to either rent a submarine or get a soundstage that looks like a submarine or tell you what, that's just too expensive. You can have to shoot it in a rowboat.Phil: (11:43)Right. Right. Yeah. And then, so there's a Line Producer and then a Unit Production Manager or UPM. Yeah. But there are different jobs or they are, or they're at the same job because I see it both ways I've seen it separated or they're the same person does both. Yeah,Michael: (11:57)Yeah. Yeah. And I, yeah, that's exactly right. And I don't, I don't really know what the difference is. Job responses, uh, job responsibilities are between the two, because on the shows that I've worked on, they've mostly been the same person. So.Phil: (12:09)Yeah. It's, I think it's just a level of authority and responsibility. So UPM is typically making the decisions to make sure everything happens in the line producer. My understanding is basically in charge of the budget and making sure you're not blowing the budget every episode and you can get to the end of the road and they're like your accountant almost, I guess you could say as the showrunner. Right.Michael: (12:27)Um, but we still have accountants.Phil: (12:28)We all see cameras like a CPA. Like they're like the CPA who says, we're a business manager, Hey, you need to cut your expenses here because yeah. This thing coming down the road.Michael: (12:36)Yeah. Often they'll negotiate, they'll, there'll be dealing with the unions and they, they, uh, they make sure that the show, they make sure that the physical production of the show actually happens. Yeah.Phil: (12:46)So, so, so this brings up what we're discussing here might be considered "above the line". Yeah. Goes right. Yeah. And, um, you know, we recently had an interesting conversation with someone who did not like the title above the line and alsoMichael: (12:59)A derogatoryPhil: (13:01)It's like, you know, the union negotiates those things. So your union is responsible for earning you those credits and signing what goes where yeah,Michael: (13:10)I think it's, I think actually it's just like where you appear on the call sheet. It's like, are you above this line or below this line? That was my understanding. It's like, and it's just, it's just the line, relax everybody you're on. It doesn't mean, you know, you deserve to die, you know? Right. It's just an, it's a, basically an accounting formality. Yeah. Right.Phil: (13:29)Yeah. Okay. But, but you do not have control over who does that? Just to clarify, because this person seemed to think that you, in your role as an Executive Producer, Showrunner have the ability to dictate through your use of language who gets called what? So people aren't offended.Michael: (13:44)Yeah, yeah. No, I, I walked into, you know, it's so strange. It's like I walk into these terminologies, these, these, the terminologies were decided before me. And, uh, and somebody has someone thought that they were just very offended by that. And I'm perpetuating some kind of, I don't know, egregious, uh, you know, offense in Hollywood.Phil: (14:01)And not to get like super into the weeds on this subject. But I do know, um, this season on Tacoma FD, either production company did require us to use gender neutral terminology for things. So this is like a term for like the Best Boy or Best Boy Grip or Best Boy Lighting. And now that's like Key Lighting Person and it's like a term, um, different things instead of form. And it was for a person. And so I understand those things, but when we're talking about literally anyone below the line is garbage and trash and we stop and use it, that's not exactly what's going on in this space.Michael: (14:31)No, those people are kind of important because they're writers the above the line. People like maybe we were the dreamers that, Hey, what if, and the other people, the ones who are doing it, so you can't just have dreamers on set. They don't that nothing will get done.Phil: (14:43)Yeah. Right. It's like, uh, I, I did hear an example on another show I worked on where they're like, they want us to have 50 people with the exact same haircut sitting in a restaurant. It's like, you don't understand the complexity of, of casting that the complexity of finding those people, the hair and makeup, the costs for extra pay. Like we got you 10 of those people not 50. Right, right. Yeah. So, so those are all the, so those are all the jobs that are just the ones that you've talked about. And those that basically to get into Hollywood, you have to start as a Staff Writer.Michael: (15:16)Hi guys, it's Michael Jamin. I wanted to take a break from talking and talk just a little bit more. I think a lot of you, people are getting bad advice on the internet. Many, you want to break into the industry as writers or directors or actors, and some of you are paying for this advice on the internet. It's just bad. And as a working TV writer and showrunner, this burns my butt. So my goal is to flush a lot of this bad stuff out of your head and replace it with stuff that's actually going to help you. So I post daily tips on social media, go follow me @MichaelJaminWriter. You can find me on Instagram and Facebook and TikToK. And let's be honest, if you don't have time, like just two minutes a day towards improving your craft, it's not going to happen. So go make it happen for you @MichaelJaminWriter. Okay. Now back to my previous rant.Michael: (16:02)And yes, then how do you start as a staff writer? There are entry-level jobs. So there's no assistant writers. People often say, well, I want to be an assistant writer on your show. It's like that doesn't exist. There are Writers Assistance. And those are the people who will sit in the writer's room and they sit at the keyboard and they literally, they usually either take notes or they type, as we, as the words go up on the, on a monitor, we're watching a screen. And so they actually type the script as we pitch lines. And so that's, um, it's, it's a kind of a high pressure job because you have to know the pro word processing program, like the back of your hand, but also you have to be a good speller because if you are not, people will make fun of you. And you know, everyone's staring at you while you do your job and like busting your balls.Michael: (16:46)Uh, you know, so it's a, it's a high pressure job. You have to have a good sense of humor about it. And so, but it's a great job to have because once you're in the writer's room and like, you will learn more as a Writer's Assistant than you would the tenures in film school because you're watching professional writers do their craft. So it's a wonderful, it's a great learning experience. And how do you get a Writer's Assistant job? Well, the next step below that would be Writers PA and essentially a production assistant. So the Writer's PA usually, usually writers are veal. We are kept hostage in a, in a writer's room like for hours and hours and hours. And you don't leave, but they bring you lunch. And when they bring you lunch, that person who's bringing you lunch is a hero because they're feeding you and you, you know, so that the Writer's PA is usually the one who goes out on a run and brings you lunch. This is before COVID of course, I don't know what goes, no one brings me food anymore. No one gives within six feet of me.Phil: (17:39)That's right. That's not in your family. Right.Michael: (17:43)Keep an arm, social distance kids. Um, so that's, Writer's PA and then kind of not, I wouldn't say below it, but Jason too, it would be regular PA or Set PA, which that PA works on the set. Another job would be Office PA. And that PA you know, the set PA might run errands, or it might block off the set when like, you know, when they're shooting an episode, the set PA will be on the perimeter. And you had, I'm telling you, you had this job for a while. And they're the ones who are, let's say you're shooting on New York City street. They're on the perimeter stopping traffic and people, you can't walk here. We're shooting.Phil: (18:14)Yeah, no. And let me point out here, the, our Locations Guy, when I said that I was locking down traffic interjecting and said, you are not allowed to do that. That is illegal. The police lock down traffic. You were there to wrangle pedestrians.Michael: (18:29)Whoa,Phil: (18:29)Interesting. Right. Because we do not have the legal authority to stop traffic, but on a closed set, that was my first day of PA work was literally standing in the hot sun out in the middle of Southern California telling cars when to drive into the scene. Yeah. But it was a closed set. And I was, I was literally doing that. And youMichael: (18:50)Had, you had your piece in a headsetsPhil: (18:54)[inaudible] or there, they literally call it background and you tell them to move. Yeah. Right. YouMichael: (18:58)Tell them that would be a set. That's one of the responsibilities of a set PA.Phil: (19:02)Yeah. They're responsible for getting information to everyone. Um, locking down, set for a sound. It's another very common thing where you literally post up in a doorway and you hold stop people from coming in and out because they're shooting that direction and you don't want to walk through set, like one of the first days of shooting of season two of Tacoma FD I walked onto a set and I looked right at the set PA and she didn't say anything. So I walked toward her and ended up walking right through the shot, like, yeah. And they showed it to me. They showed me a post me Sasquatching and through the background of the firehouse.Michael: (19:36)And that's the job of the PA supposed to stop. You I've walked on sets before to have my own show where I was Executive Producer. And I guess some PA was too nervous to tell me not to walk on set. And I walk into the shot and I ruined the shot. And I'm like, dude, you got to tell me not to walk into the shot. It's okay. You can tell, don't be afraid of me. Tell me I'm not, not tell me not to ruin the shot.Phil: (19:53)Didn't you tell me that there was a, uh, you had to spend like a significant amount of money and post cutting a PA out of the background and standing behind a tree or something.Michael: (20:01)Um, I'm sure that, yeah. I'm not sure if the PA, but I remember sometimes you have to do that we're or you cut a reflection. Sometimes you see a PA or something, or somebody is a reflection in a window. You have to take that out. Yeah. Yeah.Phil: (20:14)Um, so, so I've had most of these PA jobs, so that's a Set PA and then Office PA, you're the one making copies. You're the one making the signs. You're laminating things and go, go runs. You're coming on, runs and picking up stuff. You're going to Home Depot to buy specific daylight, luminescent, light bulbs for the Makeup Department, because they need specific lights in the trailer. You're getting water, you're moving things around set. You're going out on a run to Burbank to pick up Audio Equipment for the audio team. Cause they always need something. Yeah. You know,Michael: (20:48)It's interest. Cause I posted a little bit about that on social media. I do like these little clips and uh, and, and someone said, you have to, you, you know, I said, it's an entry-level job. It's not too hard to get. And someone said, you don't know what you're talking about. You have to have a Harvard Degree. You have to degree a degree from Harvard or an MBA. And like you already your mind, like, I can tell you need a car.Phil: (21:07)That's it. You need a car and you need to breathe. Right.Michael: (21:11)The pulse, if you, if you're dead, you're going to have, you're going to struggle. But if you have a pulse, you be okay. It's like, I don't really care. I don't need to know that you have a degree from Harvard from what do I care? I want to know. Can you go on a run?Phil: (21:23)Do you think that's people who just assume it's all an old boys club and you ha it's about who, you know, and it's not about like, like, oh, Harvard Alumni will hire Harvard alumni. Is it that kind of thing? Or do you think they actually think you have to be like a Rhode Scholar to be a PA?Michael: (21:38)No, I think there's, you know, breaking into Hollywood is hard and it's, you know, that first job, the hardest one is that first job to get in. And so you have to hustle and you really have to like, you know, send out flight. You kind of have to really be in contact with people. And you've got a nudge way in and I, and it takes a lot of work. And I think people would much rather say, well, they're not hiring people like me. Cause you know, there's an excuse as opposed to, that's not true at all. It's like, you just have to do your end to the part. You have to hustle to get the job. Yeah. You know, it's just, there's so many excuses. And like, I always say like, you can, you can have results or you can have excuses, uh, or you can have excuses or you can have results, but you can't have both. Right. And people like to have excuses. It just makes them feel better for not trying or not trying hard enough.Phil: (22:22)Now, now I've been on a other side of things. I think my first PA job, um, you gave my resume to a show that you were running and I didn't get that job. And I didn't get that job because your writing partner also referred someone and that person had experience. Yeah. Right. Yeah. And so I didn't get that job, but because I did so well in the interview when they needed a day player to come out and just lock down set for a day, they called me and said, Hey, it's one day job. You want to come up and sit? Absolutely. What time? Where should I be? I showed up early. I was there. I ran around set the whole day. And it just happened to be that that day, the Office PA was called back in to his Fox show and he had to leave. And so the UPM who was on set with me, watching me work said, you should consider this guy. He seems good. And I got offered a full-time position as the office PA because of that. And so it was thatMichael: (23:16)Is that luck. Was that, was that, did you get lucky or did you make your own luck?Phil: (23:20)I think that there's a, there's a level of luck, you know, there's this old saying that luck is where opportunity meets preparation. Right? Right. And so the opportunity came because I knew you and you were able to give them my resume, but I didn't get that job. Someone else got that job. And they had three other people who you and your running partner did not recommend who also got jobs because they had, and that's just the racket. But because I was willing to show up and I was prepared and I understood what was expected of me as a PA, I was able to prove myself on that, on that day, the chance I go, yeah.Michael: (23:57)We had a PA on Tacoma, FD, we talk about, I don't mention his name, but one day one of the writers asked him to get a, for like Tylenol or Advil or something to go to drugstore. And he kind of said, no, he was busy.Phil: (24:10)So we should talk about that too. So, so the Writer's PA job is not just lunch. Like you're responsible for whatever the writers need. Like the Showrunners asking you for binders, but not just not binders, but D clipped binders, full ring binders, because they don't like the way the dividers are. And it's my job to go get that for them. I'm also supposed to stock the fridge. I'm supposed to have first aid available. I'm supposed to clean up after them. And so to have a Writer's PA tell a Writer I'm busy. I can't get you medicine because you have a headache. But I think it was worse than that. I think it was. Do you know if we have any, I think they have some upstairs. Can you go get some, I don't think I can do that.Michael: (24:48)Yeah. And man and we all laugh when he said no and you know, like men just falls in this guy. Yeah. And then he didn't last much longer than that.Phil: (24:59)Well, he did some other stuff I heard too. I, I ended up replacing that guy that season. Um, but he did some other stuff too. Like you told me that he would just like stare through the glass at you guys while you were watching writing stuff.Michael: (25:12)Yeah. He just, I had a weird thing where like, he just didn't, he'd come into the room, the Writers' Room and he just wouldn't know when to leave. And he was like, you know, and it got awkward. It's like, Hey, did you got to leave? Now? We got to work. And he would just kind of stand there. I dunno, gabbing or, you know, watching and was just so uncomfortable. And the writer, we, we thought it was hilarious. Like this guy he's something else.Phil: (25:33)Well, he hit the nail in the coffin. And I think this is like a big note of what not to do is one of our Showrunners who is an actor on the show is like on Nutrisystem and like cutting weight to get camera ready, because he's going to be, you know, he's effectively starving himself to look good on camera. And he's entitled to lunch more than anybody else on the show. Cause it's his show. And one day he comes in, he's like today I want sushi. And he said, uh, we don't have the budget for that. Right. And he said, I don't care. I'll approve it. Cause he's show is responsible for the budget. And he goes, I've already put in the other lunch order.Michael: (26:11)Yeah. That's what it was about. And that, you know, and afterwards we were busting that actor's because you know, I, you're not in charge.Phil: (26:24)Yeah. You'll keep your job if you, uh, if you deny your showrunner on her food, the one time he asks for it and the whole season.Michael: (26:32)So that guy didn't, he didn't last very long. But, uh, yeah, your, your job is to say yes, not to say no as a PA. Right.Phil: (26:39)Well, yeah. Well, interesting stuff. And you know, ultimately like I got that job and I think to your note, one of the first things you told me forever ago is if, you know, if you want to make it in Hollywood, you have to be in LA because that's where the jobs are. And I think there's a caveat because this is a question I've seen in a lot of your social media people say, do you have to live in Hollywood to make it in film? And the answer is depends on what you want to do. Right? So for example, I went to film school in New Mexico and New Mexico is a smaller market that is expanding ridiculously right now. I think Netflix is investing a billion dollars in New Mexico and infrastructure expanding stages. And they bought the biggest stages there where they shoot Breaking Bad and Better Call Saul and all that stuff.Phil: (27:17)And so if you want to work in camera or you want to work in, you know, an office position or a locations or a costume position, my opinion is those exterior markets, Utah, where you have Park City studios, you have, um, Santa Fe or Albuquerque where you have a fast growing film industry. You have Louisiana, you have Georgia. Those markets is really easy to progress and move up the ranks in those craftsmen positions. Right. Right. But when we talk about writing, I really think the answer is you do have to be an LA because this is where the writing happens.Michael: (27:52)Yeah. All the writing, they even Handmaids Tale. They shoot that. I think in Toronto, they sh they write it here. Um, I'm pretty sure Breaking Bad. They, they, theyPhil: (27:59)Wrote here in LA, in LA shot, in New Mexico.Michael: (28:02)Right. So if you want to be a writer, then you want to be a writer's assistant and you want to be a PA here in LA. So you can come up this way. But in someone, some of them had sent me, um, a question that maybe was on Tik TOK or something. And she was, she seemed very lovely. And by, so I still let her have it. She was, um, she was like, uh, I live in the UK and I would gladly, I really want to break into the business. And I would gladly come here to LA. If someone could guarantee me a job. And I was like, you know, there's no guarantee, you know, no, one's gonna guarantee you a job. Uh, first of all, there are no guarantees in Hollywood. Right. You know, you're not, um, you know, you're, you know, you're not Brad Pitt Brad Pitt.Michael: (28:42)He's guaranteed to get a dressing room and, and a driver. You're a PA you have no guarantees. If you came here and got a job, let's say the show would get canceled after 10, at 10 weeks, or you get fired or whatever, you're still out of a job. Now you're out of a job. And so you're still screwed. You have to come here first. And when they're hiring for those positions, that basically for any kind of PA position, the job is like you interviewed today to start tomorrow. And so you can't fly here. We're not going to get, I'm going to give you a week to fly here. And then a week to find a place then a week to get a car because you need a car. It's like, you know, no, you have to be here for those opportunities. There's no, there's no guarantees.Phil: (29:22)Yeah. That's what you told me. You said you have to be here because when they want to hire someone, they need you today. Right? Yeah.Michael: (29:27)And I, I called you. I remember when that opportunity came up on our current show, I said, Phil, can you, can you be here this afternoon? They're hiring you. You have to be here today.Phil: (29:35)Yeah. I think the exact text was, um, we need a PA the job sucks. It's low pay. Do you want it? And I said, I'll do that job for free. Right. And your response. Good answer. That's how I got my first paid job. Hold on. And they're like an hour or so later the Script Coordinator. Um, so basically shot me a text said, Hey, man, uh, it looks like, you know, we'd like to use you on the show. I said, do you want my resume? He's like, no, Michael Jamin's words. Good enough. And it's because you had proved yourself at that time. Right. So they took your recommendation. And I literally showed up the next dayMichael: (30:09)And I have a new gunPhil: (30:10)And I haven't been working on the show in two years. I'm still on the show.Michael: (30:13)And if you had 'em right. And if you had, uh, you know, said, well, yeah, I'll be there next week. They would have found somebody else. Right.Phil: (30:20)Because, um, literally cause they were, they were buying their own. You guys were buying your own lunch at that point, I think.Michael: (30:25)Yeah. Like we, like, we need lunch. Yeah.Phil: (30:29)Carrie Clifford's like, I want my tuna where, which tuna do I get. Yeah,Michael: (30:32)Yeah, yeah. Yeah. And so yeah, having a good attitude and being ready to start tomorrow is, is really key. Unfortunately, that's how you, if you want to, like, if you want to work in Hollywood, you have to be in Hollywood, you know? And, and sure there are other jobs like in Atlanta and, and, uh, Albuquerque, but often, um, like it may be harder to have a career in those cities because there's just not as many opportunities. So I'm sure people, you know, piece together careers. I just think it'd be easier to piece together a career in Hollywood. There's just more options.Phil: (31:02)Yeah. There's constant. There shows constantly shooting, especially right now with streaming and cable. There's not like a development season. Like there used to be right. It'sMichael: (31:11)And you may have to move, you may, I know like costumers, they work here, but they have to take a job in some other state because that's where the show is shooting, but writers generally have to generally stay in LA. Yeah.Phil: (31:23)Yeah. So are there any other jobs or any other ways to break in to Hollywood at this point? I mean, is it, is it just, you have to work yourself way up as a PA or get lucky enough to, you know, be lucky enough and have the craft and skill to become a Screenwriter. Is there another option?Michael: (31:38)We talked about this in other episodes where if you have your own, if Hollywood is not going to come to you, unless you really make it worth Hollywood's while. So if you are blowing up on Twitter, if you have a giant Twitter feed or, uh, you know, Instagram or whatever, and, and you have a million followers, Hollywood will find you, you don't have to start at The Bahamas. Like, man, this person here, she's got it going on. Uh, let's give this person to show because they have a built-in marketing platform that often happens. Yeah. So there's a show on CBS, it'd be 10 years ago. Shit My Dad says, and that was based on a popular Twitter feed. Yeah. And so, you know, that guy just tweeted it from wherever he wanted and you know, just find stuff that his dad said.Phil: (32:19)Got it. So I, I do, you know, of other people who've broken in, so I'm another writer who is that a lot of stuff to put stuff out there as website he's got scripts and things. Javier Grillo-Marxuach who I think you might know. Yeah. He wrote lost. Yeah. Yeah. Lost. He was a showrunner on a bunch of stuff. So he, I believe was a development executive and he transitioned that position to being a writer. Yeah. So there are those other opportunities as well. Do you know anything about those?Michael: (32:45)I do know. I have a friend who we hired on a show, Glen Martin DDS years ago. And I didn't know him at the time we just hired him. We became friends. And I... I discovered after about a year that he was at one point a Development Executive at a studio and I was shocked. I was like, oh, I hadn't because it's a whole, whole different thing. Um, and he told me that most development executives from his they're, they're jealous of writers. They want to be writers. And so, because it's more creative and development executives or, you know, they, they tend to give notes, uh, but they don't do it themselves. And so, cause you know, it's one of those, like why would you want to become, uh, an executive at a studio or a network if you were not had that creative passion in you, you wanted to create. And so the closer I think they can get to creating the more fulfilled they would be, which is, you know, obviously writing is probably closer to... than giving notes toPhil: (33:35)Somebody. That makes sense. It makesMichael: (33:37)Sense, but I'm, I'm not gonna speak for all that. I'm sure there are many great development executives or creative executives who love exactly their job. But this is what he told me was that he felt that that many or most really wanted to be really wished they were writers. Right.Phil: (33:50)And I think that, you know, from my limited perspective, with the, the limited amount of work I've done, kind of the general vibe that I get from most people is that most people in most jobs in Hollywood dreamt of being a writer, director, producer, and they are now doing this other job, hoping to have the job that you're also trying to get.Michael: (34:13)I think many writers also want to be directors because it's not writing. It's like, Ooh, because writing is hard. You're like, well, directing it, that seems like something I could do. Was that, wasPhil: (34:20)That your experience when you directed on Maron?Michael: (34:23)Uh, no. That was just an opportunity that came our way. We didn't want to say no to it, but I know other writers who want to get into, or have gotten into directing because writing is really hard. Writing can be difficult even like, I, I used to say like, if you think writing is fun, you're kind of, you're probably doing it wrong. It's hard to do it. Right. It's hard. Yeah. And so I think a lot of writers that well, anything about writing, so.Phil: (34:47)Right, right. Well, awesome, man. I think it was incredibly helpful. You have any other thoughts or?Michael: (34:52)No, I think that's, I think we covered a lot. We have, we have more podcasts come and Phil. We got to save it for the next.Phil: (34:57)Oh, I love it. No. So again, you know, I think that if you want any more of this information, definitely check out Michael's course because he goes into this more detail kind of what's expected in some of those positions and what it takes. But yeah, I think the big note that I would like to give or leave people with is that you don't have to have won the lottery or be born with a silver spoon in your mouth. I sure wasn't. And I live in LA and I work full year round as a PA. And I'm actively working on progressing towards being a better writer so you can make it happen. You just have to get rid of the excuses and just take control and just make decisions with what can I do today to improve things. And we talked about this on another podcast, like I've always was raised with this prodigy syndrome.Phil: (35:41)I feel like I have to hit grand slams with everything I do. And there's this framework that I've transitioned to, which is, you know, it's Moneyball, it's singles singles win baseball games. If I can hit a single today, like which might just be writing something, I can hit a single today. It's not sexy. If I hit a single tomorrow, it's not sexy. If I hit a single one day three, it's not sexy, but they, for you score it run day five. You score a run. It's about chaining those singles together. And that's how you ultimately win.Michael: (36:08)I think so. That makes sense to me. Yeah. Like people say like, well, how do I become a writer is like, you're, if you write every day, you're a writer, right? If you want to be a paid writer, that's a little different, but you know, but if you were someone new who wrote a script last year, you're not a writer. You have someone you're someone who has written. So a writer you're constantly writing, it's active. And, and that will make, that will make you better at your craft and will increase your odds of actually becoming a professional writer.Phil: (36:35)Awesome. I love it. Here's a great way to end. Thank you, Michael. Thanks everybody for listening.Michael: (36:40)Thank you.Phil: (36:53)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. If you're looking to support yourself, I encourage you to consider investing in Michael's screenwriting course at MichaelJamin.com/course. I've known Michael for over a decade. And in the past seven years, I've begged him to put something together. During the global COVID-19 pandemic. Michael had time. And I have to say, I wish I'd had this course 10 years ago. As someone who has personally invested in most online courses, earned a bachelor's degree, and actively studied screenwriting for over a decade, this course has been more valuable to me than most of the effort I've put in because it focuses on something noone else teaches: story. In his course, Michael pulls back the curtain and shows you exactly what the pros do in a writer's room and that knowledge has made all the difference for me. And I know it will for you too. You can find more information at MichaelJamin.com/course 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.filet Hudson. This episode was produced by Phil Hudson and edited by Dallas crane until next time, keep writing.

Cowboy Bebop is one of the most highly regarded animes of all time. Hollywood has a terrible record of adapting any anime properties so Netflix was taking a huge risk agreeing to adapt this into live-action. Listen as Ashley and Dylan share their thoughts on the show, what did and didn't work and its potential future.Cowboy Bebop (2021)Developed by: Christopher YostDirected by: Alex Garcia Lopez, Michael KatlemanWritten by: Christopher Yost, Sean Cummings, Vivian Lee, Liz Sagal, Karl Taro Greenfeld, Alexandra E. Hartman, Javier Grillo-Marxuach, Jennifer JohnsonBased on Cowboy Bebop by: Hajime YatateStarring: John Cho, Mustafa Shakir, Daniella Pineda, Elena Satine, Alex HassellHosts:Ashley Hobley: https://twitter.com/ashleyhobleyDylan Blight: https://twitter.com/vivaladilFollow our Trakt:Ashley - https://trakt.tv/users/ashleyhobleyDylan - https://trakt.tv/users/vivaladilAll Episodes:https://explosionnetwork.com/what-do-you-wanna-watchSupport Us:https://explosionnetwork.com/supportus

On this episode of Trial By Stone, to celebrate the 2 year anniversary of The Dark Crystal: Age of Resistance, join with Phil, Sydnii and special guest Javier Grillo-Marxuach (writer of Episode 7 and co-executive producer) as we record an audio commentary of the seventh episode of Age of Resistance. Credits Hosted by Philip and Sydnni Podcast recorded, edited and mixed by Philip Contact Email – darkcrystalpodcast@gmail.com Facebook – www.facebook.com/darkcrystalpodcast Twitter – www.twitter.com/darkcrystalpod Instagram – www.instagram.com/darkcrystalpodcast

This week's guest is the extraordinary writer, creator and double Emmy winner Javier Grillo-Marxuach.He works out how many of his 23 shows have been cancelled (a few), how many he has quit (some) and which were the ones he cared most about and were most proud of (The Middleman). We talk about how winning Emmys 'doesn't suck' (and giving them to his parents to display), the joy of being able to create a show he loved and the time he tried, and failed, to sell out.Javi talks about some of the frustrations of the industry, how close he came to a second 'soul' project and the balance between making money and working on shows you care about.He explains why he is so happy to talk about failure and share scripts and pitches and how he wants to give back to younger writers so they can avoid making mistakes he made.A funny, insightful, painful and inspirational episode with one of the real characters of Hollywood.

On this episode of Trial By Stone, Philip and Sydnni chat to Javier Grillo-Marxuach, co-executive producer on Jim Henson's The Dark Crystal: Age of Resistance and writer on episode 7 "Time to make... my move" aka the Puppet Show episode. We chat about the role that Javier had for Will and Jeff, the table read of all the ten episodes of Age of Resistance with actors and Netflix, his biggest contribution to the show, what his favourite character is on the show, the awful cruelty scene, his favourite scene on Age of Resistance, scenes from script that were cut out, pop culture references, the four words that Javier hopes to see one day in Dark Crystal story and so much more! Credits Hosted by Philip and Sydnni. Podcast recorded, edited and mixed by Philip Additional recording by Sydnni Sponsor Thames Con and The Great Con-Junction https://thamescon.co.uk/ https://www.thegreatconjunction.com/ Contact Email – darkcrystalpodcast@gmail.com Facebook – www.facebook.com/darkcrystalpodcast Twitter – www.twitter.com/darkcrystalpod Instagram – www.instagram.com/darkcrystalpodcast

Though best known as one of the Emmy Award-winning writer/producers of Lost, Javier Grillo-Marxuach is a prolific writer of television shows, comic books, movies, and the occasional critical essay. He's a master-storyteller, with a deep understanding of character, no matter how "otherworldly" the project. Today we're going to deep dive on longform character development and Javier's philosophies on "operational theme." And of course, we'll be answering your questions! Check Out Javi's Website: http://okbjgm.weebly.com/ Follow Him On Social: @OKBJGM --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thescreenwritinglife/support

On this episode of Trial By Stone, Philip and Sydnni chat to Javier Grillo-Marxuach, co-executive producer on Jim Henson's The Dark Crystal: Age of Resistance and writer on episode 7 "Time to make... my move" aka the Puppet Show episode. We chat about the Emmy win, how he discovered The Dark Crystal, how did the idea for the puppet show within the puppet show came about and so much more. Credits Hosted by Philip and Sydnni. Podcast recorded, edited and mixed by Philip Additional recording by Sydnni Sponsor Thames Con and The Great Con-Junction https://thamescon.co.uk/ https://www.thegreatconjunction.com/ Contact Email – darkcrystalpodcast@gmail.com Facebook – www.facebook.com/darkcrystalpodcast Twitter – www.twitter.com/darkcrystalpod Instagram – www.instagram.com/darkcrystalpodcast YouTube - www.youtube.com/darkcrystalpodcast 

Seven years ago, veteran television writer/producers Jose Molina and Javier Grillo-Marxuach set out to consign all their experience to a podcast and to give it away for free. One Golden Age of television, a pandemic, and several complete disruptions in the industry later, Jose and Javi look to the future and ponder the fate of the Children of Tendu Podcast... and more importantly, their own transition from wizened veterans to fellow travelers with newcomers in a rapidly changing world!

We learn more about Jack's relationship with his Daddy while he feels like he let Claire and Charlie down by allowing them to be kidnapped; Locke and Boone find a mysterious Hatch in the jungle. Andrew & M.C. revel in the luxury of Javier Grillo-Marxuach's name. Do you remember COVID04?

Welcome to Episode 24! In this episode,  I had the great pleasure of speaking with Writer, Producer, and Showrunner, Javier Grillo-Marxuach. In this episode, we chat about making shows such as Lost and The Middleman, how to better run a writer's room, and the importance of not just diversity but telling meaningful stories.   Javier's IMDb: https://www.imdb.com/name/nm3936744/ Javier's Twitter: @OKBJGM Javier's Podcast: https://childrenoftendu.libsyn.com/ Website: http://okbjgm.com/    https://blacklivesmatters.carrd.co/ www.closingcreditspod.com    Twitter/Instagram @closingcred  Thanks for listening!

Writer and Producer Javier Grillo-Marxuach (Lost, The Dark Crystal: Age of Resistance, The Middleman) travels through time with Director Terry Gilliam to revisit one of two movies that inspired his career in Hollywood -- Time Bandits. The 1981 film was produced by Beatle George Harrison and co-stars such legends as Sean Connery, Michael Palin, John Cleese and many more. --- Support this podcast: https://anchor.fm/the-side-track/support

Writer/Producer Javier Grillo-Marxuach (Lost, The Dark Crystal: Resistance, The Middleman) talks about that Star Wars moment when he knew he wanted to write, how his first gig as an NBC Development Executive turned into his first job on Seaquest DSV, and how being at his lowest point in his career opened up the doors to land him in a Think Tank for a strange new J.J. Abrams and Damon Lindelof ABC show that would eventually be called Lost. Then, he'll discuss the classic 1981 film Time Bandits by Terry Gilliam, and why he chose it for the feature-length audio commentary All-Star treatment. --- Support this podcast: https://anchor.fm/the-side-track/support

Javier Grillo-Marxuach (creator, The Middleman), Michael Rauch (creator, Royal Pains), Julie Plec (creator, The Vampire Diaries), Beau Willimon (creator, House of Cards), Liz Tigelaar (Casual), and Paul Garnes (Queen Sugar) discuss approaching their art as both an outlet and a tool, how (or if) they plan to write for fans that might not agree with them, and where the responsibility of an artist lies in a divided world. Moderated by Michael Schneider (IndieWire). Recorded at ATX Television Festival on June 9, 2017.Originally aired 02/6/2018CONNECT W/ BEN BLACKER & THE WRITER'S PANEL ON SOCIAL MEDIA https://twitter.com/BENBLACKERhttps://www.facebook.com/TVWritersPanelTHE WRITER'S PANEL IS A FOREVER DOG PODCAST https://foreverdogpodcasts.com/podcasts/the-writers-panel

  We talk to Emmy Award winning TV writer and producer, Javier Grillo-Marxuach (LOST, THE 100 and COWBOY BEBOP) about finding your voice as a writer, getting over impostor syndrome, being a writer of color and much more.  

Pop culture critic Chuck Klosterman on his collection of "fictional nonfiction." Also, television writer and producer Javier Grillo-Marxuach takes on the toxic culture behind many TV shows. And Juliet Escoria explores mental illness and addiction in her debut novel, "Juliet the Maniac."

It's Climate Week! We're back from the Climate Strike in Chicago to share conversations with some amazing activists and entertainers doing their part in the fight for a better planet. First, we talk to writer/producer Javier Grillo-Marxuach ("Lost," "The Middleman") about working on the new Netflix show, "The Dark Crystal: Age of Resistance." He talks about the show's deliberate climate change themes, the legacy of Jim Henson, and even shares an amazing Mark Hamill story. Then, we talk to Glenn Hurowitz, CEO of Mighty Earth, about the international corporations that are tied to the deforestation and burning in the Amazon. He discusses what these companies are doing to make the problem worse and how consumers can help push back.  In Chicago, we talk to members of Climate Reality Chicago, the Illinois Environmental Council, and the contemporary ensemble Lakeshore Rush. As always, follow us @climatepod on Twitter and email us at theclimatepod@gmail.com. Our music is "Gotta Get Up" by The Passion Hifi, check out his music at thepassionhifi.com. Rate, review and subscribe to this podcast on iTunes, Spotify, Stitcher and more! Follow the Javier Grillo-Marxuach on Twitter @OKBJGM Follow Glenn Hurowitz on Twitter @glennhurowitz Follow Mighty Earth on Twitter @StandMighty Follow Climate Reality Chicago on Twitter @realitychicago Follow the Illinois Environmental Council on Twitter @ilenviro Learn more about Lakeshore Rush: http://www.lakeshorerush.com/ and follow Lakeshore Rush on Instagram: https://www.instagram.com/lakeshore_rush/ Further Reading:  Deforestation Continues Because Companies Aren't Trying http://www.mightyearth.org/deforestation-continues-because-companies-arent-trying/

Thanks to our friends at Heroes & Villains - Use code LIVE15 to save 15% off your next order at HEROESVILLAINS.COM It's Wednesday here at Collider Live and we're doing another Joker story because apparently that's all YouTube shows talk about now. We'll also welcome Javier Grillo-Marxuach to talk The Dark Crystal: Age of Resistance. 00:00 Roxy is late 7:45 Bachelor in Paradise finale 14:00 Kristian has a new route 18:30 Josh watched the Alec Baldwin Roast 21:30 The Carter Bros feud 27:00 They cancelled the Area 51 raid 29:00 Guy jumps into barbed wire 34:00 JUDY! JUDY! JUDY! 41:50 MoviePass is not dead? 45:30 James Franco 1:05:45 Kristian is mad at Josh 1:15:00 Joker sequel talk 1:21:00 Titanic update 1:24:00 The Princess Bride remake controversy 1:37:00 Javier Grillo-Marxuach joins us in studio to talk The Dark Crystal: Age of Resistance SUBSCRIBE ? ? https://bit.ly/1qU5ENT #ColliderLive: You have no idea what might happen in this off the wall show that is a mix of the old Schmoes Know show with a dash of Collider, mixed with nonsense, shaken with comedy and served every Monday, Tuesday, Wednesday, Thursday and Friday live from Collider Studios. Make sure you like and share the show so we can build it TOGETHER. Make sure you give it a like as well and subscribe to the Collider Podcast feed! Watch the new short film from The Wangers/Amateur Hour Films, “Reel Talk with the Reel Robbie”: https://youtu.be/Pkj4z7uHo9o Listen to (Alex) Marzoña’s music: https://www.youtube.com/user/alexmarzonamusic Visit the Schmoedown website for the latest Schmoedown news and more: http://triviasd.com Get your tickets for Schmoedown Live events in Orlando: https://theschmoedownlive.com Follow Kristian: https://twitter.com/KristianHarloff Follow Roxy: https://twitter.com/RoxyStriar Follow Reilly: https://twitter.com/ReillyAround Follow Josh: https://twitter.com/JoshMacuga Follow Cody: https://twitter.com/TheRealCodyHall Follow Alex: https://twitter.com/AlexMarzona More Great Collider Content ??Movie News & Analysis: https://bit.ly/2n1MZb7 ??Celebrity Interviews: https://bit.ly/2OyLjSU ??Video Games: https://bit.ly/2vszg0Z ??Sports: https://bit.ly/2Au5rmv ?????Pro Wrestling: https://bit.ly/2LKhWzy ??Breaking News: http://collider.com Twitter: https://twitter.com/ColliderVideo Instagram: https://instagram.com/ColliderVideo Facebook: https://facebook.com/colliderdotcom Want to listen to Collider on the go? Search "COLLIDER" wherever you get your podcasts for original shows plus audio versions of your favorite video content.

The program all about TV. Our guests: Javier Grillo-Marxuach, Jeffrey Addiss and Will Matthews, co-executive producers and writers of The Dark Crystal:Age of Resistance, which launched late last month on Netflix, and  Eric Schotz and Jack Martin, executive producers of ABC's Kids Say The Darndest Things revival starring Tiffany Haddish, launching October 6, Plus the latest on Hurricane Dorian.

THIS INTERVIEW CONTAINS SPOILERS FOR 'THE DARK CRYSTAL: AGE OF RESISTANCE' Les chats with 'The Dark Crystal: Age of Resistance' showrunners Will Matthews and Jeff Addiss, as well as producers and writers Javier Grillo-Marxuach and Vivian Lee, and writer Margaret Dunlap! They talk about the intricacies of writing for puppets, their love of Thra, the challenges and thrills of a canonical expanded universe, and much more. Check it out!

Welcome to THE STORM: A Lost ReWatch Podcast! Where we watch a new episode of ABC's Lost every week and discuss it for newcomers and those returning to The Island. This week, Joanna, Dave, and Neil are engulfed in raft drama for Season 1, Episode 17 "...In Translation" - Someone's burned the raft, and it looks like Jin, the unwilling mob enforcer, might have done it. This week's guest is Javier Grillo-Marxuach, who co-wrote this episode of Lost and was a producer on the first two seasons of the show. Make sure to check out his most recent work, Netflix's Dark Crystal: Age of Resistance. You can follow him on Twitter @OKBJGM (https://twitter.com/OKBJGM) . This podcast is split into two sections THE CALM where we talk about just the episodes we've watched up to this point and do not discuss facts and knowledge from later in the series and THE STORM where make use of all the knowledge that 6 seasons of Lost and 15 years of Lost fandom has generated, plus our own crazy brains. Send your Lost comments to @StormPodcast (http://twitter.com/StormPodcast) on Twitter and e-mails to Hosts@Stormpodcast.com to talk back at the show! You can send e-mails about ANY of the first season episodes of Lost, just include the title of the episode you're addressing. Follow Neil (@rejects (http://twitter.com/rejects) ), Joanna (@jowrotethis (http://twitter.com/jowrotethis) ), Da7e (@da7e (http://twitter.com/da7e) ) and the show (@StormPodcast (https://twitter.com/StormPodcast) ) on Twitter!  Subscribe to get exclusive content! Now updated for LOST REWATCH! - https://www.patreon.com/stormofspoilers Get Merch at ChaosIsLit.com (http://chaosislit.com) Theme by DJ EMPIRICAL TIMECODES: THE CALM (Through S1 E15 discussion)  - From the VERY START! THE INTERVIEW (No Spoilers) - 1 hour 12 Minutes, 29 seconds THE STORM (SPOILERS!) -  1 hour 50 minutes, 29 seconds

On this episode of the show, I’m honored to be joined by special guest Javier Grillo-Marxuach, a veteran writer and producer who’s worked on shows like SeaQuest, Charmed, The Middle Man, and the upcoming Netflix sequel to the Dark Crystal and their live action adaptation of Cowboy Bebop. He’s here to share stories from his time working on ABC's modern classic Lost, as well as the wisdom he’s accrued from more than a quarter-century in the TV trenches as delineated in his new book of collected essays, Shoot That One. Hear it through the embed below, or subscribe via iTunes, Stitcher Radio, or TuneIn Radio. As always, send all questions or comments our way via MovieFilmPodcast@gmail.com, and don't forget to hit "like" on our Facebook page

In the Very Special Episode series within Geekery and Wine, today we have "The Nice Version" of The 11 Laws of Showrunning by Javier Grillo-Marxuach, writer on Lost, Dark Crystal: Age of Resistance and Cowboy Bebop. Javi also created The Middle Man comic and TV series and authored the comics Animal Badge and Ramiel: Wrath of God. The full book of essays, Shoot That One which also contains "The Mean Version", comes out February 14th, 2019 on Audible and iTunes. Give this to anyone who manages creative people. It'll make the world a little bit better! --- Support this podcast: https://anchor.fm/geekery-and-wine/support

In Episode 84, “Purity Culture,” Elizabeth and Flourish brace themselves and dive into a topic they’ve been asked about many times before. They define and deconstruct the term, along with the related “antis” and “stans”—who they are, how they behave, and what impact they have on fandom as a whole. They also address listener letters about the monetization of fanfic, new EU copyright law, and their interview with Javier Grillo-Marxuach.

In Episode 82, Elizabeth and Flourish interview writer, producer, and former TV executive Javier Grillo-Marxuach about his long career both as a fan and as a member of the “powers that be.” Topics covered include some of the earliest fan/creator clashes on the web, Latinx representation in Hollywood, the legacy of Lost and the idea of “solving” a show, when it’s time to give up on a fandom, and the decision to kill Lexa on The 100—and the fallout from it.

Javier Grillo-Marxuach (creator, The Middleman), Robia Rashid (creator, Atypical), Liz Tigelaar (creator, Life Unexpected), and David Hudgins (Parenthood) discuss storylines they’ve created or by happenstance been assigned to that have mirrored parts of their own lives, how they walked the line between truth and fiction, and how they personally tackled subjects that might be a little too close to home. Moderated by Natalie Abrams (Entertainment Weekly). Recorded at ATX Television Festival on June 9, 2017. Get your badge now for ATX's seventh season, June 7-10, 2018, at http://atxfestival.com/

Javier Grillo-Marxuach (creator, The Middleman), Michael Rauch (creator, Royal Pains), Julie Plec (creator, The Vampire Diaries), Beau Willimon (creator, House of Cards), Liz Tigelaar (Casual), and Paul Garnes (Queen Sugar) discuss approaching their art as both an outlet and a tool, how (or if) they plan to write for fans that might not agree with them, and where the responsibility of an artist lies in a divided world. Moderated by Michael Schneider (IndieWire). Recorded at ATX Television Festival on June 9, 2017. Get your badge now for ATX's seventh season, June 7-10, 2018, at http://atxfestival.com/

This episode of Zack’s Film Talks at SDSU is hosted by Libsyn. My guest is Michael Green, who wrote Blade Runner 2049 with Hampton Fancher.   Michael was raised in Mamaroneck, NY, and went to Stanford University. He wrote for Sex and the City and is the co-creator of American Gods. In this episode, Michael talks about: the importance of reading why it's good to go to the movies, as opposed to just watching them how he once made two stacks of film scripts—ones he felt were better than his, and those he felt he could do better than—and spent time studying and learning “by dissection” from the best JohnAugust.com—a screenwriting website/podcast he highly recommends Green Lantern and his early fascination with comics the “constant battle” he undergoes between creating original projects and working on adaptations  To prep for Blade Runner 2049, Michael read the great noir novels. We collected a few lists here: https://www.amazon.com/Hardboiled-America-Lurid-Paperbacks-Masters/dp/0306807734, http://www.mensjournal.com/expert-advice/best-old-school-noir-novels-20160217, https://www.barnesandnoble.com/blog/50-must-read-noir-detective-novels/.   Full interview transcription: Hello, and welcome to Zack’s Film Talks at SDSU, a film podcast featuring interviews with screenwriters, directors, cinematographers, and more. This is Episode 1. My guest today is screenwriter Michael Green, who co-wrote Blade Runner 2049. Michael talks about the importance of structure in a screenplay, and he warns writers not to become paralyzed by research. Our conversation was recorded November 9, 2017.   ZS: Hey, Michael, how are you? MG: Hey, great. ZS: Thank you so much for doing this, by the way. So was there a particular moment in your life when you knew you wanted to be in the film industry or just screenwriting in general? MG: … That question comes up from time to time, because people will often look for creation myths in writers and writing. Unfortunately, writers and writing tends to be a much less romantic profession—much more a slog. But what I can definitely track in myself is a persistent love of television and film. Even times when I wanted to be a doctor or a comedian or carpenter or doctor or any of the other things that seemed appealing, I did all that fantasizing while watching way too much TV and wanting to go to the movies. That’s where my passion lay. And I just got very fortunate that I had a moment of brain connection that perhaps I should do what I loved, and also even more fortunate that I was given the opportunities to do so.     ZS: Great. So is there anything in particular that gives you inspiration as a screenwriter? MG: I think any screenwriter that doesn’t read a lot is probably not tapping into their best potential or inspiration. Reading has always been what makes for more writing—and going to the movies, and watching television shows that are great and wonderful. These days going to the movies as opposed to just watching them at home—they’re very different experiences. … [I]n television, [watch] the show on-air the way the audience would see it. So if it’s a network show … watch it on the air with commercials. … ZS: Yeah, I definitely agree. I think going to the movies is probably just the best way to watch anything. It gives you a completely different experience than just watching it in your own home. MG: Absolutely. It’s an indulgence. But one should indulge, especially if that’s your art. What’s the last movie you saw in a theater? ZS: It was actually Blade Runner. MG: Oh! Good answer! I will take that! ZS: It was great, by the way. MG: I strongly recommend that the next movie you see be Murder on the Orient Express. … ZS: So you mentioned reading in one of your answers. I saw that you—I read the Hollywood Reporter interview where you said that when you started writing you made two stacks of scripts: one that you thought your work was better than and work that you thought was better than yours. How did you differentiate that? MG: You’re asking the right question because it was an incredibly arrogant statement I made—that I’m able to look at a stack and … determine with any accuracy whether I’m better or worse. … What that really means is that I started to have an opinion about what I thought was good— ZS: Okay. MG: —and applied that to my own writing. You might be wrong, but at least you’re starting to develop your own metronome that you’re going to start keeping time to. The more you read, the more you know what works, what doesn’t—what works for you, what doesn’t work for you, and how to approximate that. When I was starting—it was twenty years ago exactly, and that makes me a very old person, especially compared to you ...—but scripts were very elusive then. It was like, “Oh my God, you got a copy of the script of Tim Burton's Batman…? How? They were these secret things—you could only get them if you knew someone . …  People sold them on the streets in New York for five bucks. They were these magic things. You could go to Sam French and read every play in the world—which you should. But screenplays now are generally available on the Internet, and every TV show—you can read all the scripts. You can read the scripts and reverse-engineer: how did they do that? How did they get that image on the page? … How did they—was that dialogue on the page, or was it adapted by the actor … or was that word-for-word what was written? How did they structure it?—secretly the hardest thing in screenwriting. And you can start to learn by dissection. So I was fortunate that I lucked my way into a job where I had access to scripts. …And now they’re all PDFs. Get ’em all! Read them and understand. This person has a fancy reputation … but they’re terrible! Oh my gosh! I can have that job. Or: holy crap, this person wrote something that makes me think I suck. I want to be as good as that. … Get your ego invested, either positive or negative … because that’s your profession. … See how you feel about other people's work. ZS: I totally agree. Since I’ve been recently getting into screenwriting, I go on those websites that have all those PDFs, all the files. It’s great to look at it—especially with actions and sequences. If it’s a movie I’ve seen, like, five times, I go look at the screenplay and I can actually see it as it’s happening. MG: Yeah! …There are a few screenwriters of note who have dedicated enormous amounts of time and energy to  websites, especially John August—JohnAugust.com. John August is an incredible screenwriter, a very nice guy. … Anytime people ask me starting-out questions, I always refer them to his website, or [Javier Grillo-Marxuach and Jose Molina's] Children of Tendu, because they’ve done all these wonderful podcasts with really, really smart answers to questions that everyone has. John August started an FAQ about screenwriting twelve years, ten years ago. And if you just started reading backwards from his recent posts back to the original, you would know a lifetime of screenwriting advice. It’s incredible. All of this stuff used to be so esoteric—you couldn’t get answers to that. You didn’t have access to. … So it’s an incredible time to be an aspiring screenwriter— ZS: Yeah. MG: —because it’s all there for you to learn. The only thing is on top of that make sure to read things that aren’t just screenplays. … You still need to be someone who has something to write about, which means you have to cultivate interests. … No one wants a film about people who want to make films. … Not that there isn’t a good version of it, but there are a lot of them out there. Sometimes that’s the only experience people have. So make sure to have other experiences in your life. … ZS: So I saw in another interview that you— MG: —It’s a fancy way of saying: make sure to goof off! ZS: Yeah. That’s a good way to put it. So I saw in another interview that you were very into comics growing up. Is that one way—one platform of reading that you kind of got motivated off of, since you’ve obviously written a few superhero-oriented movies? MG: Ah, definitely, I mean, any reading is good reading. Anything that you gravitate to is worth doing. … I read a lot of comics growing up, but I wasn’t very thoughtful about it or reflective about why I liked these things, or didn’t even have a really strong sense of what I liked. I just wanted to consume it all. But I can look back on those experiences and see what my brain remembers from all that reading all these years later. And then there’s something very self-indulgent about writing. You’re taking time out of what could be an experience [to] put words down that you're certain other people should hear, and sometimes you do it for other people in your life, and sometimes you do it for yourself, and sometimes you write for your bar mitzvah self—for the 12-year-old- or 13-year-old version of yourself. … ZS: So all the films that you’ve made have been adaptation projects, whether it be from a series, like Logan, or adapting Blade Runner. … Is that something that you want to stick with doing, or are you trying to come up with original concepts? MG: You know, it’s a constant battle. If I’m not adapting things, then I’m coming up with originals. It happens to be that in the last few years, things were brought my way that were too irresistible to say no to. ... We’re definitely in a time in the entertainment industry where studios feel most comfortable with developing properties that are known. Adaptations just happen more. It has a lot to do with what the audiences are willing to show up for. There was a really pivotal moment a couple of years ago when this wonderful movie called Edge of Tomorrow came out, starring Tom Cruise. It’s a Warner Bros. film, directed by Doug Liman. It was an original film, but it actually was based on [Hiroshi Sakurazaka's] manga comic [All You Need Is Kill]. ... [Website here.] This was a new, fresh thing. It was such a great film. And there was ... a lot of Monday-morning quarterbacking about why it didn’t do well. People didn’t show up! You had audiences looking for familiar things. … It became a cult film later, but that was the day Warner Bros. said, We might not want to do original stuff for a very long time. At studios you can see the reverberations of that. … you could see the business seismic shift after things like that happened. As a working screenwriter, you get offered things … as opposed to when you say I want to do something original and you have to create time where you essentially say no to jobs. If I want to do something original, on spec … I’ll have to take as many weeks or months as that’ll take, not getting paid to do something else, to take a chance on something original. That’s a big lottery ticket. If it works well, you’ve now created something that you can enjoy, and that’s yours from the ground up. But if it doesn’t, you’ve now not worked during that slot of writing.… If you're not interested in high-risk kind of reward, don't be a screenwriter. I'm not saying anything fresh or original in the adaptation-versus-original conversation. People spend a lot of time looking at the finances of [this]. ZS: So when adapting an existing project or a previous movie, how much research goes into it—how much time went into researching Blade Runner, and rereading the original script and watching the movie? MG: Research is an important part of writing—you need to fill your mind with things of and around the piece, and internalize it. And it can mean different things on different projects. ...With Blade Runner, you certainly need to know that film. But there’s also a point that comes in every project where you have to stop. I’ve known writers who’ve paralyzed themselves ... using research as the excuse to not start. At some point you have to say, I’ve read enough; I know enough. … For Blade Runner ... I obviously knew the film very well ... but I did put myself through Noir Writing School—which was nothing more than, I just hadn’t read a lot of the great noir novels, and I gave myself the license to take some time to read them. ZS: Cool. MG: Pure joy. And then I would have them as the occasional tuning fork, till I felt I had a new voice in my head, or my version of all that. And then from time to time I might, while taking a lunch break, eating my … salad, pick up one of those [novels] and read a few pages to keep my mind occupied with those words and those cadences. Research is very important and it’s very useful—to a point. At some point you have to trust yourself as a writer and say, Okay, I got it—or at least me right now has a version of this. And you can only be the writer you are at that moment. In a year’s time, you might pick up what you wrote and say, Oh, I can improve on that. Hopefully you’ll have that opportunity. But you do have to do your job as a writer and let go of the fear of not being comprehensive. You don’t have to give yourself a PhD in Civil War history before you write [a] Civil War [film]. You have to read some, to find your way around it. Don’t paralyze yourself with that—but don’t be lazy, either! ZS: I know a lot of screenwriters like to direct and/or produce their own projects that they’ve written. Is there a reason that you haven’t really stepped into that? Or would you ever consider it? MG: Well, I came out of television, where I am a producer—where I do produce. Features is the director-driven job. ...In television, one of the nice things about it, from my perspective, is the writer and show runner is in charge of the show—produces it, top to bottom, every last detail, almost to the point where it can produce a terrible job, because it's too much control over everything. I’ve been very fortunate that I’ve been able to write features but I'm also able to stay in television, where I do run a show. … I can have an insane amount of control over every detail, or decide for myself what I want to delegate and what I don't, and [keep to] a form of direction in that way, while still writing. And [I can] work on features in the margins of that time. I've enjoyed that a lot. As far as directing, it’s an ambition I have. Depending on how a few things go this year, I may direct an episode of American Gods. ZS: Cool. MG: Put my toe in those waters and dive on in. It’s something I’ve wanted to do for a while and just kept saying, I’ll do it next year; I'll do it on the next show. So it depends on how a few things shake out this year. … ZS: Cool. So it sounds like you’re on set and involved in production for American Gods. Are you ever on set for the features that you write? MG: Yes. For American Gods I’m on set as much as I’m able to be, with my good friend Bryan Fuller. Toronto, Los Angeles. … On the features, it’s sort of “as able”: Logan I was not on the set for. I didn’t finish out the writing on that. That was James Mangold and Scott Frank. They were more on the ground there. Blade Runner and Orient Express, I was very fortunate. Both directors were extremely inviting and just said, "Be here as much as you want to be here." I was very much a part of that process. … After a few weeks I felt like. Well, I might have a contribution here, but I also felt ... I had to get back to American Gods—you can’t run a show from Europe. I would check in and out—spend a couple of weeks. Orient Express I was there the first week or two. Interestingly enough, it was essentially a year ago now, so I was there Election Day, when America shut down. Very strange thing to be there [for that]. … And then I came back later on in the production—trying to be helpful. It was also fortunate that I trusted both directors and enjoyed—I was able to watch dailies every day on both of them [Blade Runner and Orient Express] and feel like this was going really very well. … ZS: What was it like being on the Blade Runner set? Because clearly a lot went into that movie’s production. MG: Walking on the Blade Runner set was one of the silliest, funniest things I’ve ever done. It was so BIG. … I felt dwarfed, I felt … I felt like it was one of my first times on a set. … ZS: Yeah. MG: I’d never been on anything that scale. … A driver brought us into this campus. I looked up and I see these twelve buildings, each one a giant warehouse. ... I said, Which one’s ours? And he said, All of them. … In Budapest ... it was like an airplane hangar. … [You’re looking at] better versions of what you’d imagined. And you kind of have this weird gravitational shift in your brain, where you let go of how you’d imagined it. And you see the reality and sometimes certainly the reality is better. It was silly and hilarious. I just kept laughing. I couldn’t believe the gorgeousness of everything. ZS: Definitely paid off. Because it looked amazing on screen. MG: Thank you. I’m incredibly proud of it. … It was like a four-and-a-half, five-year job and I enjoyed every minute of it. … I just never stopped feeling grateful to be a part of it. And the fact that it turned out to be a movie people really enjoyed is beyond expectation. The whole thing was always beyond expectation. I couldn’t believe I was writing it, I couldn’t believe they liked what I was writing, I couldn’t believe they shot it, and I couldn’t believe it turned out great. Not surprised it turned out great, because of all the people involved. ZS: Star-studded cast, great director. MG: I’m sorry to have kept you waiting for weeks. ZS: Thanks so much for doing this. MG: Got everything you need? ZS: I’ve got everything I need. Thanks so much. MG: All right. ZS: Bye.   That’s Episode 1 of Zack’s Film Talks at SDSU. Thanks for listening. Episode edited by Chris Burke.            

On today's episode I talk to writer and showrunner Javier Grillo-Marxuach. Originally from Puerto Rico, Javi earned his MFA in screenwriting from USC in the early 1990s, and soon after started his television career. He's written for a number of rad shows across many different genres including Charmed, Boomtown, Medium, Lost, Helix and The 100, and he created and showran the fantastic show The Middleman, which was based on his own comics. Javi's also the co-host with Jose Molina of the Children of Tendu podcast, which is an educational series that aims to teach newcomers how to navigate the entertainment industry with decency and integrity (and as far as I'm concerned is a must-listen for anyone that wants to work in this industry). Currently, Javi co-executive produces the Jim Henson Company's upcoming ten-hour prequel to their classic film The Dark Crystal for Netflix. This is the website for Beginnings, subscribe on iTunes, follow me on Twitter.

Chatting With Sherri welcomes Hugo Nominated editor and author Bryan Thomas Schmidt! Bryan Thomas Schmidt is an author and Hugo-nominated editor of adult and children's speculative fiction. His debut novel, The Worker Prince received Honorable Mention on Barnes & Noble Book Club's Year's Best Science Fiction Releases. His short stories have appeared in magazines, anthologies and online and include entries in The X-Files, Predator, Joe Ledger, Monster Hunter International, and Decipher's WARS, amongst others. As book editor for Kevin J. Anderson and Rebecca Moesta's WordFire Press he has edited books by such luminaries as Alan Dean Foster, Tracy Hickman, Frank Herbert, Mike Resnick, Jean Rabe and more. He was also the first editor on Andy Weir's bestseller The Martian. His anthologies as editor include Shattered Shields with co-editor Jennifer Brozek, Mission: Tomorrow, Galactic Games, Little Green Men--Attack! with Robin Wayne Bailey, and The Monster Hunter Tales with Larry Correia all for Baen, Space Battles: Full Throttle Space Tales #6, Beyond The Sun and Raygun Chronicles: Space Opera For a New Age for various small presses and Joe Ledger: Unstoppable with Jonathan Maberry for St. Martin's Press. Original stories in Jonathan Maberry's New York Times bestselling Joe Ledger universe by Larry Correia, Mira Grant, Scott Sigler, David Farland, Christopher Golden, Tim Lebbon, Steve Alten, Jon McGoran, Dana Fredsti, Jennifer Campbell-Hicks, Javier Grillo-Marxuach, Bryan Thomas Schmidt, GP Charles, Keith DeCandido, James A. Moore, Aaron Rosenberg, Nicholas Steven, James Ray Tuck, Jeremy Robinson, and Maberry himself.

We watch season one, episode six, "House of the Rising Sun," and read from a 40-page essay shared with us by writer Javier Grillo-Marxuach in lieu of an interview. Plus, which host would have stayed on the beach and who would have chosen the caves? As always, we're on Twitter @TheHatchPodcast and available by phone at +1 954-6-DHARMA. Our theme music is by Andy G. Cohen and our cover art is by Danny Roth.

A double-header recorded at ATX, a Television Festival this year. First, Ryan Condal (co-creator, Colony), Zander Lehmann (creator, Casual), Sarah Gertrude Shapiro (co-creator, unREAL), and Joe Pokaski (co-creator, Underground) discuss the process of creating and/or running their own show for the first time, and learning to juggle all that having a new series entails, from pitching, to writing and producing a pilot, having their series picked up, organizing a writers room, and being paired with seasoned showrunners (or learning to become one themselves). Moderated by Tim Goodman (The Hollywood Reporter). Then, Debra Birnbaum (Variety) talks with Hart Hanson (creator, Backstrom), Ted Griffin (creator, Terriers), Javier Grillo-Marxuach (creator, The Middleman), and Kevin Falls (creator, Journeyman) about the lessons they have learned from their one-season wonders, the constantly-changing definitions of success, not compromising creative vision, and how these short-lived series have shaped their ongoing careers. Recorded at ATX Television Festival on June 11, 2016. Get your badge now for ATX's sixth season, June 8-11 2017, at http://atxfestival.com/

Javier Grillo-Marxuach (creator, The Middleman), Brian Michael Bendis (creator of Jessica Jones and Powers), and Rosemary Rodriguez (director, Jessica Jones) discuss how a storyteller infuses his or her own voice into an often stylized and specific world while still satisfying a pre-existing (and passionate) fan base, adapting one highly visual format to another, and what makes TV such an appealing medium for exploring these fantastical series. Recorded at ATX Television Festival on June 10, 2016. Get your badge now for ATX's sixth season, June 8-11 2017, at http://atxfestival.com/

Our bonus episode for season 4 is here! We hang out with Javi and talk about his experiences playing D&D, and preferred character classes. Then Mike sits down with Jay and the producers, Niels and Andrew, and we talk about the experience of writing and running the game, and give advice on what to do when your players take you by surprise! The Players:  Jeremy Fox as Prince Horace Kemp, human noble fighter.  Kelly Egan as Ysabel "Izzy" Buchanan, half-elf druid hermit.  Mike Christensen as Sweeney, human charlatan wizard.  Javier Grillo-Marxuach as Medium Aldwyn, hill dwarf cleric sailor.   Dungeon Master:  Jay Jones    Producers:  Niels-Christian Kielland Andrew Dickinger     Listen to full episodes at PartialArc.com.  Email us at fridaynightquests@gmail.com, and find us on Twitter at @partialarc  Follow Javier Grillo-Marxuach on Twitter at @OKBJGM Follow Jeremy on Twitter at @jayleefox  Follow Kelly on Twitter at @girlmeetsbear  Follow Mike on Twitter at @supergeekmike

Presenting the conclusion of our adventure with Javier Grillo-Marxuach (Lost, The 100, The Middleman)! In the aftermath of their brutal battle, our heroes must race to solve the mystery of the sand's sinister source... before they meet their untimely end! The Players:  Jeremy Fox as Prince Horace Kemp, human noble fighter.  Kelly Egan as Ysabel "Izzy" Buchanan, half-elf druid hermit.  Mike Christensen as Sweeney, human charlatan wizard.  Javier Grillo-Marxuach as Medium Aldwyn, hill dwarf cleric sailor.   Dungeon Master:  Jay Jones    Producers:  Andrew Dickinger  Niels-Christian Kielland    Listen to full episodes at PartialArc.com.  Email us at fridaynightquests@gmail.com, and find us on Twitter at @partialarc  Follow Javier Grillo-Marxuach on Twitter at @OKBJGM! Follow Jeremy on Twitter at @jayleefox  Follow Kelly on Twitter at @girlmeetsbear  Follow Mike on Twitter at @supergeekmike    

Join us for part two of our adventure with Javier Grillo-Marxuach (Lost, The 100, The Middleman)! Our heroes have blundered their way into the carnival, but they are no closer to cracking the impending murder mystery! Also, buckle up, because this episode goes 100% off the rails. The Players:  Jeremy Fox as Prince Horace Kemp, human noble fighter.  Kelly Egan as Ysabel "Izzy" Buchanan, half-elf druid hermit.  Mike Christensen as Sweeney, human charlatan wizard.  Javier Grillo-Marxuach as Medium Aldwyn, hill dwarf cleric sailor. Dungeon Master:  Jay Jones  Producers:  Niels-Christian Kielland  Andrew Dickinger  Listen to full episodes at PartialArc.com.  Email us at fridaynightquests@gmail.com, and find us on Twitter at @partialarc  Follow Javier Grillo-Marxuach on Twitter at @OKBJGM! Follow Jeremy on Twitter at @jayleefox  Follow Kelly on Twitter at @girlmeetsbear  Follow Mike on Twitter at @supergeekmike

This season, we're joined by writer Javier Grillo-Marxuach (Lost, The 100, The Middleman)! When our heroes witness a troubling portent of impending doom, they will have only one chance to make things right... if they can manage to keep from beating up everybody they meet along the way. The Players:  Jeremy Fox as Prince Horace Kemp, human noble fighter.  Kelly Egan as Ysabel "Izzy" Buchanan, half-elf druid hermit.  Mike Christensen as Sweeney, human charlatan wizard.  Javier Grillo-Marxuach as Medium Aldwyn, hill dwarf sailor cleric.   Dungeon Master:  Jay Jones    Producers: Niels-Christian Kielland   Andrew Dickinger     Listen to full episodes at PartialArc.com.  Email us at fridaynightquests@gmail.com, and find us on Twitter at @partialarc  Follow Javier Grillo-Marxuach on Twitter at @OKBJGM Follow Jeremy on Twitter at @jayleefox  Follow Kelly on Twitter at @girlmeetsbear  Follow Mike on Twitter at @supergeekmike

Today our special guest is the Emmy Award winning Javier Grillo-Marxuach, a screenwriter, comic writer, producer and all around amazing talent whose works include LOST, THE 100, THE MIDDLEMAN, CHARMED, BOOM TOWN and more

Lord Retail is joined by a cavalclade of Acme alumni including John Bethel (ep #106 Good Ol' Children of the Atom, ep. #185 America Still Needs Your Help), Jay Howerton (ep. 120 People v. Acmecast), Ryan Rubio (Acmecast #166 Weapon X-Files, Acmecast #141 Gijoey), and newcomer Devin Turner to bask in the glory of the Marvel cinematic universe, past, present, and future! Show Notes: Editor's Note: I don't like to over-analyze the episodes that I didn't host myself, but if I could throw one thought out there, it would be that Jon Favreau doesn't get enough credit for establishing a visual style that is able to be both unique to each director and character (Star-Lord's dancing intro in Guardians, the period piece of Captain America: the First Avenger) and transcendant of all genres and actors.Jermaine touches on Warner Bros. not getting the interconnectivity of the movies, the DVD shorts, TV shows, etc., and I think that's 100% true, but they've also clung to the super-stylized take that Christopher Nolan brought to Batman, even when it's not appropriate for Superman, Flash, Wonder Woman, etc., as emphasized by the leaked inter-office memo concerning Batman v. Superman: Dawn of Justice.Even though they haven't gotten too far into the detailed reasoning behind Edgar Wright and the other cast members leaving Ant-Man, maybe Wright, whose body of work has always been 100% his, Simon Pegg's, Nick Frost's and Jessica Hines', couldn't play ball with the visual language to which Marvel movie-going audiences have become accustomed. Wright's other comic adaptation, Scott Pilgrim vs. the World, a favorite of mine, made just $47 million worldwide, whereas the least successful Marvel cinematic movie, Hulk, still grossed $263 million. I also just want to clarify the creative credits for Annihilation and Annihilation Conquest: Drax the Destroyer came out in 2005 before Annihilation began and was written by Keith Giffen. During the Annihilation minis from 2005-2006, Giffen wrote Silver Surfer, Abnett & Lanning wrote Nova, Javier Grillo-Marxuach wrote Super-Skrull, and Simon Furman wrote Ronan. Giffen then wrote the unifying Annihilation mini series in 2006, which the Nova ongoing series by Abnett & Lanning spun out of in 2007 The Annihilation Conquest minis started in 2007, with Quasar written by Christos Gage, Star-Lord by Giffen (introducing the Guardians of the Galaxy as we know them today), and Wraith written by Grillo-Marxuach. Abnett & Lanning then stepped in for the climax mini series in late 2007/ early 2008, from which the Guardians of the Galaxy spun out.

AFTERBUZZ TV — Helix edition, is a weekly "after show" for fans of Helix. In this episode host Matt Lieberman breaks down the episode in which Peter leads the Vectors in a desperate final attempt to spread the virus, while the CDC scientists work together and successfully create a cure just as their lives come under threat from Ilaria Corporation's deadly mercenaries. There to help Matt are co-hosts Zach Wilson, Liz Rishmawy, and Stephen Lemieux. Also joining the conversation are special guests Helix writers Javier Grillo-Marxuach and Tiffany Greshler. It's Helix's "Black Rain" podcast! Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV For more of your post-game wrap up shows for your favorite TV shows, visit http://www.AfterBuzzTV.com Learn more about your ad choices. Visit megaphone.fm/adchoices

So True Detective is over. Now what am I supposed to overanalyze on Reddit? Sure, the food on Hannibal looks amazing, but the show lacks that certain je-ne-sais-Carcosa. I need a crime TV fix, people!Luckily, I have a friend in Nancie Clare, founder of the forthcoming Speaking of Mysteries blog and podcast. When it comes to ferreting out the best in crime TV and books, Clare is the Rust Cohle—the most dogged of them all. And she just happens to be my special guest co-host this week, dishing on exactly what you need to be watching next (and reading, now that Malcolm McKay, author of the breakout Glasgow Trilogy of crime novels, doesn't have anything new on the shelves this very second).What else do I have for you this week? Ever wonder if those pricey makeup brands—the ones so often slathered on celebrities during the Oscars—are really worth it? For the next several weeks, I'll be drilling down on a variety of beauty categories, getting the straight dish from top-of-the-line red carpet makeup artists about what they really carry around in their handbags. And it ain't always the spendiest of balms.Plus! TV industry vet Marrissa O'Leary answers a question that you yourself have probably wondered—that is, if you've ever watch the end credits of a network TV show. O'Leary, a former head of business affairs for not one but two major TV production studios, dips into her vast pool of knowledge—and shares wisdom from a couple of her favorite showrunners, John Rogers and Javier Grillo-Marxuach—to answer a burning question from listener AdamX6000.Enjoy!

AFTERBUZZ TV — Helix edition, is a weekly "after show" for fans of Helix. In this episode host Matt Lieberman breaks down the episode in which Peter leads the Vectors in a desperate final attempt to spread the virus, while the CDC scientists work together and successfully create a cure just as their lives come under threat from Ilaria Corporation's deadly mercenaries. There to help Matt are co-hosts Zach Wilson, Liz Rishmawy, and Stephen Lemieux. Also joining the conversation are special guests Helix writers Javier Grillo-Marxuach and Tiffany Greshler. It's Helix's "Black Rain" podcast! Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV For more of your post-game wrap up shows for your favorite TV shows, visit http://www.AfterBuzzTV.com

On this episode of the podcast Eric was joined by Doc Hammer and jackson Publick as the guys talk about the evolution of 21/Gary as a character, New York Comic Con, having Brock Samson appear in his first video game, celebrity voice casting and more! Then Eric is joined by Javier Grillo-Marxuach as they talk about working on Annihilation and Conquest with the Super Skrull and Wrath, attending Gallifrey one, working on television, teasing the new show he's working on, Middleman, his short films and just so much more! Javi on twitter! Javi's site! Minotaur the short film! Venture Brothers official site on adult swim! Follow me on twitter! Like the show on facebook! Subscribe on youtube! Subscribe on itunes! Check out my awesome webcomic, New Comic Day! Kirby Krackle!

Dan Harmon (Community); Javier Grillo Marxuach (The Middle Man, Lost); Aaron Ginsburg and Wade McIntyre (The Good Guys, Finder). Recorded April 27, 2011.CONNECT W/ BEN BLACKER & THE WRITER'S PANEL:https://twitter.com/BENBLACKERhttps://www.facebook.com/TVWritersPanelTHE WRITER'S PANEL IS A CO-PRODUCTION OF THE FOREVER DOG PODCAST NETWORK AND THE ATX TELEVISION FESTIVAL.http://foreverdogproductions.com/fdpn/podcasts/the-writers-panelhttp://atxfestival.com

Jimmy flies solo to give you his very own and hopefully not too self-indulgent San Diego Comic-Con recap! No reviews, news or Top 3. He chatted with many folks and did lotsa crazy stuff. Yes, heavy drinking was involved usually. Expect some fun tales and the usual name dropping. He got so many interviews that will be spread over the next few weeks. In this episode, you'll hear great chats with Lili Bordan (Battlestar Galactica: Blood and Chrome), Blair Butler (Attack of the Show), Javier Grillo-Marxuach (Middleman), Kevin Michael Richardson (voice over actor) and Jonathan Ross (Turf, Golden Age).

Guest Co-host: Javier Grillo-Marxuach! Movie Reviews: "Thor" and "The Troll Hunter"! Movie and TV: Javi talks about his work as a TV writer! Jonathan investigates why Javi has seen Attack of the Clones 47 times! PLUS! Paul Feig and Kristen Wiig talk about their new film "Bridesmaids"! ALSO! A special message from Super Action Man!

Reviews: None this week due to massive NYCC coverage! It's our insane NYCC coverage with interviews galore! Interviews with Javier Grillo-Marxuach, Brea Grant, Zane Grant, Kyle Strahm, Nikki Cook, Greg Pak, David Nakayama, and Monica Gallagher. Hear the boys give their recap of the show, the signings, the charity raffle, the parties, costumes, highs/lows and all sorts of nerdy goodness! No news or reviews this week since there is so much to chat about. 

ReviewsPainkiller Jane Vol. 3 #0, Raise the Dead #1, Fallen Son: The Death of Captain America #1: WolverineInterview with Javier Grillo-Marxuach (Producer/Writer for LOST and MEDIUM), who discusses his TV and comic book works!Congrats to Contest Winner David Surkin!