Podcast appearances and mentions of Johnny Bravo

W tym odcinku wracamy do czasów, gdy telewizor był naszym centrum dowodzenia, a Cartoon Network serwował kreskówki, które na zawsze wryły się w pamięć. Przypominamy sobie, czym zachwycało nas Laboratorium Dextera, dlaczego Johnny Bravo był śmieszny (a dziś trochę problematyczny), oraz co sprawiło, że Atomówki były pierwszymi idolami dla wielu młodych widzów – bez względu na płeć.Zanurzymy się też w ten specyficzny, absurdalny humor Krowy i Kurczaka, Jam Łasicy czy Ed, Edd i Eddy'ego, zastanawiając się, czy to był czysty chaos… czy może właśnie geniusz. Porozmawiamy o stylistyce, muzyce, języku i wszystkim, co tworzyło klimat kreskówek z tamtego okresu.Nie zabraknie ciekawostek zza kulis – jak wyglądała produkcja, kto stał za sukcesem Cartoon Network i co sprawia, że dziś te seriale nadal mają kultowy status. Będzie nostalgia, będzie śmiech, i może trochę zdziwienia: „to naprawdę leciało w telewizji?”Zapraszamy!

We talk a lot about agility, and today, we're going to talk about how lessons of agility can come from unexpected places - like the set of Seinfeld - where - for those superfans like me - our guest played Alec Berg - which should be said in more of a Jon Houseman manner, and while guest starring there (plus other shows like Curb Your Enthusiasm, Tracey Takes On..., and more) took some lessons from the value of collaboration and how great ideas can come from anyone, anywhere. Joining me today is Mark DeCarlo, an Emmy Award-winning comedian, TV host, and speaker who brings a fresh and entertaining perspective on navigating change, AI, and work-life balance. Mark has developed five simple strategies to help people embrace chaos, overcome fear of AI, and actually be happier while working smarter. ABOUT MARK DECARLO Improv actor/host, screenwriter and best-selling author Mark DeCarlo, lives a dual life: as an Emmy Award-winning TV host…and a cartoon.   As host/ringleader on 1000+ episodes of hit TV; Studs, X Show, Taste of America, and current series; World's Funniest Videos Top 10 and ABC's Windy City LIVE, Mark's improvisational skills - honed as a Founding member of The Second City Hollywood - have earned him three Emmy Awards for On Camera Host. From pissing-off pal Steve Carell, to convincing a random tourist to pose as a fashion designer during a live remote, Mark's interviews of the famous/infamous celebrate the odd and eccentric. His characters on “Curb your Enthusiasm,” “Tracey Takes On…,” “Seinfeld” and 2020's “Ballbuster,” zig where most zag. That's Mark, the human. Mark, the cartoon, came within a Shrek of winning an Oscar starring as Hugh Neutron in Best Animated Picture nominee “Jimmy Neutron, Boy Genius,” and has built a career playing energetic, off-beat and edgy cartoons characters on many series, including; Family Guy, Barnyard, Planet Sheen, Johnny Bravo and Handy Manny. He stars in Steve Oedekirk's series of Thumb comedies from Thumbtanic to BatThumb, and will reprise his iconic role of Black Helmet Man in the upcoming 2022 release of ThumbWars IX. RESOURCES Mark DeCarlo: https://www.MarkDeCarlo.com Catch the future of e-commerce at eTail Boston, August 11-14, 2025. Register now: https://bit.ly/etailboston and use code PARTNER20 for 20% off for retailers and brands Don't Miss MAICON 2025, October 14-16 in Cleveland - the event bringing together the brights minds and leading voices in AI. Use Code AGILE150 for $150 off registration. Go here to register: https://bit.ly/agile150 Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstrom Don't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.show Check out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand podcast is brought to you by TEKsystems. Learn more here: https://www.teksystems.com/versionnextnow The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

We talk a lot about agility, and today, we're going to talk about how lessons of agility can come from unexpected places - like the set of Seinfeld - where - for those superfans like me - our guest played Alec Berg - which should be said in more of a Jon Houseman manner, and while guest starring there (plus other shows like Curb Your Enthusiasm, Tracey Takes On..., and more) took some lessons from the value of collaboration and how great ideas can come from anyone, anywhere. Joining me today is Mark DeCarlo, an Emmy Award-winning comedian, TV host, and speaker who brings a fresh and entertaining perspective on navigating change, AI, and work-life balance. Mark has developed five simple strategies to help people embrace chaos, overcome fear of AI, and actually be happier while working smarter. ABOUT MARK DECARLO Improv actor/host, screenwriter and best-selling author Mark DeCarlo, lives a dual life: as an Emmy Award-winning TV host…and a cartoon.   As host/ringleader on 1000+ episodes of hit TV; Studs, X Show, Taste of America, and current series; World's Funniest Videos Top 10 and ABC's Windy City LIVE, Mark's improvisational skills - honed as a Founding member of The Second City Hollywood - have earned him three Emmy Awards for On Camera Host. From pissing-off pal Steve Carell, to convincing a random tourist to pose as a fashion designer during a live remote, Mark's interviews of the famous/infamous celebrate the odd and eccentric. His characters on “Curb your Enthusiasm,” “Tracey Takes On…,” “Seinfeld” and 2020's “Ballbuster,” zig where most zag. That's Mark, the human. Mark, the cartoon, came within a Shrek of winning an Oscar starring as Hugh Neutron in Best Animated Picture nominee “Jimmy Neutron, Boy Genius,” and has built a career playing energetic, off-beat and edgy cartoons characters on many series, including; Family Guy, Barnyard, Planet Sheen, Johnny Bravo and Handy Manny. He stars in Steve Oedekirk's series of Thumb comedies from Thumbtanic to BatThumb, and will reprise his iconic role of Black Helmet Man in the upcoming 2022 release of ThumbWars IX. RESOURCES Mark DeCarlo: https://www.MarkDeCarlo.com Catch the future of e-commerce at eTail Boston, August 11-14, 2025. Register now: https://bit.ly/etailboston and use code PARTNER20 for 20% off for retailers and brands Don't Miss MAICON 2025, October 14-16 in Cleveland - the event bringing together the brights minds and leading voices in AI. Use Code AGILE150 for $150 off registration. Go here to register: https://bit.ly/agile150 Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstrom Don't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.show Check out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand podcast is brought to you by TEKsystems. Learn more here: https://www.teksystems.com/versionnextnow The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

Manden med de 1000 stemmer, eller som McCartney synger på "The Fool On The Hill": Man Of The 1000 Voices. Det er den perfekte beskrivelse af Lars Thiesgaard, der gennem mange år har leveret stemmer til tegnefilm -  eller "dubbet" som det hedder. Figurer som Grisling, Sorteper, Scooby-Doo, Yoda, Jokeren, Pumba, Dexter, Johnny Bravo, Mumi og Don Karnage har alle fået et dansk liv gennem Lars og hans magiske stemme. Samtidig har han været instruktør på gigant succeser som Skønheden og Udyret, Aladdin, Løvernes Konge, Shrek-filmene, Klokkeren fra Notre Dame, Tarzan og Toy Story filmene.  Han er også skuespiller, musiker og lydbogs-indlæser. Du har med garanti hørt hans stemme i tv, eller måske i dine høretelefoner gennem tiden. Og nu får du chancen igen, for Lars er gæst i denne episode der handler om hans store passion for The Beatles. Siden barndommen i Sønderjylland har de fire fra Liverpool været en del af ikke kun lyd-, men også livstapetet. Fra de helt tidlige singleplader der kom som gaver fra hans mormor og nærlyttet i selskab med venner og barnepiger, til teenage-årene hvor "Red Rose Speedway" gav gode råd til håndtering af det andet køn, til voksenlivet hvor Beatlerne giver inspiration og energi til endnu en opgave i studiet. Interviewet her er lavet i et magisk, farverigt rum på Falster hvor Lars arbejder omgivet af smukke minder og trofæer fra et langt arbejdsliv....og sandelig også The Beatles.   Du kan opleve Lars på scenen til efteråret, hvor han turnerer med: "Manden med de 1000 stemmer 2"  - og læse mere om ham her: https://www.thiesgaard.com

On this episode of The Nest our hosts Anna Licona and Johnny Bravo interview student intern for ESPN under the University of Florida, Ximena Licona. With march madness all the rave right now lets hear how our host talk to Ximena. Tune into this episode of The Nest. 

A conversation with a longtime multifamily industry veteran, the awesome Nate Thompson, the Director of Screening at Morgan Properties, and a fabulous supplier partner to the multifamily industry, Johnny Bravo, Industry Principal at SentiLink…discussing how fraud is changing the rental housing industry, why people commit fraud, address screening needs of the multifamily industry and building a multilayered approach and solution. See omnystudio.com/listener for privacy information.

On this episode of The Nest our hosts Anna Licona, Johnny Bravo, and Rachelle Villalobos talk about the FOMO some are going to feel not being able to go on grad bash. Anna is a senior asking the juniors, Johnny and Rachelle, how they feel that all the seniors will be out there in Orlando, FL.

Return of the Rob! That's right, folks. Rob. Is. Back! After an all too long hiatus, we welcome back the missing piece of this here pod. I'm sure y'all were wondering when that barrage of guests would finally cease… Now we can get on with the REAL conversations.We talk about everything from Rob's new otamatone to the second Fyre Fest to the Land Before Time. Colin also digs into a cartoon that lives rent free in his head, none other than the ladykiller himself: Johnny Bravo. That's right! It's time for a brand new Limited Recall segment.And if you enjoy what we are doing here at the Pit and would like to support us further, please check us out our Patreon, where we have exclusive EXTENDED episodes! An extra thirty minutes plus for every episode starting with this one here! But if you want your support to equate in something you can touch, check out our etsy. Links in the episode description.EtsyPatreonLinktreeInstagram:@ruining_your.childhood@feral_williams@aralessbmn@strangeloopanimation

This is getting silly now! Excel Saga brings out the dog and pony show…well mostly just dog show! Join us this week as we declare the genius of Johnny Bravo (the show idea, not the character), give praise to the fan service episode title from last week, and try to figure out if Excel Saga is the Seinfeld of anime! [Episode 9] Bowling Girls: In a parody of the sports anime genre, Excel and Hyatt infiltrate a bowling alley in order to understand Japan's youth through (what Excel mistakenly thinks is) their most popular sport. Things become far too exciting when a bowling-fanatic terrorist organization hijacks the alley and the late-night, low-rated TV show Bowling Girls. This episode has a substantial role for the Excel Girls, an animated rendition of the two female artists who sing the opening theme. [Episode 10] Elegy to the Dogs (Menchi's Great Adventure): In a homage to animal shows, Menchi has escaped, having had enough of her role as ACROSS' emergency rations. She soon joins a pack of helpful strays, who undertake the quest to return Menchi to her former owner. Little does she know the storm of betrayal and vengeance approaching her and her new friends. If you'd like to get updates on the latest episodes and some occasional anime memes, why not give our Facebook page a follow? ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Who's That Anime? FB Page⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you'd like to see the video of our podcast, check out our YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Who's That Anime? YouTube Channel!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to join in on the conversation why to become a member of our Discord!? ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Who's That Anime? Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Want to support us on Patreon to get early access to episodes? ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠ If you're interested in following some of our other endeavours, why not give these links a try? ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Couch Fuel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Colin's Twitch channel ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Hail, Paimon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Steve's Twitch channel Theme Music by Taylor Gray

By the age of 15, Barry Williams was already a television veteran. He had had small roles in a number of popular TV shows, but he was about to get his big break. In 1969, Williams was cast in the role of Greg Brady, the eldest of the six children in the blended Brady family, a role that he embraced and ran with for the next five seasons. In this 1992 interview Williams recalls what it was like Growing Up Brady. Get your copy of Growing Up Brady by Barry Williams As an Amazon Associate, Now I've Heard Everything earns from qualifying purchases.You may also enjoy my interviews with Maureen McCormick and Bob Denver For more vintage interviews with celebrities, leaders, and influencers, subscribe to Now I've Heard Everything on Spotify, Apple Podcasts. and now on YouTube Photo by Rob DiCaterino #BradyBunch #TVsitcoms #1970s #JohnnyBravo

“Worse than the total agony of being in love?” Liam Neeson cured that wee boy's broken heart, and your second favourite Northern Irishman is here to cure yours.Whether it's a person or your instrument, falling in and out of love is one of the most difficult things we can go through as people. This week I'll show just how similar the 2 are, and give you some tips to get you falling back in love quicker than Johnny Bravo.Inline G Merch

Steve Dangle recaps and analyzes Game 31 of the Toronto Maple Leafs season against the Buffalo Sabres NEW BOOK!: https://www.harpercollins.ca/9781443469968/hockey-rants-and-raves/ BECOME AN SDP VIP! https://www.youtube.com/sdpn/join SDPN: https://www.sdpn.ca/ ADVERTISE WITH US! https://sdpn.ca/sales/ SDPN DISCORD: https://discord.com/invite/MtTmw9rrz7 EASTER SEALS: https://t.co/DVbMNTS1IL AUDIOBOOK: https://bit.ly/2GIgYya EASTER SEALS: https://t.co/DVbMNTS1IL

On The BIG Show today, we discuss having pets at restaurants, and battle our favourite childhood TV shows! Connect with us on Instagram: @kiss92fm @Glennn @angeliqueteo @thefdsg Producers: @shalinisusan97 @snailgirl2000 See omnystudio.com/listener for privacy information.

In this episode of The Nest, our hosts Anna Licona, Johnny Bravo, and Rachelle Villalobos sit down with remarkable guest, Dante Pulls, who defies stereotypes—a talented individual balancing two opposite worlds: dance and football. Tune in for a conversation about finding strength in diversity.

It's about time to acknowledge this year as a mark in history for Nintendo as both Princess Peach & Princess Zelda embark on their own venture to give the main heroes some needed rest. Johnny Bravo joins the Flash Bros. back to back this week as the trio discuss some of their favorite female characters amid all the banter. Exclusive Premium Series ▸ https://patreon.com/flashbrospodcast ★PreGame | Ep31 ▸ https://spoti.fi/4eyOgP4 00:00:00: Prelude 00:33:13: NEWSFLASH 00:57:46: ★ | Gold Tier Sponsors 01:04:35: ▲ | Damsel Without Distress 02:33:03: Epilogue

Johnny Bravo returns to the cast once again as the boys catch up & review the bombardment of news round up from the past week — from leaked Switch 2 renders to Sony's latest PlayStation Direct. Exclusive Premium Series ▸ https://patreon.com/flashbrospodcast ★PreGame | Ep31: Sailor Effect ▸ https://spoti.fi/4dH5k43 00:00:00: Prelude 00:29:59: Off-Topic 00:43:54: NEWSFLASH 01:40:51: ★Gold Tier Sponsors 02:21:50: ▲ | State of Play & Beyond 02:58:20: Epilogue

On this episode, our hosts Anna Licona, Johnny Bravo, and Rachelle Villalobos, share their insights on the impacts of social media when it comes to fashion. Tune in to hear their opinions on new trends that are followed all because of the media. 

Our hosts Ana Lincona and Johnny Bravo interview two of our football players, Brian Arteaga and Aiden Bermudez. In this episode they share their expectations and game day prep for this upcoming season. 

Oliver Stone interprets Quentin Tarantino, the wrongest SNL movie, found horror in the Paris catacombs, the end of Johnny Bravo, and let's not sugarcoat it: THE WORST WEEK OF MOVIES IN THIRTY TWENTY TEN HISTORY. Give here: https://www.patreon.com/lasertime  

It is a family affair as we wrap up Guestapalooza! We have Mallory's brother, Doctor DC, on as we talk cartoons and celebrity supercouples. We've got the end of Johnny Bravo in 2004 and the start of Bojack Horseman in 2014. We also talk about the wedding of Brad Pitt and Angelina Jolie, an event 9 years in the making. Join us for a grand conclusion to our annual Guestapalooza!

In the GFBS Studios today is Captain Brad Durick & Johnny Bravo. Talking about the upcoming Drayton ND catfish capital challenge tournament. Show is recorded at Grand Forks Best Source. For studio information, visit www.gfbestsource.com – Or message us at bit.ly/44meos1 – Help support GFBS at this donation link - https://bit.ly/3vjvzgX - Access past GFBS Interviews - https://gfbsinterviews.podbean.com/  #gfbs #gfbestsource.com #grandforksnd #interview #local #grandforks #grandforksbestsource #visitgreatergrandforks @grandforksnd @THECHAMBERGFEGF

Kucingko Berhad will become Malaysia's first animation company to list on Bursa Malaysia's ACE Market by the end of July. It started life as Inspidea back in 2002 and has chalked up production credits from the Cartoon Network's Johnny Bravo to the BAFTA-nominated BBC series, Pet Squad. Its co-founder and executive director iCJ See talks about how this IPO might be the next step in this company's ambition to become the Dreamworks of Asia.

#felixnorman #Johnnybravo #mrbeast #samsulek #fouadabiad ##Fouad #hosstile #supplements #Chicagopro #Brandoncurry #Oxygengym #Contract #Coach #trainer #Dubai #Bonac #Tabani #Neckzilla #Nathandeasha #Mrbigevolution #2A #secondammendment #Concealcarry #Roadrage #Fistfights #Tampa #Tampapro #Texaspro #Texas #arnold #Hunterlabrada #Practisemakesperfect #Bodybuildingposing #guestposing #Ironman #NYPro #Toronto #Nightofchampions #Sanfran #Olympia #Dorianhaywood #Philclahar #Jasonarntz #lukmon #Lukmonajibulu #Leonbrown

Harvey Brownstone conducts an in-depth Interview with Brenda Vaccaro, Legendary Stage, Screen and TV Star About Harvey's guest: Today's special guest, Brenda Vaccaro, guest is a legendary actress whose many unforgettable performances spanning over 6 decades on the stage, in the movies and on TV have brought her world wide acclaim.    She won a Theater World Award in 1962 for her Broadway debut in "Everybody Loves Opal".  She then received 3 Tony Award nominations for her performances on Broadway in "Cactus Flower," "How Now, Dow Jones," and "The Goodbye People."   She received a Golden Globe Award nomination in 1970 for Most Promising Female Newcomer for her very first movie role in “Where It's At”.  For her performance in “Midnight Cowboy”, she received Best Supporting Actress nominations for a Golden Globe Award AND a Laurel Award.   And a few years later, she received an Academy Award nomination for Best Supporting Actress, and she WON a Golden Globe Award for her brilliant portrayal of “Linda” in “Once is not Enough”.  She earned a Saturn Award nomination for her work in “Capricorn One”.    And she's co-starred in many other great movies including “I Love My Wife”, “Going Home”, “The House By the Lake”, “Airport ‘77”, “The First Deadly Sin”, “Love Affair”, “The Mirror Has Two Faces”, “Once Upon a Time in Hollywood” and one of my all-time favourite romantic comedies, “Boynton Beach Club”.   For her work on television, she won an Emmy Award for Best Supporting Actress in “The Shape of Things”.   And she received 3 more Emmy Award nominations for her work in “Sara”, “The Golden Girls” and the highly acclaimed mini-series, “You Don't Know Jack”, for which she also won a Satellite Award for Best Supporting Actress AND a nomination for an Online Film and Television Association Award.    Her television credits also include “Judgment: The Trial of Julius and Ethel Rosenberg”, “Guyana Tragedy: The Story of Jim Jones”, “A Long Way Home”, “Paper Dolls”, “Gypsy”, and many more shows.   And of course, she's renowned for her voice work in “The Smurfs”, “The Critic” and “Johnny Bravo”.   In 1992, our guest was named the "Queen of Brooklyn" at the Welcome Back to Brooklyn Festival.  And in 2001 she received an Outstanding Achievement Award from the Los Angeles Italian Film Association. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To learn more about Brenda Vaccaro, go to:https://www.instagram.com/officialbrendavaccaro/  #BrendaVaccaro    #harveybrownstoneinterviews

Julian from What's in My Head Podcast stops by for PART 1 of this two part discussion of the Cartoon Network classic cartoon pilot show, What a Cartoon Show! We get to talk about all the big shows that came from this anthology cartoon showcase like Dexter's Lab, Powerpuff Girls, Johnny Bravo and so much more! PART 2: https://podcasts.apple.com/us/podcast/what-a-cartoon-review-with-animation-destination-part-2/id1604643239?i=1000658002624

ReCap returns where we provide a synopsis of each story and discuss our favorite parts... this time covering Ed Brubaker and Steve McNiven's first story arc to Volume Six (2011)! Plus... Rick & Bob discuss Johnny Bravo, the fantasy draft and Rick shares a story of meeting George Perez and the sketch he was giddy over... YouTube: https://youtu.be/iUkk8-KCCAc Connect with Rick & Bob and fellow Cap fans at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/groups/captainamericacomicbookfans⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/CapComicFans⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Are you enjoying this podcast series? Please help by donating at: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/capcomicbookfans/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Please subscribe, rate and review! Our home page is ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://captainamericacomicbookfans.com⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/capcomicbookfans/message Support this podcast: https://podcasters.spotify.com/pod/show/capcomicbookfans/support

This week I sit down with Johnny Bravo character designer Julian Chaney to chat the early days of CN and working with Van to create and design some of the most iconic characters in the Johnny Bravo universe!Join our Patreon: patreon.com/nmyheadpodFollow Julian: https://www.facebook.com/julian.chaney.7Follow Us On Social Media:Facebook: https://www.facebook.com/nmyheadpodInstagram: https://www.instagram.com/nmyheadpodTwitter: https://twitter.com/nmyheadpodYoutube: https://www.youtube.com/c/WhatsInMyHeadPodcast/featuredPodcast Sponsor: Animation DestinationInstagram: https://www.instagram.com/animationdestination/Spotify: https://open.spotify.com/show/263EAbcFHuPBECSplwQ6ta?si=3782198b410c44f7Don't forget to subscribe and follow us across all social media platformsIntro Audio By: Lakey Inspired

Greg announces he plans to postpone college, in favor of a music career as Johnny Bravo. He anticipates solo stardom, but when he discovers his recordings have been electronically "sweetened", he confronts his agent, Tami Cutler. Tami and her associate admit they liked Greg only because he "fit the suit", prompting Greg to walk out.    This week's episode: "Adios, Johnny Bravo" The Brady Bunch S5 E01, originally aired September 14, 1973. Advertising Inquiries: https://www.advertisecast.com/  

After the Brady kids perform a song together, a slick-talking talent scout wants to sign Greg to a solo contract, and make him over into a singer named Johnny Bravo.    This week's episode: "Adios, Johnny Bravo" The Brady Bunch S5 E01, originally aired September 14, 1973. Advertising Inquiries: https://www.advertisecast.com/    

YoungLA Clothing brand drops Aioli after podcasters, including Johnny Bravo, set the record straight and call for the firing of Aioli due to videos showing the spokesperson for the company ruthlessly beating a cat. #animals #animalabuse #doxing  @JonnyBravoTV 

The Fresno boys join and talk Fresno ball! --- Send in a voice message: https://podcasters.spotify.com/pod/show/blake-street-banter/message Support this podcast: https://podcasters.spotify.com/pod/show/blake-street-banter/support

Send us a Text Message.In part two, CARTOONERIFIC! Host Brian Mitchell chats with Hanna/Barbera Cartoon Network Animation Director Robert Alvarez about his 50+ year career in the animation field and the dozens of shows that he worked on (Smurfs, Animaniacs, Powerpuff Girls, Dexters Laboratory, Samarai Jack and many many others!) Robert talks about his time working on the 'What A Cartoon' shorts for Cartoon Network.  Stay tooned for next weeks interview with Animation Expert/Historian/Author Mr Jerry Beck!all rights reserved (c) 2024 Cartoonerific Studios Inc. (c) 2024 By Cartoonerific! Studios Inc. All Rights Reserved

Ali recaps her second year attending LA Comic Con, highlighting awesome panels for The Office, Johnny Bravo, and much more!

It appears Sam may have signed a contract which prohibits him from going on any other podcast but his sponsor's, BUT that's earnings he could be getting and now is not. Hopefully, if he signed a contract, he got some legal or good advice, otherwise a short contract may be his only out. @EPzeronineBodyBuilding https://youtu.be/wZoB_KC8Hj8?si=opnFc1jcZIPU5ugI  https://youtu.be/58QuHCET_Pg?si=ku9OuFzeal_PMjoP#ifbb #Repsandrumors #supplements #beverlyhills #california  #Johnnybravo #fouad #fouadabiad #DonKing #miketyson #nickwalker #samsondauda #hosstilesupps #hosstile #Cbum #rxmuscle #DavePalumbo

You're not there to fix someone, you're there to be empathetic and support --- Support this podcast: https://podcasters.spotify.com/pod/show/boitu/support

Ever felt like your life is as chaotic, hilarious, and unpredictable as a cartoon character's? Well, you're not alone! My special guest, Lina Slim and I discuss our favorite animated personalities from shows like Ed and Eddie, Johnny Bravo, and the Wild Thorn Bears, debating which ones would fit right in here in the Sunshine State.But the fun doesn't stop at debates about cartoons. Strap in as we dive into some peculiar events planned for the highly-anticipated Florida Man Games in St. Augustine. From beer belly wrestling to a weaponized pool noodle event, it's a wild ride you won't want to miss. And let's not forget about our fearless encounters with alligators at Gatorama along with our thoughts on the current tattoo trend sweeping through Florida. Still with us? Good, because we take a sudden turn into the world of dating and expectations. Discover why it's important to be upfront about your relationship expectations, and the challenges that come when you're heavily invested. And if you've been curious about how New York transplants differ from Florida's, we've got some insights to share with you. So, if you're ready to dive headfirst into an episode that's as vibrant and intriguing as Florida itself, press play now!Support the showTiktok : https://www.tiktok.com/@omgitswicks?i...Instagram : https://www.instagram.com/omgitswicks/Facebook :https://www.facebook.com/omgitswicks239

We chat about cartoon adaptations, Hanna-Barbera, and a whole bunch of hunks. These are the deleted scenes for episode 454 of the Life's a Pitch podcast. If you wish to find any context, you'd better go back and listen to the main episode. Or don't, we're not the pirate king Luffy(????) you don't have to do what we say.

We had the pleasure of interviewing the talented voice actress Candi Milo. We delved into her extensive career, the art of voice acting, and her new book, "Surviving the Odd."Candi is the voice of many characters that will be known. Among them, Dexter of "Dexter's Laboratory", characters on "Johnny Bravo", "Foster's Home for Imaginary Creatures" and many, many more!The Craft of Voice Acting: Explore the world of voice acting as Candi shares her experiences and insights into the craft, from character development to vocal techniques."Surviving the Odd": Learn about Candi's new book, "Surviving the Odd," and its unique perspective on life, personal growth, and navigating the minefield of mental health.Balancing Life and Career: Candi discusses the importance of finding balance in a fast-paced industry and shares her thoughts on perseverance.Advice for Aspiring Voice Actors: Candi offers valuable advice to those aspiring to enter the world of voice acting, emphasizing the significance of dedication and authenticity.Upcoming Projects: Get a sneak peek into Candi's future projects and what's on the horizon for this talented voice actress.Remember to subscribe, rate, and review Eyewitness History.Follow the Show on Social Media!Facebook: https://www.facebook.com/EyewitnessHistoryTwitter: https://twitter.com/EyewitnessPodThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5351305/advertisement

It's a Wooden Overcoats battle! David K. Barnes, playing for Action Aid, and Beth Eyre, playing for Rainbow Migration, use their British, Sherlock-style sleuthing to some American Scooby Doo mysteries!  Cases: Gold Paw, E-Scream, A Terrifying Round with a Menacing Clown Clues & Evidence: Columbo, Fort Knox, Johnny Bravo, inverted commas, Gremlins, types of nerds, Todd Howard, zombie teenagers, Parker from Thunderbirds, the purity of gaming, Nice Rapids, John O'Hurley, Cougar Forrest, SpongeBob Squarepants, golf popcorn, arc welding, Vincent Van Ghoul, All the Beth you could ever want   Meddling Adults merch: www.meddlingadults.com/merch    — Thanks for listening to Meddling Adults! If you want to help the prize pool grow, become a member of our Patreon. If you want to learn more about the show or interact with us online, check out the links below: PATREON: patroen.com/meddlingadults ONE-TIME DONATIONS: paypal.me/meddlingadults  WEBSITE: meddlingadults.com TWITTER: twitter.com/meddlingadults INSTAGRAM: instagram.com/meddlingadults FACEBOOK: facebook.com/meddlingadults — CREDITS  Creator/Host/Executive Producer: Mike Schubert Producer/Editor: Sherry Guo Music: Bettina Campomanes, Brandon Grugle Art: Maayan Atias, Kelly Schubert Web Design: Mike & Kelly Schubert

The gang ranks some of the best cartoons of all-time but runs out of time because there's so many. Also, Chris throws shade at Cyclops, Cody does not care for Johnny Bravo, Dave joins way too late, and Shaun wants characters who can die.

On this week's episode, Writer Adam Pava (Boxtrolls, Lego Movie, Glenn Martin DDS and many many more) talks about his writing career, and why sometimes when he writes features, he doesn't always get credited. Tune in for much more!Show NotesAdam Pava on Twitter: https://twitter.com/adampava?lang=enAdam Pava on IMDB: https://www.imdb.com/name/nm1106082/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptAdam Pava:I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can. I think that's the first thing, but to get those open writing assignments, I think it's just a cool errand to even try because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things and then they'll seen you've done it. You're listening to Screenwriters Need to Hear This with Michael Jenman.Hey everyone, it's Michael Jamin. Welcome back for another episode. I may be retitling the name of my podcast. So I'm, I'm going to be vague for everyone, but I'm here with my next guest, Adam Pava, who's a very talented writer I worked with many years ago on show called Glen Martin, d d s, and he works. We'll talk. I'll let you speak in a second. Pava, you just relax. I'm going to bring you on with a proper introduction because you've worked a lot, lot of features, a lot of animation. So I'm going to run through some of your many credits. Some of them are credited and some of them just are not so credited. We're going to talk about that even though you've done the work. So I think you started early on on shows like Clone High, Johnny Bravo, I'm going to skip around.You worked with us on Glen Martin d d s, but then you've also done Monsters versus Aliens Dragons. I'm going to jump around, but wait, hold on. I'm skipping a lot of your credits, Pavo, a lot of the box trolls you've done, you work a lot with Lord and Miller on all their stuff, all the Lego movies, goblins. You have something in the works with Leica, which is one of the big animation studios which you're attached to direct as well, and then also some other shows. Let's mention My Little Pony dreamland. What else should we talk about? A bunch of the label, it's hard to talk about the credits because so many of 'em are things that are either in production or development that they're not supposed to talk about yet, or they're things that I was uncredited on. And so it's a weird thing.And why are you uncredited? How does that work? It's super different from TV and movies. So back when I worked in tv, I did tv. I mean, back when we worked together it was like what, 10, 15 years ago? Something like that. But I did TV for the first decade of my career and everything you work on, you're credited, even if you're just like the staff writer in the corner who says three words and doesn't make, get a joke into the script. You're one of the credited writers. Movies are a different situation. It's like one of these dirty secrets of Hollywood where they always want to credit one writer or a team of writers. Sometimes it'll be two writers that get the credit if both of 'em did a huge chunk of the work. But the thing that usually happens these days on big studio movies anyway is they will go through three or four writers over the course of the years and years of it being in development and all those writers who worked on it before the final writer or sometimes just the first writer and the last writer will get credit and all the ones in the middle won't get credit.Or it's like the W G A has these arbitration rules where it's like, unless you did a certain percentage of the final shooting script, you're not going to get credit at all. So even though the guy who brings catering gets credit and every person on, so will you arbitrate for credit or do you go into these projects knowing that you're not going to get credit? Usually I go in knowing that I'm not going to get credit or I will. Sometimes there'll be a situation. I did about a year's worth of work on the Lego movie, the first Lego movie, and Phil and Chris, Phil Lauren and Chris Miller who directed that and wrote the first draft of the script and the final draft of the script. They're buddies of mine and so I'm not going to arbitrate against 'em and I want them to hire me in the future and I love them and they really wanted, they're written and directed by title, and so of course I'm not going to arbitrate in that sort of situation.And also to be fair, I don't think I would win that arbitration because they wrote the first draft and it was already the idea and it was brilliant and it came out of their minds and it was awesome. And then they had me do four or five drafts in the middle of there where I was just addressing all the studio notes and all the notes from the Lego Corporation and all the notes from Lucasville and all that kind of stuff while they're off shooting 21 Jump Street and then they come back. So you were just doing it to move it closer and then they knew they were, yeah, exactly. They knew they were coming back onto it and they were going to direct it and they would do another pass. They would do multiple passes once it goes into storyboarding once it's green lit. So I was just trying to get it to the green lit stage, so they had written a draft and then I did a bunch of drafts addressing all these notes and then we got a green lit off of my drafts and then they came back on and they started the storyboard process and directing process.And the story changes so dramatically during that process anyway that the final product is so far removed from the drafts I did anyway, but it was a valuable, my work was needed to get it to that point to where they can jump back onto it. But very little of that final movie is anything that I can take credit for and I wouldn't want to take credit away from them on that. So I do a lot of that kind of work. Did they have other writers that worked on Legos movie as well, or just you? On the first one, it was them and me. There was these two brothers, the Hagerman brothers who had done a very early treatment, but that had set up the original idea for the movie of Allego man sort of becoming alive. So they got a story by credit, and then they definitely always have a stable of writers that they bring in to do punch up work and to just watch the animatic and give notes and stuff like that.So there's a whole bunch of people that are contributing along the way. Funny, they come from tv, so they really run it. They run it as if they're still on TV a hundred percent. They have their writers. And so I've gotten to work on a lot of their projects as one of their staff writer type people basically is the idea. So it's all uncredited work, but it's great work. They're such great guys and you're working on really cool things every time. And so now there's a new, in the last few years, the W G A started this new thing called additional literary Material credit. And so if Lego were to have come out now, I think I would've gotten that credit on it, but at the time, that didn't exist, so I got a special thanks. And how did you, oh, really? Okay. And how did you meet these guys?They gave me my first ever job before I knew you. I mean, I had written a movie script that was an animated movie. This is like 99 or 2000. I was just out of grad. I wrote it while I was in grad school. And Wait, hold on. I didn't even know you went to grad school. Did you study screenwriting in grad school? Yeah, I went to U S C screenwriting. Oh, I did not. I hide it from you. Why do you hide it? For me? I don't know. It's a weird thing where I feel like a, it's like I was in this weird secondary program that wasn't part of the film school. It was the master's of professional writing and screenwriting. And so people would get confused and I didn't want to lead them on, but also I just feel like it got me to a place and then I was like, I didn't want be part of a good old boys club where people are just hiring U S C people or whatever.That's the whole point of going to USC for Yeah, people ask me, should I go to film school, get an M F A, and my standard answer is, no one will ever ask for your degree. No one caress about your degree. The only thing they care about is can you put the words on the page that are good a hundred? But why did you, but what it did offer me, and I'll get back to how I met Phil and Chris in a little bit, but this is a good side conversation. It gave me an opportunity to do some internships on a couple of TV shows. And that was super, super valuable. So when I was at U SS C, it was 99 and 2000, and so I interned my first year on a little show called Friends, which was still on the air. I was on the air at the time.I was just the stage intern. So I was moving the chairs around during the rehearsals and fetching coffees and getting frozen yogurt for cast members or whatever, just shitting my pants, trying to be a normal human being around all these superstars and was not, I wouldn't say it was the best experience of my life. It was definitely one of those things where I was like, everybody was super intimidating and everybody was really busy and the cast were in the middle of a renegotiation, so they're all showing up late. It just felt like everyone was angry the whole time. And I was like, dunno if I want to work in tv. But there was one writer's assistant who was just like, yeah, because on the stage you're a writer, you need to be in a writer's room, you should be an intern in a writer's room.And I was like, oh. And then so I was able to get an internship on Malcolm In the Middle, which had just sold, it was in his first year, so it was a summer show. So I jumped onto that in the summer and was able to do that. And then in that writer's room, I was like, oh, these are my people. These are actual, wait, you were an intern. They let you sit in the writer's room one. It was like for doing all, getting the lunches and making the coffee and all that stuff. Linwood was nice enough to let me just observe in the room for one day a week just to, well, if I didn't have other stuff I needed to get done. So it was super nice as long as I didn't pitch or say anything and I was just, I never would.But it was cool to, that experience showed me that show was so well written and it was so tight and those writers were all geniuses or I thought they were all geniuses. And then I'd go in the room first, I would read the scripts and I would think, oh my God, I'd never be able to do this. And then I got in the room and I'm like, oh no, they're just working really, really hard and banging their head against the wall until they come up with a perfect joke. And then by the time it's done, it seems like it's genius. But it all was just really hard work, really long hours to get to that place. So that taught me like, oh, maybe I can be one of those people. If I'm just one cog in this room, I could do that. And so that gave sort of the confidence to do that.So I had done those. Getting back, I can loop back into the Phil and Chris thing now because this actually connects really well. I had done those internships. I graduated U Ss C and I had this script that I'd written as my final project or whatever, and it was an animated movie, and I thought you could just sell an animated movie, but I didn't know, they didn't teach me this in grad school that at the time they developed 'em all. It was like only Disney and Dreamworks were doing 'em at the time. This is 2000. And they just hire directors and sort of were an artist in-house to sort of create the stories or back then that's how they would do it. And so I sent it to some agents and the response was always like, Hey, you're a really funny writer. This is really good.I can't sell this. I don't know anybody that buys animated movies, but you should write a live action movie if you can write it as good as this. And so I wrote another movie that was Live Action, but it was silly. It seemed like it might as well have been an, I go back and read it now and I'm like, it's basically an animated movie, but it didn't say it was animated, it was live action human beings. And I submitted it to a small boutique agency at the time called Broder. I don't know if you remember them, Broder Crow, we were there. Yeah. And so Matt Rice was an agent there at the time, and he had on his desk, his assistant was Bill Zody. I dunno if you know him, he's a big name agent now, but he was an assistant at the time.He read that script that I wrote and was like, oh, you know who this reminds me of these other clients that Matt has, Phil and Chris. And so he passed it on to those guys and they were looking for a writer's assistant on Clone High because they had just sold their first TV show. They were a young hotshot writers that were just deal. And so I met with Phil and Chris, and they hired me as the writer's assistant on Clone High, which was like, they were the same age as me. They were just like, we don't know what we're doing. But they're like, you've been in a writer's room, you've been knock on the middle and I friends and you, I didn't know anything. I didn't know what I was doing at all, but it said on my resume that I had had these experiences.So they thought I would be a good writer's assistant for that reason. But they were the coolest dudes from the very beginning. They were just like, you're the writer's assistant, but also you should pitch in the room. You should act like you're another writer. We have a really small staff, we have seven writers, and you're going to get episode eight. I mean, it was crazy. They were just like, they gave me a lance and that never happens anymore. How did they get an overall deal when they came? Oh, it's the craziest day. So they went to Dartmouth, they made each other at Dartmouth and then they were doing cartoons while they were there studying animation. And one of Phil's, I think it was Phil, I think it was Phil won the Student Academy Award for a student film that he did. And it was written about in the Dartmouth Alumni magazine.And there was a development exec at Disney whose son went to Dartmouth and read that article and was like, Hey, called them in their dorm room. And we're like, if you guys ever go out to la lemme know. We'll set a meeting. And they literally, the day after they graduate just drove to LA and then called 'em up and we're like, we're ready to get hired. And it worked and they got hired, it worked. They got hired just to do Saturday morning stuff, and they did that for a little bit and everything they were doing was too crazy for Saturday morning, but it was like Disney. But then Disney was like, well, you can start developing stuff for adult Disney or for primetime stuff. And so they came up with the idea for Clone High, and it originally sold to Fox as a pilot to be after the Simpsons or whatever, but then it didn't get picked up and then M T V picked it up and then they had a show.So it's crazy what a trajectory their career has. Yeah, I know. And now they're running Hollywood. Yeah, pretty much. Pretty much. Yeah. They were good guys to meet right away mean honestly, it was like to become friends with them and just to ride their wake and get some of their sloppy seconds and some of the stuff that they don't want to deal with, it's honestly, it was great. Did they call you a lot with stuff like that? Hey, we don't want to do this. It's yours less now than they used to. I mean, there was a point where I was one of their stable guys that they would call. I think they have met a lot of people in the 20 years since then, but early on it was like, I mean, even their first movie was Claudio with a Chance of Meatballs, and they brought me on to help rewrite the third act at one point.And it was just from then on, they would always send me their scripts and just add jokes or to give feedback or whatever, and they've always been like that. And then I've noticed the last maybe six or seven years as they've gotten these huge deals and all their projects are now just these massive things, it's not quite the same relationship where they would just text me or email me and be like, Hey, read this. Now. It's like they have a whole team of people. They have a machine now, but we still are friends. And then things will come up where they'll hire me for things here and there. I wonder, honestly, I don't want to make this differe about them, but it's so interesting. I kind of think, I wonder what it's like to be that busy. It almost feels like, oh my God, I'm too busy.They're so busy. They're the hardest working people I know. It's like people always wonder how this stuff comes out so good. And it's not that, I mean honestly, it's just good because they stay up later than everybody. They never stop tinkering with things. They're never satisfied. They always think the next thing they do is going to ruin their career. And so they run on this fear that propels them that, I mean, they harness it. It's not like it's a secret. They know that this is what makes them great and utilizing all their friends utilizing, they're the kind of people that are the best idea in the room wins. If you could be the PA or the head of the studio and if you have a great idea, they're like, let's try it. And they also try a lot of stuff that doesn't work and they're given the leeway to go down a lot of dead ends and then realize that's not the answer, and then back up and then try it again and try it again and try it again.And that's how a lot of animated movies are done. And so it drives everybody crazy, but also creates amazing product. That's what, because I've interviewed a couple of guys who worked at dreamworks, which John Able who does a lot of the kung movies, and he describes it the same way. I was like, wow, it's so different from writing live. It's so different from writing live action. The whole experience sounds exhausting to me. Do you find it the same? Yeah, I mean when I first started in it, I was like, this is ridiculous. Why don't they just write a script and then shoot the script? And then over the years, I've learned to love the process. I mean, I was frustrated early on when I would realize how much gets thrown out and how much changes and how much. It's just, it's out of the hands of one writer.And I think a lot of it is also just ego thinking that you could do it better than everybody. And then once I embraced, oh no, you have a bunch of really brilliant storyboard artists and you have a bunch of really brilliant character designers and head of story and a director and all these different people who, and layout artists and even the animators themselves, they all add something so vital and valuable to it, and you learn stuff from each of their steps and then you're just given the leeway to be able to keep adjusting and adjusting until you get it right. And that's why animation comes out so much tighter often than live action is just because you've been able to see the movie so many times and keep tweaking and tweaking until you get it right. Now there is a point where sometimes I feel like you can take that too far and then it just becomes like, oh, we had a great version, four drafts to go and now we've lost our way, or we're just spinning our wheels or whatever.See, that's why I get lost sometimes. I've been in shows where you rewrite something to death and then someone says, we should go back to the way it was, and I'm like, what was the way it was? I don't even remember anymore a hundred percent, and I've stopped ever thinking You can do that. I used to think I would hold out hope though they'll realize that the earlier draft was better. They'd never do. It's like everybody forgets it, and then you just have to have the confidence to be like, well, we know we'll come up with something better together that it'll be from the collaborative mind of all of us. And then I think now I've seen actually the last few years, there's a little bit of a tightening of the belt budgetarily, and that leads to faster schedules. And so instead of having seven times that you can throw the story up from beginning to end on the storyboards, like the reels and watch this movie, you can only do it three times or so.That gives you a little bit more of a window of like, okay, we got to get it right in three drafts or whatever, in three storyboard drafts. And who's driving the ship then in animation? Is it not the director in this case, it's Lord Miller, but they're the writers. Well, Lord Miller are often the directors, and so when they're the directors, they're in charge when they're the producers, they're in charge When they're on the Spider Verse movies, for example, they're the writer or Phil writes them and then they hire directors. But Phil and Chris are the producers, but they're sort of like these super directors. They're very unusual. Yeah, it's not, yeah, that's an unusual situation. But other movies somebody do at dreamworks and there's somebody do at Leica Leica, it's like the director and the head of the studio, Travis Knight, who it's his sandbox and it's his money because he's a billionaire that funds the studio.He has the ultimate say, and so the directors are always working with him, but it's always collaborative. It's always like you get in a room. When I'm working at Leica, it's always like me, the director and Travis trying to figure it out, and he's trusted me to be, I feel like he doesn't trust a lot of people. He is kind of closed off in that way, but once you earn his trust, you will be in that room and you'll figure it out together or whatever. But every movie's different, and sometimes I'm on a movie just to help fix it for a little bit, and then I'm just a fix it person that comes in for a little bit. Sometimes I just add jokes. Sometimes I just, there's been movies where it was a mystery animated movie and they're like, can you just rewrite the mystery?I was like, what a weird assignment. But I had three weeks still. But in this case, they're calling you. How are you getting this work? Just reputation, they're calling you out of nowhere? Mostly now it's reputation. I mean, sometimes I'll be submitted to it. I mean, the first time it's always like you have to be submitted. And I mean, I can tell you how I got hired on box rolls. That was a big breakthrough to me. I mean, it was after I'd done, so Lego was obviously just having known and worked with Phil and Chris forever, and then they got hired on Jump Street, and they needed somebody that they trusted to dear the ship for a while while they're gone. And so I was able to do that, and that was a huge big break. It was like, you couldn't ask for that. I just, I'm the luckiest guy in the world.But after that, at Leica, they had a draft of a movie before it was called box Rolls, it was called Here Be Monsters, and it had been in development for years and years and years and gone through a bunch of writers and they hadn't quite figured it out. It was kind of a mess. It was a big sprawling story that had a lot of moving parts to it, and they had heard that on Lego, I was able to harness a lot of the crazy ideas that Phil and Chris had and put it into a structure that made sense. And so they asked me to come in and do the same thing, or before they even did that, I did a punch up. I got hired to do a punch up on that movie, and I knew that it was going to be a huge opportunity to impress them.I really, really wanted to work at Leica because at the time, they had only had Coralline come out and I loved that movie. And then I had seen maybe ParaNorman had come out or it hadn't come out yet, but it was about to, whatever it was, I knew it was a new animation studio doing really unique original stuff, and I got asked to be part of this round table, and it was all these heavy hitter Simpsons writers. It was like J Kogan and Gamo and Pross, all these people that you're like, these are all legends. They've done a million shows and they get hired to do punch up all the time. That's like their bread and butter, right? I'm not so sure anymore, but okay, no, no, but this is in 2011 or whatever.And I was like, I am going to take this script and analyze it and come up with character moments and come up with, I'm not going to be able to compete with those guys with the best joke in the room necessarily. I'll have good jokes to pitch, but I'm going to have like, oh, what if we adjust the character to be more like this? And where those guys were all, not those guys specifically, but the room in general, these were all guys who were maybe reading five pages ahead and then pitching off the top of their head. And I spent a couple of days writing jokes in the margin and ideas in the margin, and I killed in that room. I got a lot of stuff in and to the point where a few months later when they needed a big overhaul, they asked me to come in and do sort of what I had done on Lego, just take this big thing and hone it down into, so it was a rewrite job at the beginning, and then it turned into three years of working with the director in the studio to change that story.We threw everything out and started over basically a couple times over the course of those years end up, but how are you get paid? Are you getting paid on a weekly scale? Because I don't know how that would work. Do you get paid? It starts off with a draft and then it'll be a typical thing like a draft in two rewrites, but you quickly run through those and then they keep needing your work. At least they're not getting free work out of you. They're picking no, then it turns into either a day rate or a weekly rate, and that's where I bought my house.I made so much money on my day rate. They would literally just, Leica would call me and just be like, oh, we're going to record an actor in a few days. Can you just go through all their scenes and write three or four alts for every joke? Just have a bunch of stuff. And I would spend a few days doing that, and then a day rate, you get paid really, really well, that stuff adds up. Or they would be like, we just need one more pass on the third act, or we just need to go through the whole script and remove this character. And so all these little weekly assignments, and then you're just like, that was very lucrative doing it that way.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Adam Pava:You usually, because done so much animation and it sounds like you always set out to do animation, is that I did set out to do it, and then I didn't set out to only do it. I thought I could do both, but you kind of get pigeonholed a little bit. It's hard. I've gotten hired to write a few live action movies, but there were always a live action movie that had an animation element to it. It could be a hybrid movie or be a family movie that they think, oh, because you've done family work, you can do this. But nobody would ever hire me to just do a horror movie or whatever. And I don't know if I'd be the right guy for that either. I think my sensibility tends to be more animation based, but also, I think movies are such a different thing than TV where there's like, they're so expensive.If you're spending $80 million or whatever, you want to hire somebody that's done it before. So it's really, really hard for the studio bosses or even the lower level executives to fight to hire you if you've never done that kind of thing before. And so you get, it's not pigeonholed. I love doing it and I love the work, but it's also, I get why I get hired for certain things and not for other things. But also I feel super lucky because animation is one of the only parts or the only genres of film that has not shrunk over the years. Movies in general, they've stopped making live action comedies almost completely, except for stuff on streamers. They don't make rom-coms anymore. They barely make action comedies. It's like they make superhero movies and Star Wars movies, but then animation movies are evergreen. And so I feel really lucky that I sort of fell into this area that there is still work to be had.So yeah, I mean, you really have put together a really pretty impressive career. And I know not all your credits, not all your work is credited, so what I mean? Yeah, well, it's either uncredited or there's so many projects that died Vine. So it's like you read my, I said you that list of credits and it's like I'm looking at it over earlier today. Oh, it's just a list of debt projects, but that's expected. When you go into it, you go, okay, they're not all going to go. That's expected. It's all right. I was looking at my, I was organizing my, it's a strike, so I have time to do these things, organizing my folders on my computer and putting everything in, and I had over 150 folders of each. One is its own project, and not all of those are work that I've done.Some of them are like, I got sent this thing to pitch on, and then I had one meeting and it went away. And some of 'em I did a few weeks on, or some of 'em I just did day work on, but 150 projects over the years. Some of 'em I'm on for a year or two or three years. So it's insane. And so the hit ratio is super low of, I got really lucky when I transitioned out of TV and went into movies. It was like the first two things. Well, I sold a thing to Dreamworks that didn't get made, but then right after that, it was Lego and box trolls. They both came out in 2014, and I worked on both of 'em, and I was like, oh, this is going to be easy. You work on a movie and then it comes out and then it's cut to 10 years later and it's like nothing else is my name on it has come out.I've worked steadily. I've worked really well. I've been very happy. But it's definitely, it's a different thing than TV where you're just working and getting credited all the time. Well, yeah, but it also sounds like, I don't know, it sounds like to me, maybe I'm wrong. It sounds like you don't need to hustle as much doing what you do. No, I feel like it's the opposite because on TV you can get on a show and you're running for years, but on a movie you always know what's going to add, but they're coming to you. People are coming to you with offers, in other words. Oh yeah, sometimes. I mean, yes, the ones that end up happening, that's true. But there's so many that I'm just on a list at the studio, but I'm in a bake off with six other writers and I don't get it.So you put a lot of work so people don't know what to bake off is. So this is when you have to pitch to get the job and you have to put in several weeks of work. That's the worst. That's just the worst. And that's the majority of my life. Oh, is it? That's like, yeah. Yeah. So there's definitely, I mean, between Phil and Chris and Laika, I have, and a little bit of Dreamworks now. I'm doing my third movie for them right now. So that's pretty good over 10 years, three movies. But other than those places, it's always like you're getting sent stuff, but that doesn't mean they want you. It just means they want to hear a bunch of takes, and so you have to try to fight for the job if you really want it. Or I used to spend months or maybe eight months coming up with the take and having every detail worked out.And then I realized over time, they don't actually want that. They want a big idea and some themes and some ideas of what the set pieces are, and they want to know that you, I mean, honestly, it's, I don't even recommend that young writers go out for them because you're not going to get it anyway, because they're always going to go with somebody that has done it before. Especially, I mean, not always, if you might be the rare exception, but so much. Well, then what do you recommend to young writers to do? Dude, I don't know. I mean, I think you have to write great samples. I mean, I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can.I think that's the first thing. But to get those open writing assignments, I think it's just a fool's errand to even try, because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things, and then they'll see you've done, it's not even try to get these big studio things, get a small indie thing if you can, or make your own thing if you can, or just try to work your way up in a smaller way. I mean, all the big name directors out there all started on small indie movies. And I think that's got to be the same for writers now too. So many fewer movies. Is there anything that you're doing on the side just for the love of it that you're creating for yourself? Or is it, I haven't, in the last few years, I haven't.I've just been busy with work, but during the pandemic, I had plenty of time. Nobody was buying movies, and I am wrapped up on something and I had an idea that I thought was going to be my next big sale, and that it was an idea about a virus that went, it was a comedy thing, but it was this idea where it was sort of based on the idea that Christmas is getting longer and longer every year, where people put up their lights in decorations sooner and sooner, and you start seeing the stuff for sale in October or whatever. And so I was like, oh, it felt like Christmas was a virus that was slowly taking over the world. And I was like, what if it's a zombie movie, but Christmas is the virus? And so it was sort of a Christmas apocalypse thing where Christmas takes over the world and one family didn't get infected and had to fight back.So I was like, this is going to be a big seller. And then I was like, and then Covid hit, and it was like nobody wanted to buy a thing about a virus taking over the world, so I literally spent the pandemic. To answer your question, I wrote it as a novel. Instead, I wrote it as a middle grade novel, a y, a novel. Did you publish it? Not yet. We're trying. So we're out to publishers, and it took a while to figure out literary agents, which are very different world and everything, but the idea is to hopefully sell it as a book and then be able to adapt it as a feature. But yeah, it was so fun to write, and it was so freeing to not be stuck in 110 pages and to, I mean, I already had the whole thing outlined from the pitch when I was going to pitch it, so I knew the structure of it, so I just kept it as the structure of a movie, but I expanded on it and got more into the character's heads and that kind of stuff.But I had such a fun time writing that, and I was just like, man, someday when the work dries up, I am going to look forward to writing novels instead. And oh, yeah. The funny thing is when you describe the literary word going out to publishers, it's not that different from Hollywood. You think It is. It's not. It's the same hell. Oh, absolutely. But you and I haven't had to deal with breaking into Hollywood in a long time. And then in the literary world, they're like, oh, you've written movies. We don't care. We don't care at all. So it's starting over. And U T A tried to help a little bit, but they're like, we don't really know what to do. And then, so it's, I've been, my manager has been introducing me to editors and stuff, literary editors, and they've been really receptive, and it's been good trying to find the right one and the person I jive with. But it's very much like, oh, you're starting from scratch all over again. And for less money, no money. I mean, literally, I don't know how you would make a living off of this. I mean, I think we're spoiled a little bit, but what was the money they were telling you? Can you say, I don't want to say you don't, but it was basically about, it was less than a 10th that I would get paid on a movie.It was about my weekly rate. So I was telling you, I do weekly jobs on movies, and it's like if I do a weekly on a studio movie or I could sell a novel, or you could work five years on a novel, and I'm like, oh, this is not a way to support a family, but it was really fun. Someday when I'm just doing it for fun, I would love to do it. Wow, how interesting. Wow. So your best advice, because you're not an animator, you're not even an artist, are you? No, I don't draw or anything. I just love animation. I just always loved animation. So I don't know. I think when I was in seventh grade when the Simpsons started, and that blew my mind, and I was like, I remember telling my dad, I think I want to write on this. It was the first time I recognized, oh, people are writing these jokes. It was very, I think, more self-aware than most comedy was. And I was in junior high and I was just like, I want to be a writer on a show like this. I never was a writer on that show, but a bunch of other stuff.Now, as far as directing, because I know you're attached to possibly direct this project, where does your confidence come from that to direct? I mean, I don't know if I have confidence in it. I mean, I would want to co-direct it. In animation, you often get paired with another, if you're a writer, you'd get paired with an experienced animation director who comes from the visual side. So either an animator or a store wear artist or visual development artist. And I just feel like some of the projects I've been doing, you sort of act as more than just a writer anyway. You're sort of meeting with the creative heads all the time, making these big decisions that affect the projects. And at a certain point, I'm like, well, if I write something, that project that I, that's at life that I was attached to, it probably won't even happen at this point.It's been a few years, and it's kind of sitting there waiting for Travis to decide if he wants to make it. But it was a personal project to me, and it was like this would be the one that I was like, I would really want to see this all the way through. And I'm sure at that studio at this point, he's, Travis himself who runs the studio, is kind of directing all the latest projects anyway, so I would be co-directing with him. And so he would really be in charge, and I would just be, they're up in Seattle, right? Portland? Yeah, Portland or in Portland, yeah. So do you go up there a lot for Yeah, when I'm on a project, so usually it's like if I'm just writing it before it's green lit, which is most of the time I'll just fly up there for meetings just to get launched or whatever, and then go back up after I turn it in to get notes. But if it's in production on box trolls, and then there's another upcoming one that I did a bunch of production work on, they'll fly me up there to work with the board artists and stuff. And that's a crazy, that place is so nice.It's like a wonderland. I mean, it's like this giant warehouse downstairs that they have all the stages and they're all covered with black velvet rope, I mean black velvet curtains. So to keep all the light out and everything. And that's where they're moving all the puppets and everything, the stop motion. And then upstairs it's like the offices, and it just feels like a corporate office building with cubicles and stuff. It's very weird. But you go downstairs and it's like there's people animating, there's this huge warehouse where they're building all the props and they're like armature section where they're adding all the skeletal armature to the You never went with us to, because Kapa was like that in a cup of coffee in Toronto when we did Glen Martin. Yeah, it was amazing though. Similar. But Kapa is doing it on a budget, and these guys are spending so much money, it's not a viable way to make money to make these animated stop motion animated movies.They don't do it to make money. He does it. He loves it. Oh, really? Oh my gosh. Yeah, because Travis Knight is the son of Phil Knight who've gone to Nike, so he's got sort of a lot of money, and it's his hobby shoe money. He's got shoe money, but he is a brilliant animator. He is a super smart, interesting dude who wants to make things that are different than anybody else. And so it's an amazing place to work because nowhere else do you ever have the conversation of like, oh, we could do this if we wanted to do it, where more people would see it, or we could do it this way, which is cool and we want to do this. It's fun and weird.Not that he doesn't care about an audience, he does care about an audience, but it's not most important to him is making something that's awesome to him for the art. And so it's a very different way of looking at things. But I've been in situations there where it's like we're doing upstairs, doing a rewrite with me and the director changing the whole third act or whatever, and then I go downstairs and just tour the stages and the workshops, and I'll meet a puppeteer who's like building this giant puppet who's telling me this is the biggest puppet that's ever been created in Stop motion, and here's the 17 different places where I can articulate it. And I'm just thinking like, dude, we cut that yesterday upstairs. Oh no. And he's been working on it for a month. Oh, no. But I can't say anything. I'm just sort of like, oh, yeah, that's awesome.It's so great. You're doing great work. Anyway, I'm going to get back upstairs. That's so heartbreaking. But they burn through so much money just doing it all by hand. It's so crazy. But it's so beautiful, so I love it. And so you were literally upstairs, they gave you a small office and you just start typing? Yeah, that's literally, I mean, usually when I'm there, it's like they just put me in some random cubicle that nobody else is using or it's not a cubicle, a little office that is or whatever, somebody office. And you'll stay there for a few days or a few weeks or what? Yeah, exactly. Depending on how much they need me. So it either be a few days or a few weeks. And then on box rolls, I was up there. I would be up there for a week, relining some stuff, and then I'd come back home for two weeks and write those pages up.And I mean, I'd be writing in the evenings after the meetings and stuff too, while I was up there. But when we are rewriting, it's a train that's moving and it's like the track is you're running on a track and you got to keep pressure. What did you think of staying there in Portland? Did you like it? I did it. It's hard because my family's here and life is here, but if that movie had gone that I was attached to Coder Act, we were planning on moving there for that for three or four years. That's how it would take. Interesting. Would you have sold your house here or just rented it out? I'd have rented it out, I think. Interesting. Yeah, you, it was like we were having all these conversations, and then it's the longer it goes, we're like, that's probably not going to happen.We don't have to think about this right now. How interesting. That's so key. It really takes that long, man. Oh yeah. They're so long. And then also, it's like there is this weird thing in animation where it's not uncommon for a movie to go through two or three directors over the course of its many years in production. So it's like, why? I know. Just because they're beasts. And sometimes in the same way that you're changing the story so many times over the years, sometimes you make such a drastic change that it's no longer the vision of that director, and it's just not a right fit anymore. And I've seen that happen on a lot of movies that I've been on. I mean, Boxtrolls didn't end up with the same two directors that it started with. One of the two stayed on it, but the other one didn't.Oh, no, this sounds very frustrating to me. It sounds It does. And then other movies up there have gone through different directors, and so I was like, even if I had gotten hired as the director, I was in the back of my head. I always knew this might not last even if I'll do my best and I'll try to make it work. But you haven't even started and you're finding I'm being fired. Yeah, totally. But I mean, it's a weird thing. It's not TV where you're on a show for a year and then hopefully you get the second year if you get one. It's like in movies, they fire and hire different writers all the time, and so directors less, but writers, it really is pretty common. I've been on both sides of it where it's like, I used to take it really harder, fired off a movie.You're like, oh my God, did they not like the draft? I did. And usually it's like, no, we liked it, but now there's a director on it and they want to take a different direction. Or Oh, the director has a friend that they want to work with that they work with as a writer. Or other times I've been that guy that a director has brought on to rewrite somebody else, and I always try to be super nice about it. Now that I've seen both sides of it, I always try to reach out to the previous writer and be like, Hey, I just want you to know it's in good hands. Or sometimes if I'm the one that's fired, I reach out, be like, Hey, if you want to know where the skeletons are buried, happy to get in lunch with you. Just to be like, here's the pitfalls to look out for.This is where people don't realize that people on the outside just don't realize what it's actually like when you're the writer. You're a successful working writer. And I think they have a very different vision of the reality of a hundred percent. I didn't know the job was, I thought the job was going to be writing the whole time. Most of the job is it's playing politics with the studio and the executives and the director and Well, what do you mean politics, getting navigating the notes? What do you mean? Yeah, yeah. I mean, it's like the notes, but also the personalities. It's like a lot of the job I feel like is to go in and to make everybody feel comfortable with where you're taking it. Because you walk into a room and sometimes you could feel like, oh, the director thinks they're making a very different movie than the head of development thinks.Then that's different than what the producer thinks. And that's different than what the head of the studio thinks. It's like I've been in a room where it's like Jeffrey Katzenberg is just like, guys, guys, guys, you're all thinking about this all wrong. And you just have to be like, okay, how can I find solutions that makes everybody happy, that make everybody happy? And that's a huge part of the job. I mean, honestly, when I did the Lego rewriting with Phil and Chris, that's what the whole job was, was just like, how do I make Warner Brothers who didn't know what they had? They thought it was a toy commercial. They were very skeptical of the whole thing, Phil and Chris, who wanted to make some beautiful art. And it was cool with cool ideas. And Lego Corporation who wanted to make a toy commercial and Lucasfilm who didn't want their characters to be in it, and DC who didn't know whether they should be or not.And you're just like, how do I get in a room? And and usually if you come up with a great gag or great joke that articulates the, that illuminates the tone of the thing. So they all go, oh, okay. That's the thing. So the round of notes, like you're saying, oh, it's incredible, but for everybody and everyone's got conflicting. I don't even know walking into that job, and all I care about is I don't want my friends, Phil and Chris to think I fucked up their movie because they're trusting me just so I keep it moving. But I would think even for them, it's like, how do I get this movie made when I have so many competing notes and to their credit account, great, but still that is a hundred percent to their credit, they have a genius ability to, not only are they great writers and great directors, I think more than that, they have this sense of how to make everybody in a room think that the ideas came from them.It's like, yeah, they're great at, they'll go into a room, I think sometimes having some ideas in their pocket, but it feels like the room came up with the ideas together, and then everybody's like, yes, we did it. Pat ourselves on the back. And everybody, the executives' seem happy. But sometimes it actually does come out that, I mean, those brainstorm sessions really do create a new idea, and sometimes it's them trusting the process that that's going to work out. And sometimes I think they literally are like, well, we can go this way or this way, but I know it'll be easier if they think they had the idea. So let's go this way for now. And then later they know it's going to change a thousand times anyway in the storyboards, and then they could figure it out for real later. Because all these see people like that.They're very well paid, but in my opinion, they're earning every penny of this a hundred percent. They're earning every, it's not that easy. This job, I feel like I've gotten better over the years where I've taken my ego out of it. I used to have a much bigger ego, you might remember, but I feel like I can be, now, I can just go in a room and be like, I'm just going to try to help. I'm just going to be like, how could I make everybody feel comfortable? How can I make everybody feel like we're on the right page together and create this thing? I know that it's like the process is going to take years and years, and the relationship is more important than the individual story note or whatever. It's like that's what's going to matter over the long term of this project.It's that we all trust each other and that we can make something great together. And that's more important than fighting for a joke or fighting for a story moment or a take, or even exactly, either. It's about fighting the relationship, and I've said this before, it's about the relationship is the most important thing, and sometimes you have to sacrifice what you think is the best story, the best moment for the greater good of the relationship. A hundred percent. A hundred percent. Wow. I feel like this has been eyeopening even for me, and I feel like my eyes are fucking opened. You know what I'm saying?We've done some movie work, but obviously we work mostly in tv, but the movie side, the movie side was never really appealing. I remember because we shared the same agent for our futures, and I remember he gave us a conversation. I was like, I dunno if I want to work in movies again. It's weird. It sounds hard. It's different because in TV you're the boss, right? I mean, when you're the showrunner, you're the boss. Yeah. You've been there for a long time. And in movies, you're never the boss. I mean, I gave up on, I mean, before I worked with you, there was one TV show I ran and I co ran with my friend Tim, and we were the bosses, and I hated it. I did not enjoy it. It was like all the meetings and all the decisions and the budgets and the interpersonal relationships and all that stuff.I was like, I was not good at it back then, and I don't know if I'd be better now, and I just was like, you know what? I just want to be part of a team and I want to be a writer. And it's like in movies, that's what you are. You're just part of this big team in a different way. I mean, I guess when you're a staff writer or coming up through the ranks and tv, you're part of a team too, but you can be like, you're also a much more integral part of the team, the one writer on it at the time. Or in movies, you're like, when you're the writer, you're the writer and they all look to you for that one job. Or if you're on a staff when I'm on a show with you or whatever, you might look to me for one type of, it's very different. I'm a cog in this room.It's never, you never have to be a hundred percent on your A game every day for you can showing it in a little bit coast. Wow. Adam Paval, what an interesting conversation. This is enlightening for me. Very enlightening. Yeah, man. Are you having everybody on from the old days, Brian? Well, I had Alex Berger on a while ago. We talked a little bit about that script that you guys wrote together. Well, there's two things on Glen Martin. You were always pestering me to do a musical. Yeah, I think, I don't know how to write a musical. And you're like, this is why I've work in animated features. I've written three musicals since I, so lemme let you do the movie. I was like, dude, I don't know how to do so go ahead and knock yourself out. That was fun. And then you guys came back with that Christmas episode. I thought you guys both hit it out of the park. I was like, let's shoot it, let's shoot it.I think it took, because that was all second year stuff and it took a little bit of time to figure out tonally what we were doing and then just to get a little crazier. And then, I mean, those episodes were like, yeah, I could be a little bit more myself of writing the weird stuff that I wanted. I mean, the other one I remember fondly is that weird Funshine episode. Was that the musical one or was that, I don't remember. Dude, fun cine was, it was like the planned community in Florida that was basically celebration Florida and they all realized that everybody was on being drugged and were lactating out of their breast and all that. Oh, that's right. Now I remember the guy, there was a scene where there's a pregnant man or something. It was fucking nuts. And I was like, oh, now we're writing the show that I could write.The first year, I think it was a little bit more like I was a little square pa in a round hole where it was like I didn't have a family at the time and it was a family show. It was about a dad and a mom trying to navigate their crazy kids and I was like, I don't know what the fuck. Crazy in that show. It's a shame. We didn't do more seasons. We weren't nuts. It was fun. It was a fun time. For sure. I got some of the puppies right over there, so see, yeah, I got the one you gave me of me that one from the college episode. Oh right, the college episode. That's right. We put you in. You ran the gauntlet I think, didn't you? I think that, yeah, that's exactly right. Funny. Yeah, funny. Adam, Papa, where can people, is there anything want, we can plug people, find you.Are you on social media? Is there anything? I'm not super active. I'm on Twitter. You can find me on Twitter. Adam Papa or Adam or whatever it's called now. X X, I'm on X, but don't really, I'm not super active on it. I don't have anything to plug. Everything's going to come out in four years. Yeah, right. Yeah. Look for Adam Papa in four years when something drops to the movies. That's the process. Dude, thank you again so much for doing this. This was a really interesting conversation. I haven't talked yet, spoken to anybody about this kind of stuff. You are a wealth of information. Alright. Yeah, it's fine. Everyone, thank you so much. Until the next episode drops, which will be next week. Keep writing.Phil Hudson:This has been an episode of Screenwriters Need to Hear this with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

For once, us bringing up ELVIS (2022, dir. Baz Luhrmann) not only makes sense, but it enhances the discussion of this movie! It's almost like we should retire discussing it after this episode, but we promise not to. BRADLEY ROBINSON (formerly D College Podcast and Cinema is Dead) finally pays the boys a visit outside of the Holidays in order to talk about BUBBA HO TEP. You know Bubba Ho Tep! It's a perfectly normal movie in which an ass-eating Mummy attacks a retirement home where the Lone Ranger, Elvis Presley, and JFK (but Black) live. We know what you're thinking, "ugh, ANOTHER movie about old Elvis and JFK (but Black with a head full of sand)? Hollywood is out of ideas!". Join them as they answer questions such as: Is Bruce Campbell's Elvis voice good, or is it Johnny Bravo? Do we think this movie could have been sillier? Did we miss anything watching this on Tubi? How long can Connor and Brad talk about Steelbooks? and Can Luke convince everyone It's Pat is a worthwhile watch? Among others... Thank you for coming on, Brad! Be sure to check out his Letterboxd! SUPPLEMENTAL MATERIALS FOR THIS EPISODE: Connor and Luke's respective Letterboxds Superhuman Public Radio Season 2 (featuring Luke!) is out now!  The best clip from ELVIS (2022) NEXT WEEK: OOPS! ALL COMING ATTRACTIONS Volume 2 Thank you for listening! Please review us on your podcast provider and share us with your friends, we really appreciate it! Follow our socials: Facebook/Twitter/Instagram/TikTok: @NoHighwayPod YouTube: No Highway Option Theme Music composed by Ian C. Weber. Find more of Ian's projects here: https://www.iancweber.com --- Support this podcast: https://podcasters.spotify.com/pod/show/no-highway-option/support

Sassy! This time, we dig into a weirdly popular cartoon cartoon from the late 90's - Johnny Bravo. He's an Elvis - James Dean milkshake that just doesn't quite taste right in this, the year of our Lord 2023. So join us as we dish about this one.

On this week's episode, Writer/Executive Producer Alex Berger (Blindspot, Glen Martin D.D.S, Quantum Leap, and many many more) talks about his writing career, thoughts on breaking into the industry as well as his experiences taking a "Showrunners Course" through the studios.STORY NOTESAlex Berger on IMDB: https://www.imdb.com/name/nm1584238/Alex Berger on Twitter: https://twitter.com/alexbergerla?lang=enFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAUTOGENERATED TRANSCRIPTAlex Berger:They said, when you're interviewing a director, ask if you're the showrunner and you're interviewing somebody who's coming in to do an episode of your show, ask the director, do you cook? And if so, are you a person who uses a recipe or do you like to improvise? And there's no right answer to that, right? But if you cook and you're the person who is going to measure out the exact number of grams of flour and the exact number of grams of sugar, that's kind of how you're going to approach directing. If you're going to come in with a shot list, you're going to be going to stay on time. You're going to make sure that you move the set along. And if you're the person who likes to kind throw a little salt to throw a little sugar, you might be a little more improvisational on say you might be a little more, more. There's little things like that that you're going to how to dig in on this with those. NowMichael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone. Welcome back to Screenwriters. Need to hear this. Michael Jamin here. I have another wonderful guest today and this guest, we're going to talk about drama writing because he works primarily in drama and his story is fascinating how he broke in. And we're going to get to please welcome Mr. Alex Berger and he's worked on Alex. Let me introduce people to some of your amazing credits here and you can fill in in, I'm just going to go for some of the highlights. Well, I know you did Kil, you co-created Glen Martin d d s, which is the show. My partner ran Covert Affairs, the Assets Franklin and Bash the Mentalist Blind Spot. And currently you are a writer on Quantum Leap, so you got a lot of drama. Burger. Welcome, welcome to the podcast.Alex Berger:Thank you so much for having me. It's, it's good to be here. I've been enjoying listening to it.Michael Jamin:Oh man, I'm so happy you're doing this. Let's talk. Let's start from the beginning because I think it was so interesting about your background. So many people say, how do I get a showrunner attached to sell my show? And you kind of sold your show, your show, Glen Martin, d d s. You were pretty new to the scene and then you got a show on the air without much experience. So how did that happen?Alex Berger:Yeah, I'd been out here for probably five or six years and I'd had a couple of staff jobs. I'd had a job doing a sort of comedy variety show before that. That was a very sort of small potatoes thing. But that came about because Steve Cohen Cohen, who I know you've talked about before, was a friend of mine and had mentioned this idea that Michael Eisner had for a long time about a family who traveled the country in an rv and they had writers attached for a long time. Tim and Eric of Tim and Eric Show were attached to write the thing.Michael Jamin:I didn't know any of this.Alex Berger:They got a 60 episode order on their other show, and so they had to back out. And so Steve would come in and pitch a take. So I came in and I pitched a take, and Michael Eisner, who had just left basically running Hollywood, he was running, Disney had just started a company, and he had just had larynx surgery, so he couldn't talk. So every time I pitched something, he had to write his response on a computer, which was fun, but a little challenging.Michael Jamin:But what was the idea, how much, when you pitched your take, what did they give you?Alex Berger:He had said Family lives in an rv. Basically it travels the country and animation. And he had more than that. I mean, it is been almost 20 years, so I've forgotten. But he definitely had a real idea. He'd had this idea for 30 or 40 years that he'd wanted to do over the years at Disney and he wasn't able to do it. So he had a pretty formed idea of what he wanted the show to be. ButMichael Jamin:Was it dentist you came up with that throughAlex Berger:Development? I mean, that was sort of like Steve and I, Steve became sort of a, and it was almost like an incubator instead of a typical situation in which I would come in and pitch a show, he kind of brainstormed with me and created the ideas with me, and we kind of toyed with a couple of different versions of it and came up with the idea of him being, why is he on the road and what's he driving in? And came up with the idea of a dentist that was in his mobile dentistry unit and sort of built some of the characters around that. And it kind of kept getting added to,Michael Jamin:Because all that stuff became comedy gold throughout the seasons. We were like, what kind of idiot has a dental car? Who does he think, what kind of clients? How does that work? And it all became fodder for the show,Alex Berger:For the circus at one point. And it was doing dental work on animals, if I remember correctly. But it was definitely, I didn't think I'd seen that before. So that was kind of one of the things that was fun to explore.Michael Jamin:And so you came up with all the, well, at least the dynamics for the characters, because what I remember, we watched the, I dunno if it was a pilot or presentation that you saw, but yeah, the characters you invented were funny. You had the dumb kid, he had the daughter and she had an assistant, which we hadn't seen that before.Alex Berger:It was definitely even more than other experiences I've had in development, very much a team effort. And then we had sort of come up with a script, and then I think you had Eric Fogle on the show before, and Eric came on and was also sort of added his vision both in terms of look and feel and tone and story, and was digging in with us. And then Michael on his own, paid for an eight minute pilot presentation. So they made an eight minute stop motion, basically the first act of the show. And he took it downtown and took it everywhere. And we ended up setting it up at Nick at night with this 20 episode order. And I think that's when you guys sort of made the picture, right?Michael Jamin:So you started, I'm curious. It's funny how I never even asked you about this. So at that point you had to meet showrunners for a show you created, which we're going to talk about a second. Did you meet a lot of showrunners?Alex Berger:I met none of the showrunners. I met you guys after you'd been hired.Michael Jamin:Oh, really? I wonder how many they had. SoAlex Berger:The tote system was, they wanted to sort of make that decision. And so they met with showrunners and had decided they were very much immediately captivated by you guys and were really excited about, and I don't think it was a pretty quick decision. And then they had me come to meet you guys.Michael Jamin:Now the thing is, I imagine you were very easy to work with and to your great credit, I always felt like you just turned over the keys and it was like, okay, here you go. And it was never an ego thing if you, but was it difficult though for you?Alex Berger:I mean, I can give you the answer that I was thinking at the time, and I can give you the answer that I have in retrospect. I think at the time I felt like, I don't know. It's a good question. Let me give you the answer in retrospect first, which is in retrospect, I know that I was inexperienced to know, especially about comedy writing a lot and certainly about running a show. I think at the time I was very happy for you guys to come in and run it. And exactly as you said, take the keys. I think that I felt intimidated because it was a room full of really seasoned comedy writers. I knew I was one of the least experienced writers on the show, and yet my name was on the show. So it was a kind of a weird game. It's not like a typical situation in which a more experienced writer comes in, but they've never run a show.So they pair them with a show runner and then they're really a triumvirate or something. I definitely felt like experience wise and sort of comedy chops wise, I was with folks who'd broken 2, 3, 400 episodes of cool sitcoms that I really admired. So I felt like I wanted to contribute from a character and comedy perspective as much as I could, but I also felt like I was learning on the fly that I had my name on. So it was definitely tricky to sort of figure that out. But you guys were great about never feeling like you were stepping on toes, and you always would consult with me, especially at the beginning, but it was very clear that it was your show, but it was also that you wanted me to sort be on board with what we were doing.Michael Jamin:And I mean, it was a fun room. I mean, maybe I shouldn't speak for you. I thought it was a fun room. Yeah,Alex Berger:Yeah, it was great. I mean, it was like I'd never been in a sitcom room before. I mean, I've been in a couple of drama rooms as an assistant and a writer, and those rooms are more buttoned up and a little more like, let's come in at 10 and start talking about the story at 10 15. And there's definitely bits and sort of digressions, but a comedy room has a certain energy that you can't replicate. And it was really fun to be in that room. And I've been in rooms that are a little bit like that since, but never anything that was, I laughed quite so much, just had it.Michael Jamin:I was going to ask you about that, right? I haven't worked in any, we've done dark comedy, but never drama. And so I'm curious, you've done a lot of drama. So are the rooms, are they really what you're saying? Are they buttoned up? Are they sur because it's still a creative shop?Alex Berger:It's fun. I would say this is based on a very small sample size of my two years in Glen Martin. And then just listening to comedy writers talk, I think comedy writers find the genius through procrastination. I think that it takes the tangent sometimes to get you to the gold. And I know you guys, especially more than other comedy writers I've known, were very focused on story structure. I know from your time with Greg Daniels and Seaver had bought a book at the mall,And it was very important to you that the story felt like it had load-bearing walls, but it did feel like more free flowing and there were room bits and there was a whole sitcom inside that room of three characters, both people in the room and people we were looking out the window at. So that's definitely different than other shows I've been on, other shows I've been on, it's a little more like, all right, let's get to work. And especially these days with room hours have gotten shorter and so on less. And I've been in Zoom rooms for the last couple of years, so it's even less of a roomMichael Jamin:Basic. Oh, so gotten, haven't gotten, your last rooms haven't been in person either. YouAlex Berger:Haven't? Yeah, I've been in three Zoom rooms since the pandemic.Michael Jamin:It's funny you mentioned because comedy rooms have room bits and our offices were on Beverly Hills and Big glamorous street in Beverly Hills. We would look out the window, and you're right, we would create stories when we weren't making stories for the tv, we were making stories for the regular characters that we would see outside our windows.Alex Berger:Yeah, I mean truly. I know you had Brian and Steve and a couple of other people from the show on. I have not laughed that hard in a room.It was a blast. And I also think there's value to it creatively. It's not wasted time. I think it's just a different way of getting to the process. I remember hearing once of, I can't remember which one, it was a Simpsons writer who would be on draft. He had two weeks to write his draft, and he would past around the fox lot for 12 days and then write the draft in the last two days. And someone asked him, why don't you just write the draft for the first two days and then be done? And he said, because I need those 12 days of pacing to get me to the last two days. And I think copywriter are more prone to that kind of way of thinking. I think.Michael Jamin:See, see, I don't remember that way always. I always get nervous when that story's not broken. I always want to crack the whip seavers more. Like that's, but to me, I was always,Alex Berger:When you were in the room, it was more like, let's stay on story. And when see, it was a little more. And then when you guys were both out of the room, it was even more free flowing, which is not to say that all of the eps weren't trying to keep us on story, but its like it's was a silly show about silly characters and absurd, every premise of every episode had a massive degree of absurdity to it. And so you wouldn't be too serious in a room like that, or you wouldn't be ready to make that kind of show. I mean, at least that was my take on it.Michael Jamin:I would describe that as a writer's show. It was always about what made us laugh and not the 15 year old kids who shouldn't be watching or the 10 year old kids. I knowAlex Berger:It was either Brian or Steve who said it was a show with a demographic of nobody.Michael Jamin:Yeah,Alex Berger:The demographic of the 15 people in that room for sure. We all really enjoyed watch them. They're all really funny. They'reMichael Jamin:Funny.Alex Berger:It was on the wrong network.Michael Jamin:Oh, for sure. Steve and I were horsing around procrastinating on some work we were doing, and for some reason we stumbled on, maybe it was some guy's YouTube channel where he was talking about Glen Martin and this guy nailed it. It was like he was in the room. I don't know how he knew every, it seemed like he knew where we messed up. He knew where we got it. Right. I was justAlex Berger:Amazed. I saw that video and I was like, I can't believe somebody watched the show. I thought that literally, I could not imagine that this guy was that deep into the show.Michael Jamin:Oh no. I get a lot of comments on social media like, oh my God, you ruined my childhood. Really? Like you gave me nightmares.Alex Berger:My wife's cousin is like 25 or 26, and he's dating a girl. And on the second date, he asked her what your favorite shows are. And the second show she said was Glen Martin, d d s. And when he said, oh, my wife's cousin wrote that show, she was instantly smid with him. She gave him so much gr.Michael Jamin:Oh, that's so funny. I mean, it was a wild show, man. Too bad. That was a shame. We were going to spin it off too. We all, oh yeah,Alex Berger:Stone spin off right behind. OhMichael Jamin:Yeah, there you go.Alex Berger:The Drake Stone. Yeah,Michael Jamin:All my dolls. Yeah. As soon as they went under, they go here. Here take some. You must have some dolls, right? They give you some dolls. I haveAlex Berger:Alen Martin Puppet and an Alex Burger puppet, and my kids constantly want to play with them and I won't let them.Michael Jamin:Who were you in the show? I don't remember what kind.Alex Berger:I think I was a Greek God carrying somebody at some point in some fantasy sequence and they would reuse the puppets. That was what was so funny. So I think that was one thing, and then they reused me as another thing.Michael Jamin:And did you ever get out to Toronto to see theAlex Berger:No. Did you go upMichael Jamin:There? Oh yeah. We went once and Fogel and I had a very romantic dinner together on top of the Toronto Space Needle or whatever they call that. I sawAlex Berger:Them shooting the pilot presentation, which they shy in New York. It was incredibly cool, but just I've always found set to be tedious in general, but I can't imagine how tedious it must be to do stop motion.Michael Jamin:Do you go, oh, I think they wanted to poke their eyes out, but do you go on set a lot for dramas? Yeah. Is it just your episode or what?Alex Berger:Depends on the show. I did this show called Blind Spot for five years, and basically we would have a writer on set for every episode and we would try to make it your episode, but oftentimes it was the writer who wrote the episode had a baby and is on maternity leave or they can't go to New York at this time or if they went to New York and they wouldn't be back in LA for the breaking of their next episode. So we tried to shuffle it around a little bit and it's trickier when it's out of town. You've got to make people have life that they've got to plan around. But you're going for three and a half weeks to New York.Michael Jamin:Are most of your show shot out of town?Alex Berger:It's been mixed Quantum Leap, which is the show I'm on now is Shot Year on the Universe a lot. Blind Spot was New York Covert Affairs, which I went to a lot of episodes for, was in Toronto, which was a lot of fun. And then I've had a couple Franklin, imagine the Mentalists were LA and it's been sort of a mix.Michael Jamin:How many day shoots are most of your shows? Dramas?Alex Berger:It depends on the budget of the show. Blind Spots started as nine and then was eight and a half and some tandem days and by the end was eight. They keep pulling money budget every year. Quantum Leap I think is eight.Michael Jamin:Interesting. And then what do you, as a writer on set for comedy when on set, it's like, I want to make sure they're playing the comedy right, making jokes, but what are you looking for that the director isn't covering?Alex Berger:Well, first of all, it's a lot of times if you have a great director, it's a team effort. So the director is obviously in charge of the set, but if you have a director who's collaborative, they're asking you, do you feel like that works? Or which take do you feel like was better? It's blocking work for you and your main job is just to make sure that you're the protector of the script and a protector of the story. And it's not like, excuse me, you didn't say the word there. Although there a Sorkin set, they will keep you word perfect, but it's more like, actually, I know you want to change that line. It doesn't feel comfortable in your mouth, but it's really important that you say this. It's going to set something up that we're doing in three episodes, or Hey, just so you know, when you're saying this to this character, you're actually lying and you're going to be revealed to be.It's a lot of making sure that everybody knows the episode up to the episodes we're leading to. And then, yeah, there's still a lot of shows I've worked on have a fair amount of comedy. So you're still making sure jokes, land and actors, this doesn't feel comfortable in my mouth. Do you mind if I say it like this? Or if you work with an actor who wants to have a little bit and wants to assert a line, sometimes I need to be the one to say, okay, well then that means that this person needs to say this line after to keep a joke going.Michael Jamin:Right? Right. It's interesting, and especially when scenes are shot out of order, it is easy for actors to lose track of where they are in the story. So that is theAlex Berger:Part I really like is Prep, because I've worked on a lot of big shows, big action shows and into you fly to New York with your script in hand and you're so excited. And then the first thing that the line producer tells you every single time is, we're $400,000 over budget. Before you even say hello. The fun part to me is the puzzle of how do you protect the story with the constraints of we can't shoot this in nine days. I've walked into episodes that were supposed to be seven day shoots, and the board came out and it was 10 days. And so you've got to figure out, okay, we can move this back into the house so we can take this care, we can do this here. And actually the shootout that happens after the bank robbery, maybe that happens off screen, stuff like that.Michael Jamin:So are you doing a lot of rewriting on set then?Alex Berger:It's usually in prep.Michael Jamin:Okay. In prep,Alex Berger:By the time you're on set in a drama, you're pretty close to set to go unless something changes or an actor nowadays, if an actor gets covid, then all of a sudden you're taking that actor out of the scene and rewriting the scenes and why are they, that kind of thing.Michael Jamin:And then are your showrunners ever on any of these shows ever on set? Or are they always sending proxies? Yeah, itAlex Berger:Depends. It depends on the show. So typically on the shows that I've been on, the showrunner, the showrunner was there for the pilot. They're usually going to go for 1 0 2 just to, it's been four months and they want to reestablish a tone and kind of be a leader, and then they'll try to pop in and out a bunch during the year so that it's not like they're just coming when there's a problem. And then when the show's in la, the showrunner will usually try to pop by after set, especially if before the Zoom Room thing, the writer's room would wrap at seven, the production's still going, so they usually come for the last couple scenes, something like that.Michael Jamin:How many writers are there usually on these hour shows?Alex Berger:I mean, I'm curious to hear what your answer is for comedy too, because it's really shrinking in the beginning. I mean, Glen Martin was what, 10, 12, something like that, including if you're Partners is too, and then it's gotten down to 10 and then eight. And then I think Quantum Leap were about 10, which is a big staff, but the Netflix show I just worked on was six. The show, the Assets that I did, which was a limited series was five. And this is a lot of big issues of the strike is these rooms are getting too small. What are the root comedy rooms like now? Because I know there's been, it's like sometimes it's like 25 people in a roomMichael Jamin:Well, on animation, but I think those days are kind of overAlex Berger:Or big network sitcoms aren't there.Michael Jamin:I don't think they're that big. I don't think there aren't big network sitcoms anymore, but I don't think, I mean it was never,Alex Berger:What was the Tacoma room?Michael Jamin:Oh, it's probably eight or so. But that's a small cable show,Alex Berger:But they're all small. I think they're all like that now. Even the network comedies, unless you're Abbott, they're all 13 or eight orMichael Jamin:Yeah, I think even just shoot me back in. This was in the day, I want to say maybe 10 or 12 times. Oh really? That's it. Yeah. Yeah, Roseanne. Roseanne was famously Big. Fred had a big staff, but that was Roseanne. It was a giant show.Alex Berger:And The Simpsons, I know there's these shows that have the two, I mean the drama rooms, there's a bunch of writers who having a big staff and then they like to split the room in two and break two episodes at the same time. A lot of showrunners actually want a small staff and hate having too many voices. I like a big room. I like eight to 10 people because you're always in a drama room, especially you've always got one writer on set, two writers on draft sometimes set, so there's three or four people gone every single day. So your room thins out real fast, and I think you need at least five people to break a story.Michael Jamin:Oh yeah. Now the thing is, you're a funny guy. You have a good sense of humor. You started in comedy, but do you miss at all comedy or do you feel I'm a fish in water with drama?Alex Berger:Yeah, I was in over my head in comedy, I be the guy who can do a little bit of comedy on a drama staff than that guy in a comedy room who's mostly focused on story. I mean, I felt like, obviously I wrote Pilot and I felt like I had a voice on that show, but it was clear to me that this was not the type of show that I was going to be thriving at. I really enjoyed it, but it was like just comedy wasn't my thing. I love writing on a Funny One Hour, Franklin and Bash, which was a legal show, was essentially a comedy that had the stakes of a drama, but the tone of a comedy. And I love because I like being able to go to the serious scene to have the emotional he, to not have to have a joke at the end of every scene. And then I've written some pilots and stuff that have a fair amount of comedy, but I always want, and I've written half hour dramas. It's just I want the pressure of three jokes a page and beating a joke and beating a joke and beating a joke. It just wasn't my pace.Michael Jamin:Well, I got to say, I think it was probably the last script you wrote was you and Pava teamed up to write a Christmas episode. Oh yeah. And you guys crushed it. I remember coming back, you guys turned it in, whatever you guys did together, were like, you guys, you're going to do this together. Probably because PA wanted to write a musical. I was like, Papa, I'm not writing a musical. And he probably did, but you guys turned in a great draft. And I was like, if that show had gone, I'd be like, I remember thinking, well, these guys are going to be stuck in a room together for a long time. Because yeah,Alex Berger:That was a lot of fun. That was a lot of fun. And it's funny, I want to show my kids the show. They're really young and there's not a lot of episodes that are appropriate for little, that one's pretty tame. That one's pretty tame. We did a rom-com parody sort, the Wedding planner parody, and then we did a, what was it? I forget the other ones. It was a lot of fun.Michael Jamin:Oh yeah. What is nutty stuff? So now the dramas, I'm sorry. When you go off to write your own pilots, when you're developing your own, is there a unifying theme tone that you like to pitch? Yeah,Alex Berger:I would say two things. One is fun. I don't want to write some things super dark. I don't want to write. I like watching shows like that. I watch Last Of Us and The Leftovers and a lot of shows that are real bleak and I really enjoy them. But when I'm living in the world for 12 hours a day, for eight years, I want it to be fun. I want to have a certain amount of lightness to it and sort of levity to it, which is not to say it has to be a comedy, it can still be a drama. There just needs to be something fun about it. And even when I'm writing on a show like Quantum Leap, we've had episodes that are really serious, but the ones that I do, I try to make them, I did an airplane hijacking episode, but I tried to make it fun and sort of like an eighties action movie. And then the other thing I would say is sort of optimism. I try to write something that makes you think that the world is going to be a better place. I've written a lot of political shows and politics is pretty dark these days. One, my take is sort of, but if we do this, we can all get through it. None of those have gotten on the air. So maybe that says something about what people feel about optimism these days.Michael Jamin:Well, it's also a numbers game, but how do you feel, let's say you were given the keys to run your show, got on the air somewhere, eight episodes on the air. How do you feel? Feel about that? Yeah, let's do it. I'm ready. Or like, oh my God, what did I get?Alex Berger:Both. I mean, I did the Writer's Guild showrunner training program a couple of years ago, which is phenomenal. WhatMichael Jamin:Was that? Tell me all aboutAlex Berger:That. It was great. But so essentially it's a six week every Saturday, all day, every Saturday college course on how to run a show. And it's run by Jeff Melvoin, who's a really seasoned showrunner, and Carol Kirschner, who's been working in the business forever. And then they bring in John Wells is usually a big part of the program and they bring in really heavy hitter showrunners all the way down to people who were in the program last year and then got a show on the year. And they're like, bill and Ted when they come back at the time Machine and Bill and Ted's, and they're like, you're in for a crazy journey. And so it's really cool to hear from all of those people and they focus one day is on writing, one day is on post one day on production. And what I learned from that was having been on staffs for something like 250 episodes of tv, I've learned basically all the things you can do in terms of book learning to run a show.But the last 20%, you can't learn until you're there. Sort of like if you read a hundred books about swimming, you kind of know how to swim, but if you dropped out of a helicopter ocean, you're going to have to figure it out and you're going to be drowning while you're doing it. And literally, I don't know if this was your experience when you guys had it, but every other show I've talked to says nothing fully prepares you for it. So I have a couple shows in development right now, and if you told me that they were to go, I think the first feeling would be utter terror and like, okay, let's do it. Let's go. This is the time to do it. And I've run a lot of writers' rooms and stuff like that, but I've never actually had the keys to the castle, soMichael Jamin:Interesting. Right. Okay, so you've run the room, you've been breaking stories, you're in charge of that. Now time in terms of tell me about the short run is problem You apply, how do you get in?Alex Berger:You have to be recommended by somebody and applied and they want someone, they're trying to find people who are the next shows up. And so people in the program have a pilot that's already been shot and that's already ordered a series, but they don't know how to run a show. You people who've worked in features or worked in writing novels who are transitioning into television. So all the production stuff to them is totally new. And then you have lot of people like me who sort came up as staff writer, story editor and just worked their way up the ranks who've been around for a while, who just haven't taken that next step, who want to know more about what it's like to run a show. I loved it. First of all, it was like being in college, man, it was just absorbing material and taking notes at a frantic pace and reading that they recommended. But it was just so interesting to hear. It's like this, your podcast is so great because you could hear people speak, but these are people who are specifically targeted at the demographic of you're a co eep and you're about to run a show. Here's what you need to know.Michael Jamin:And so you don't pay for this, right? Or youAlex Berger:Do, the guild pays for it and the studios pay for it. It's a phenomenal program.Michael Jamin:And then it's so interesting. And then, alright, so then how big of a cohort, how big of a group isAlex Berger:It? 30. And it's a bummer because these days it's been on Zoom and so you don't really get to the year. I did it in 2017 or 2018. And so I got to know those folks and they were sort of, yeah, again, my cohort and three quarters of them are running shows and everybody else's EPS or eps, running rooms. It's a very fun dynamic to have a group.Michael Jamin:What are they teaching you? I'm so curious as what they teach you. I bet there's stuff I don't know. And we've done three shows. What are they teaching you about post that you were surprised?Alex Berger:The overwhelming, the first thing they tell you when you walk in the door is quality scripts on time. The bug that they gave me, the showrunner program, quality scripts on time, and that was basically the theme of it was being efficient, being and knowing when to cut your losses and say move on. And knowing when to say this isn't good enough. And so for posts, it's like, are you the type of person who wants to be in post for 10 hours a day? That's fine, but then you need to have somebody who's going to be overrunning the room, or do you want the writer who produced the episode to do the first and the second cut? And then you do the last cut and they bring in editors and they talk, editors tell you about what they want to hear. A lot of things that I'd been in post a lot before I was in that room and then editors were telling me things that I was doing that annoyed the crap out of them. And I was like, oh, little thing like what? Snapping, when you say cut there,Michael Jamin:Oh,Alex Berger:That annoys.Michael Jamin:That annoys them. It's like a dogAlex Berger:Thing. Yeah, exactly. And a lot of editors, some editors want line notes. Some editors want you to say, this scene doesn't feel funny enough, I'm not getting the comedy. And then they'll say, okay, let me take another swing at it. And you need to feel like, is this the type of editor that wants to do it on their own or that type of showrunner that wants to do that. But broadly speaking, it's essentially a leadership training program. The nuts and bolts stuff with all stuff that I had seen up close being a lieutenant on a show, there are a lot of little tips that I picked up here and there and when I get a show, I will go back to my notebook and frantically look through it, but it's mostly about how do you lead, how do you manage, how do you fire people? How do you delegate? How do you tell people that they're not doing a good enough job but give 'em a second chance? Interesting. They bring a lot of directors in, stuff like that.Michael Jamin:What was the last thing youAlex Berger:Said? How to interview a director? How to interview director. A big director came in and talked to you. Here's some questions you should ask when you're interviewing. Here's a great one that they said. They said, when you're interviewing a director, ask if you're the showrunner and you're interviewing somebody who's coming in to do an episode of your show, ask the director, do you cook? And if so, are you a person who uses a recipe or do you like to improvise? And there's no right answers to that, right? But if you cook and you're the person who is going to measure out the exact number of grams of flour and the exact number of grams of sugar, that's kind of how you're going to approach directing. You're going to come in with a shot list, you're going to be going to stay on time, you're going to make sure that you move the set along. And if you're the person who likes to kind of throw a little salt to throw a little sugar, you might be a little more improvisational. I say you might be a little more, more. There's little things like that that are like how to dig in on this with those people.Michael Jamin:Now I'm learning. What else can you share with me thatAlex Berger:Might be helpful? I can get my notebook you,Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.I remember when we're running Glen Martin, which is the first show we ran a lot of this, and you probably weren't even aware of this, A lot of it was me. If I was at the board or whatever, it was me like, okay, I want to make sure I'm not losing the room. I want to make sure everyone, no one's losing focus. And I think part of that was make a decision even if it's a bad one because you can lose the room if you can't pull the trigger. You know what I'm saying? It's so frustrating. You guysAlex Berger:Did a good job with that. And then I think that decisiveness, I think is actually one of the most important qualities in the showrunner, but also willingness to admit you were wrong if you made a decision and moved on and then a day later you realize you were wrong. You have to and say, I made the wrong decision. And one of the things I've learned running that I've really tried to do when I'm running a room is if there's an idea floating around that I hate, but it's getting energy and it's getting excitement, I try not to step on it until it either burns out on its own or it's reached a critical mass and I'm like, look, I think this is not going to work, but let's talk it out because there's nothing worse as having come up on staffs. And this is one of the most valuable things when you've been a staff writer and a story editor as opposed to getting your own show as the first thing that happens to you is you know how demoralizing it is when everybody's super excited about something now it's not going to work. It's so demoralizing. Yes, A lot of times you think it's not going to work. You just sit there back and listen for 20 minutes and you're like, oh, actually, you know what? There is a version of this that'll work if I just add this one thing. It's an organism and you're leading an organism and it's very hard. You guys did a great, and you guys are a team, which is even harder because you've got to read each other's minds aboutThis works.Michael Jamin:You bring a good point. I remember one time, so when Glen Martin, I would go, I would direct the actors on Wednesdays or whatever and see would be running the room, and I remember coming back at the end of a long day directing, come back to the room and you guys had made a lot of progress on the script and everyone's excited. Everyone's excited about this idea and you guys pitched it to me. I wasn't getting it. I didn't get it. I was like, I didn't want to shit on it because I could tell everyone was so excited about it. And so I just kept on asking questions just to explain it to me so that I would get on board.Alex Berger:That's a really hard part is and because I've never been the actual showrunner, I've never been the one, I would be like, I'm sorry we're vetoing this. A lot of times what I would do, because I was a number two, was if I hated something, if I left the room and then I came back and I hated something, I'd be like, look, I'm not totally on board with this idea, but let's give it its day in short and let's pitch it to the showrunner. And I would try, when I would pitch it to the showrunner be to not give away which side I was on or to say, look, here's one side of the argument, here's the other side of the argument. But when it's ultimately up to you, it is hard because I always analogize it to in Family Feud when the first four people give their answer and then that last person has to give the final answer and they want to go against the rest of the family. It's a hard thing to do. You're wrong.Michael Jamin:Yeah,Alex Berger:I guess, I don't know. What was that experience like for you? Did you feel like it was like you had to balance? What was your favorite idea versus losing another 10 people's morale?Michael Jamin:It wasn't even about my favorite idea. It was more like I just want to make sure if sea's on board than I trust, I trust him. But it's also like I wish I can remember what the episode was. It just didn't make anyAlex Berger:Sense to me. No, I remember that a couple times. Every show I've ever been on has had that. Every show I've ever, the showrunners left the room, the room gets excited about, something comes back in and it's not what they want, it's just part of show running. The value of having a staff that's been together for a while is the longer the staff has been together, the more you can say, oh, secret and Michael are going to hate this. We shouldn't even this path. Versus early on, you're going down a million paths you don't know. But once you get to know the showrunner, you kind of get to know what they like and what they don't like.Michael Jamin:Yeah. There was another idea that we had in that, I don't remember what we were all on board, but Seaver wasn't on board. It was something crazy.Alex Berger:Oh, I think it was the radio episode and there was something about wires or no wires, and they weren't recording the music the whole time,Michael Jamin:Who wasn't recording music.Alex Berger:Glen went to, you got to cut this out of the podcast.Michael Jamin:No one's going to care. ButAlex Berger:It was like there were a lot of room bits that I think that's the problem with room bits is they take on a life of their own and then they're an inside joke. And if the runner comes in and there's a room bit in the script, it's an inside joke. It just doesn't work. You weren't there for the beginning of it, which is a good sign that it's not a good story because the audience wasn't there for it either. But I think it was Glen becomes a radio producer named Stacey Rappaport.Michael Jamin:Yes.Alex Berger:His wife was also named Stacey Rappaport. Yes. And I know he works for Stacey Rappaport. And anyway, the whole time it was the, you guys were doing the Brady Bunch, Johnny Bravo episode basically as aMichael Jamin:Yeah,Alex Berger:Remember the debate was like, were they actually recording by the way? I will say again, you can cut this out early, but it's not relevant at all. But I grew up watching the Brady Bunch for whatever reason, even though I'm 10 years younger than you guys. And that was number one reference that you guys talked about. So I did feel like at least I got those references.Michael Jamin:Oh, it's so funny. I remember that. I remember because I think I was the one who pitched the name Stacey Rappaport.Alex Berger:I remember because I had a friend named StaceyMichael Jamin:Rappaport. Oh really? That's so funny. It was just a man's name that the joke was that Glen was going to choose a new identity for himself and he chooses a woman's name.Alex Berger:What have you gone back and just watched full episodes of the show?Michael Jamin:No. And everyone, people want to know about. People ask me that a lot. I don't touch. I should. I love that show, but I don't touch anything that I've written. I just don't. It's over and I don't know why, but you doAlex Berger:Just not even about Glen Martin. That is an interesting thing about writers is whether they want to go back. I go back and watch stuff and I hate it because I'm like, but because Glen Martin was not really mine. It was such an organism of the room. I laugh when I go back and watch it except the one I wrote, which I don't like.Michael Jamin:Oh my God. We had some fun in that show. But okay, so when you take, I have so many questions for you. When you were young, when you were a kid, did you want to be a writer? I know TimeAlex Berger:Know was a profession. I loved television. I was a youngest kid. I was raised by the Cosby Show and the Brady Bunch and G I F. And my idea of a family was basically what those families were probably to go back, rethink the Cosby one. And then even in college, I interned at Saturday Night Live and late night with Conan O'Brien back when he was on, which were fantasy camp, especially the s and l one was truly a dream come true. And it still didn't occur to me that it was a profession that I could go do. I was go to law school and then a buddy of mine, we were in Jerry's Subs and Pizza, which is an East coast person you probably remember. And we were sitting there talking about what we're going to do and he's like, like I said, I'm going to go to LA and be a writer. And I said, how do you do that? And he said, someone writes this stuff, why couldn't it be us? And it just gave me this epiphany of like, oh yeah, everybody who's out there as a writer at some point wasn't a writer and just got out there and learned how to do it. And so we all went out together and we kind of got our start.Michael Jamin:Did your friend become a writer too?Alex Berger:Yeah, we all ended up creating a show together. So the earliest thing that we did was we were on the high school debate team together and we walked into National Lampoon, which at the time was doing low budget cable programming, and the head creative guy there just made fun of my resume the entire time and made fun of debate. And then by the end of it said, there's a show here. And so we came, pitched him a show called Master Debaters that was a debating society, and we ended up getting to make, it was like our film school. I knew nothing about how to make a TV show and that one, I was throwing the keys to the castle. I was casting it, writing it, producing it. I was in it, posting it with every crisis. But it was so low stakes because the budgets were tiny and they were in syndicated cable stations and college campuses. No one would watch me. So I got to learn by doing and I loved it. It was great.Michael Jamin:Interesting. And then, all right, so then you became a writer and then you just kept on writing. I guess mean it's not an easy path, but you've made a really pretty good name for yourself over the years.Alex Berger:Yeah, I mean, thank you. It was a winding path when I came out, I thought for a minute I might want to be a development executive. I read a book by this guy, Brandon Tartikoff, who used to run N B C called The Last Great. It was like basically made it out to be, you're sitting in your room and the smartest people in the world come and tell you what TV show ideas they have, and then you pick the eight of them and pick the order in America Shears. And so I worked in development for a minute and I was not what it was like at all, and I was miserable and I was jealous of all the writers who were coming in. So I said, that's the job I want. And so I quit. WhatMichael Jamin:Was it I didn't know you worked at VO for? I wasAlex Berger:Assistant. I was an assistant in development at N B C.Michael Jamin:What was it like then?Alex Berger:It's very busy and not as creative as I wanted to be. I actually really enjoyed the conversations I had with the executives when it wasn't time to do my job and it was just time to talk about tv. But the actual job I was doing, I was terrible at, I mean, it was a lot of keeping track of who was calling, and I'm an absentminded first, butMichael Jamin:That you're an assistant. I mean, surelyAlex Berger:You, but it's a long time before your branded Tartikoff, right? Almost everybody else under branded Tartikoff has a lot of business responsibilities to do. And it wasn't, that's not how my brain works. My brain needs more free time. I think if I worked at a place that was smaller that was incubating three or four shows, I probably would've enjoyed it more. But we had 50 comedies and 50 dramas in development, and I was trying to get of all of them and who was calling and the letterhead changing and all this stuff. And it was just like I was not good at it. I mean, my boss even said to me one day, he said, you're a very smart guy. Why are you not very good at this? And we had a nice conversation about that. But the main thing was the writers that came in that I was, can I get you a coffee?Can I get you a tea? Can I get you a Coke? I was so jealous of them. Door would close to the pitch, and I just wanted to be in there listening to. And so I realized I should follow that. And so I didn't last that long. I left like eight months and I quit. I at the time had been, I think had a couple of writing jobs, like smaller writing jobs lined up that show Master Debaters had been optioned of VH one. So we were writing a pilot for VH one and a couple of their small writing jobs. So I went to go do those and then got back in the beginning of the line as an assistant, I was a writer's assistant on a show, and then I was an assistant to a showrunner and then I stop.Michael Jamin:So it's a brave move for you to leave that behind in.Alex Berger:It was definitely, I mean, I had some stuff lined up, but it was definitely a risk, but I just knew it wasn't the right, I was in the wrong place. But it's interesting, it was an incredible learning experience. I knew how development work from the inside, and I still think I know more about what's actually going on at the network than a lot of my peers because I was on the other side. And then the folks I met who are the other assistants to the other executives are now all executive vice presidents of networks or presidents of networks or I met my agent because he was an assistant to an agent that used to call, and then he signed me while he was still a coordinator. One of the people on that hall now became the president of Fox, another one who I've dealt with a lot became the president of N B C. I met a ton of great folks through that who have become friends and allies over the years, and I sold Joe to,Michael Jamin:But okay, so it's probably changed lot since you were in assistant that was probably 20 somethingAlex Berger:Years ago, 19 yearsMichael Jamin:Ago. So what is it like then that we don't understand?Alex Berger:I think the main thing that I didn't understand, and this has for sure changed and certainly in cable and streaming is just a volume. They are not spending as much time thinking about your script as you are by definition. But in development, there are literally 40 to 50 scripts at least back then on both on comedy and trauma. And so my boss, who was in charge of both has a hundred scripts to keep track of. So he was very smart and could make a judgment very quickly about a script, but he would read it once, sometimes read it again, and then he was making a judgment about whether it was a show. So as a writer now I know they're reading fast, they're reading it at three 30 in the morning, or they're reading it on the plane, I've got to grab attention fast, I've got to hook you in. I cannot lean, oh, the great twist, wait till the Great Twist. It's on page 55. And when I'm pitching, it's the same thing my boss said to me, I hear 300 pitches a year. I typically hear about five ideas I haven't heard before. The other 95 I've heard before. It's about take, it's about the writer, it's about their passion. And so when I go and pitch an idea, the substance of the idea is the second most important thing. And my connection to it and why it has to be me is the first most important.Michael Jamin:And that's the hard part. I feel that's the hard part because usually you think of an idea, you can't really, I don't know, you're a hundred percent right. They always, they want to know why are you the only one in the world who can write this idea truthfully? It's like a lot of times you're not a lot of times like, well, this is the characters we created. It's a funny situation, but there's probably a lot of people who could write this idea.Alex Berger:I think that what I have seen, and I've never done this, but I know folks who have is, I knew a writer once who his sort of why me paragraph was, I just run a show for a bunch of years. I came off of running that show and I didn't know what I wanted to do next and I had an identity crisis. And so it got to the idea of identity crises and here's a spy show, an action spy show, but at the center of it as a character going through an identity crisis. So it's notMichael Jamin:GrewAlex Berger:Up and my dad was a spy, and therefore sometimes it's emotional or sometimes I had this interaction with a guy on the subway and I couldn't stop thinking about it. And it led me to this show. And sometimes by the way, you retrofitted sometimes you already come up to the show and then you've got to come up with that first paragraph that's retrofitted and sometimes often it feels organic even though it was come up with thatMichael Jamin:Word. That's so interesting because I'm glad you said that to me. It almost sounds, it gives me some soce knowing that, because a lot of times we'll say, okay, this is why we're the only ones, and this is from seabird's idea home life or my home life, and then it doesn't sell. And you're like, well, I don't know what to do now. But you're actually broadening it out into a thematically, it's more personal to you. It's not necessarily a dynamic. It's more like,Alex Berger:Here's how I think about it. I think that, and I could be wrong, and by the way, it's different in a comedy because you've got to make 'em laugh in a comedy, and I know certain comedy executives don't laugh, but for the most, if you're funny in the room, they're thinking, okay, I want to be in business with these pets, but in drama, are there twists and turns? Am I hooked on this? Is this going to fit with something that we have on the air? Do we have something similar? But I always think what they're going to remember when they've heard six, they hear six to eight a day, and then at the end of the week they go tell their bosses about the ones that they bought. So what they're going to remember is, oh my God, you'll never believe the story this guy told about the time that he was held hostage on the subway, or you'll never believe that, or a cool twist or a cool character. They're not ever going to remember the third beat of the pilot, or when pitch episode ideas, here's soMichael Jamin:Interesting.Alex Berger:I think you need that stuff to be in there, but what they're going to remember, it's like when you walk into a house, when you're looking for a house, you remember, oh, I was dazzled by the kitchen and the master bedroom had the fullest bathroom and yeah, yeah, it had five bedrooms and five baths, which is what we need. But it felt like this when I walked in. It's like, how do they feel? That's another, I'm sorry to ramble, butMichael Jamin:No,Alex Berger:For drama. I think in a pitch, if you can make the executives feel how the show is going to make them feel, that's a successful pitch to me. Comedy's a little different, I think. ButMichael Jamin:Interesting. I feel like I'm learning a lot from you actually, because I mean, honestly, we'll sell shows and we'll not sell shows.Alex Berger:We're learning all that time from you guys for 40 episodes on the murder.Michael Jamin:But a lot of this is, like I said, we will sell a show or we won't sell a show, and I won't know why. I don't know. I'm not sure why this one sold this one, the other one didn't sell. I can, but that'sAlex Berger:Why I really don't like Zoom pitches because you can't. I love, that's actually my favorite part. I think it comes from, like I said, I was on the debate team in high school and college, and I loved trying to persuade someone who was not necessarily on my side at the beginning that I'm right. And I viewed every pitch as a miniature debate. I'm debating against the person who says, don't buy this. And I love the feeling of like, oh, I've got them hooked, and they're now, they are going to buy the show as long as it continues to go on this pace. And I hate the feeling of, I think they've checked out. And actually when I've memorized a pitch, when I think they've checked out, I'm talking, but my internal monologue is, well, I guess we didn't sell it to Fox. All right, well, if we can sell it to Fox, we can go to a B, C. Because I'm sort of like, I've moved on.Michael Jamin:How much off book are you have notes or not?Alex Berger:I've developed this method that I got from this guy, Martin Garra, who I've worked for eight or nine years for some blind spot, and now on Quantum Leap, it's different, but I love it, which is, it's different on Zoom, but when we go back to in-person pitches, what he does is he brings in his laptop and he puts it on the table in front of him and it acts as a teleprompter. And so he's looking up at you making eye contact and occasionally looking down. And then he is got a remote that flips page to page and the script is there word for word. So if you're like, oh shit, I'm about to get to the part that I always mess up, then you just look down and read for a minute and they know you've written this. It's not like no one is under the illusion that you walked in and RIFed for 20 minutes off theMichael Jamin:Topic. Does he do this in person or on Zoom?Alex Berger:Both. On Zoom, it's so easy because you can have your screen, but in person, I thought, oh, they're going to think it's offputting. But because I was practiced, I got to the point where 70% of it was eye contact and the laptop was there as the security one did.Michael Jamin:And what program is he using? That's a teleprompterAlex Berger:Work.Michael Jamin:Oh, so you're just scrolling. Oh, you're just clicking.Alex Berger:There's this Bluetooth remote that he uses that I was now in my drawer, and it's just you click and it's to the nextMichael Jamin:Page. You have a Bluetooth remote that works on your lap. I didn't even know this such a thing. I'm learning so much from you Burger.Alex Berger:Oh, you know what? I've lost it. Oh, here. Yeah, so it's like a little U S B that plugs into the back of your computer, and then you're just like, you click, click, click and it's, you look like you're giving its head talk it 5% easy. And I actually think in a comedy pitch, it might come off as too dorky, but for a drama it's like, I'm going to tell you a story. I'm going to deliver a pitch. And I wrote it. And the reason I find it useful is a lot of times when you're developing with the pod and the studio and then also the non-writing show runner, so many Sunday night, you're getting notes for a Monday morning pitch and stuff's changed. So if I get to the section that just changed, I might look down a little bit moreMichael Jamin:Interest. So I was going to say, are you going in mostly with pods these days for people who don't know that they're producers on the overall deals at studios, but is that how it works in dramas as well?Alex Berger:I don't think I'm going to show on the air anymore without an entourage. So when I was on Blind Spot, it was produced by Greg Ante and I did a couple pieces of development with him and then also with Blind Spot. I just think there's the business side of it, which is that these networks want to be in business with their 800 pound gorillas and the not. So if you walk in with one of them, even if it's my vision a hundred percent, and it's my personal story, the fact that this brand is behind it really helps. And then I also, I actually enjoy the process of crafting the idea with smart people. I don't want to work with a pod who's annoying and gives dumb notes or a studio who does that. But every pod I've ever worked with, if I'm stuck on an idea, I'll say, Hey, can we hop on the phone for half an hour and work out this story problem? You guys have each other so you can get in a room and hash out a story problem. But I need to talk. I cannot think through anyMichael Jamin:Interesting,Alex Berger:And we'll work it out. Oh,Michael Jamin:So you'll really use them as a resource. It's so interesting.Alex Berger:I mean, this guy, Martin Garrow who runs Blind Spot Quantum Leap, I've developed him a bunch of times and he's a writer.Michael Jamin:Yeah, it's differentAlex Berger:Stuff is acting as a pod. But I can call him and we have such a shorthand, we've broken 150 episodes a week, butMichael Jamin:That's different because he's a writer. He is not, I mean, he's a writer, is writer producer, but he's really aAlex Berger:Writer. So it's Greg Ante. I like working with folks who are on the creative things, and I've worked with producers who weren't writers, but could be because they're a creative, the worst part of that development is when someone gives you a note and they don't realize, oh, that's going to unravel. They think it's two lines, but it actually unravel all. Whereas when you work with people who've made a lot of tv, they're like, look, I know that this blows everything up to do this one little thing, but here's why I think it's better. Or Hey, they gave a huge note. Here's easy fix. It's only two lines.Michael Jamin:Yeah, I mean, that's so interesting. You're absolutely right. There's a huge difference between, I think between working with a producer, producer and a writer producer, because the writers, they just know what's going to unravel everything. I don't know. Yeah, that's ProducersAlex Berger:Are good for like, oh, you know what? Who'd be great for this is this actress. And they make the call and they're good.I find that you find everybody's in this business, they're good at something. Nobody who's come to this business and is just dashing a check. Well, probably not true, but the people that I try to find work with are people who are in this business smart. And even if they're not totally up on exactly what I wanted to do, fix the script, they have something that they're really good at that I want to use. So even if it's, there's one person at this company who's mostly the production person have a really good idea about like, Hey, if we shot this in Buffalo, we could do this.Michael Jamin:Right. Interesting. Wow. I think I've learned a lot from you. Before we conclude, you want to write drama withAlex Berger:Me? Let's go that. Let's talk about drama.Michael Jamin:I think I'm going to get into the drama business with you. I think you're going to be my pod. What advice do you have for young writers? You must have something to Wise to say.Alex Berger:Yeah, I mean, I probably don't have anything wise to say, but I'm happyMichael Jamin:To. Or how are they breaking in the business?Alex Berger:It's funny. The answer was so different 10 years ago to four years ago. It changed rapidly, and it's very different now because of the writer's strike. So if you're talking about what should I be doing right now, if I want to break in? I was just talking to a writer today and my advice to her was, just use this time to write. It's not a good time to try to get a producer attached or a showrunner attached or an agent. It's a good time to just be writing and really writing diligently. And then this is over. And in general, my advice is get a job in the industry, even if it's as an assistant. If you can't get a job as an assistant in a room, get a job as an assistant in post or get a job as a PA on set, just get into the room. Then just keep building a network and talking to everybody. And when your cousin comes and says, you know what? I used my college roommate, I think as a writer, I don't know what he take them up on all of those opportunities because you never know what's going to result in something. The first three jobs I got were from general meetings that I didn't want to take because actually two of them were from people. My mom had metParties in Washington dc but they were another assistant who was leaving their job and happened to open up. And then the last thing I would say is, I think the thing that people don't do as much of it that they should do is engage in the continuing education piece of this. So your listeners to your podcast are obviously trying to learn how to write, and that's important. There's a lot of other good podcasts out there. There's Deadline Hollywood, which everybody should be reading every single day. There's business podcasts like The Town and the Business and Fresh Air that people should be listening to understand the macro pieces of their business. So often you get people who come out here and they have

26 years after the "Adios, Johnny Bravo" episode of the Brady Bunch, Barry Williams records his first solo album. This is the story of Barry Williams' The Return of Johnny Bravo, from 1999. Support the show: patreon.com/bizarrealbums Follow the show on Twitter & Instagram: @bizarrealbums Follow Tony on Twitter & Instagram: @tonythaxton

You've heard his voice in projects like Johnny Bravo, Monsters, Inc., The Emperor's New Groove, Toy Story 2, Animaniacs, Tiny Toon Adventures, and so much more. But he's best known for voicing several Looney Tunes characters over the years, most notably Porky Pig! We welcome voiceover actor and coach Bob Bergen this week to discuss his interest in voicing Porky Pig since the age of 5, his experiences meeting Mel Blanc, achieving him life long dream of voicing Porky Pig, the voiceover coaching offered on his website, and so much more. A great episode you won't want to miss! For anyone who's looking to become a voice actor, don't miss the 2nd Annual VO Cruise! Join Bob Bergen himself along with casting director and coach, Mary Lynn Wissner of Voices Voicecasting for a 10-day Mexican Riviera cruise on Crown Princess round trip from San Francisco, January 23, 2024 - February 2, 2024. If interested, or if you have any questions, e-mail Marian@MarianMassaro.com who will direct you to our Princess travel agent. You can also follow the link below for more details. Hurry though, there's only room for 40 students and spots are filling quickly! 2nd Annual VO Cruise Info: https://www.bobbergen.com/Cruise/VO_Cruise_2024.pdf @Bergen.Bob BobBergen.com CannedAirPodcast.com Twitter: @CannedAirPod Instagram: @Canned_Air If you'd like to show your support, you can either visit our Patreon page at Patreon.com/CannedAirPod or you can leave us a review on iTunes! Thanks for listening!   Learn more about your ad choices. Visit megaphone.fm/adchoices

February 15-21, 2003 This week Ken welcomes comedian and man behind the solo show "Solo: A Show about Friendship", Gabe Mollica. Ken and Gabe discuss what they would be talking about anyway, not being comedians talking about comedy, how Edinburgh ruined Gabe's life but he has to go back, long form stand up, growing up on Long Island, ridding yourself of your regional accent, Ken's all time favorite stand up special Johnny Vegas; Who's Ready for Ice Cream, John Cleese, performing for nobody, celebrating a 100th/200th/300th episode, The Simpsons, syndication, home town people never leaving, Long Beach NY, bad UK pizza, missing cannolis, corner Sicilians, what you'd watch as a kid vs what you'd watch now, Nickelodeon All That, The World's Strongest Man, Baseketball, Touched by an Angel, Seinfeld, The Music Man, when everyone is in Bye Bye Birdie, The Sopranos, reality TV marriages, Courage the Cowardly Dog, Ken starting working at the Cartoon Network UK, Johnny Bravo, Italian dubbing, fascist horror, no longer going to movies when they premier on Thursday night at midnight, seeing shows before bed, when MAD TV replaced SNL, Tough Crowd, the craze of panel shows on TV, The Best Damn Sports Show Ever, Off Broadway show, The West Wing, Birds of Pray TV series, the Ben Affleck Daredevil movie, Friends, Scrubs, South Park, how comedians need to pivot to movies and some drama, The Surreal Life, I'm a Celebrity Get Me Out of Here, the Box office game,  The Klumps, and the insanity of all things Superbowl. 

This week, Johnny Bravo joins in all the way from Trinidad and tells more stories of being a celebrity bodyguard. Also discussed; the reasons dancehall artistes "fall off," and Reggae and dancehall reportedly on the decline in Europe and Asia. Buss Di Utes songs of the week: Johnny Bravo: Mechanic TID - Home Free: https://bit.ly/3HGPucR Ari: Kxng Izem - Come Thru: https://bit.ly/3LSuiCZ Javi: Malii - It's The Weekend: https://bit.ly/3AU9ch9 Naro: Ras-I x Jesse Royal - SkyWay: https://bit.ly/3LzVx3R Jervis: D'east - Humanshttps://bit.ly/3HBJsKw

Brian, Blake, and Richard are back for an all-new episode of the Chasing Tone Podcast which this week has been sponsored by Henning Pauly's new songwriting course! The guys start off with a little look at how the Cory Wong compressor first came to be with a couple of fond memories of our much missed tone brother Mr. Alex Clay who was integral to the conception of our latest pedal. Blake has been eyeing up new pickup sets and has settled on a brand and asks the guys for advice and almost immediately regrets it.Richard went to see a movie and tells us all about it  - Brian cannot compute - so we start speculating about everyones favorite bazillionaire social media owning rocket melon.  Richard has also fallen in love with a new guitar design and almost expires whilst looking at the price of it and Brian dips his toes into the world of MusicMan guitars.Blake has been listening to Dwight Yoakam and he and Brian reminisce via the medium of Elvis tainted vocal impersonations and bizarre anniversary related thoughts. Inevitably Brian finds a way of shoehorning more AI content in and so does so whilst plotting the ultimate prank and Richard is not convinced...Piloting tip of the week, Cheese sections, Brian's strat confessions begin, Steamed hats, Peshwari Nan ...it's all in this week's Chasing Tone!Check out Henning's awesome new songwriting course here Buy the new Wampler x Cory Wong Compressor HereWe are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Awesome Merch and DIY mods:https://modyourownpedal.com/collections/booksFind us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Youtube:https://www.youtube.com/channel/UCdVrg4Wl3vjIxonABn6RfWwContact us at: podcast@wamplerpedals.comSupport the show

In this week's episode, the guys review the 2011 animated film Johnny Bravo Goes to Bollywood.Support the Patreon for some cool exclusives!Request your very own episode on the website!Support the show