Podcasts about script coordinator

Host Sarah Burke catches up with Alicia Chirrey, the Series Producer of Dragon's Den. They discuss Alicia's journey from intern to series producer, the evolution of female entrepreneursip on the show, and the inspiring stories of resilience from Canadians. Alicia shares insights into the casting process for the upcoming 20th season, the role of the 'Dragons', and the importance of supporting Canadian businesses. More About Alicia Chirrey: As Series Producer of Dragons' Den, Alicia oversees all content-related aspects of the production, from casting and creative direction to ensuring each episode delivers a dynamic mix of inspiring stories, bold entrepreneurs, Dragon fire, and big innovation. With a specialization in unscripted studio television, she has crafted a dynamic career shaping compelling narratives and high-stakes entertainment. Over the course of more than a decade on Dragons' Den, Alicia has played a pivotal role in bringing to life the stories of Canada's most ambitious entrepreneurs. With the show entering its 20th anniversary season, Alicia is leading the charge with a patriotic "Canada-strong" theme that celebrates the nation's entrepreneurial spirit and innovation. Alicia's career spans multiple high-profile roles in Canadian television. She previously served as Casting Producer for Family Feud Canada, where she curated a diverse and engaging group of contestants for the beloved game show. Her experience also includes working as Script Coordinator for the Royal Canadian Air Farce New Year's Eve Special, as well as Talent Assistant on some of Canada's most prestigious live award shows, including the Junos, Canadian Screen Awards, and Canada's Walk of Fame.   Watch out for Season 20 this fall on CBC! https://www.cbc.ca/dragonsden/ Women in Media Listeners get 41% off at Cozy Earth! https://cozyearth.com/discount/WOMENINMEDIA Women in Media Listeners Get 15% off at Stand! https://www.standshoes.com/discount/WOMENINMEDIA Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Hilliard and guest co-host (writers assnt CROSS on Prime) J.R. Zamora-Thal, sat down for an in-depth conversation with writer/producer JOSHUA GILBER. He's a mid-level TV writer (Flash) -- https://www.imdb.com/name/nm4214168 -- and prior to staffing, he did all the Writers' Office Assistant jobs: Writers' PA, Showrunner's Asst, Writers' Asst, and Script Coordinator (the gig I did the most).Josh says, "It occurred to me that if a YouTube video can teach someone to fix their sink, they can learn to SCRIPT COORDINATE the same way. So I created an 8-part video training module that gives step-by-step instructions for taking a script from first draft to shooting draft!"We talk about how other assistant jobs don't lend themselves to this kind of training video and learn his journey of giving back to those who are on the come-up!Check out Josh's YouTube page and get soak up game - completely FREE!"Veteran Script Coordinator" https://www.youtube.com/@VeteranScriptCoordinatorOur Motto: "We keep it GAME all day!"For information, Merch (T-SHIRTS/HOODIES), and all things Rant RoomScreenwritersrantroom.comSubscribe, like, follow, share & 5-star review!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Hilliard Guess on all social media@Hilliardguess.bsky.socialIG: @ScreenwritersRantRoom@jr_onthelineWE ARE NOW OPEN TO SPONSORSHIPS AND BRANDING OPPORTUNITIES⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠: Screenwritersrantroom@gmail.comWe invest countless hours per week to deliver the actionable content that goes into this podcast. We appreciate your support!SCREENWRITER NETWORKS:OBSwriter.comBTFC.orgScriptHop.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PODCASTS WE SUPPORT:2 Writers Talkin Shit: https://podcasts.apple.com/us/podcast/2-writers-talking-shit/id1671253747Hollywood Confessional: https://podcasts.apple.com/us/podcast/hollywood-confessional/id1628848064?i=1000630276175The Qube & Queer News: https://podcasts.apple.com/us/podcast/queer-news/id1595777135A Conversation With Floyd Marshall Jr: https://podcasts.apple.com/us/podcast/a-conversation-with-host-floyd-marshall-jr/id1544499834THEME SONG: Jack SpadeWEBSITE: MQL2,Abigail Bloom & Laura HuieLOGOS: Rachel MusikanthRANT ROOM TEAM:Richard Scott - Creative ProducerTyler Musikanth - Associate ProducerBrooke Baltimore - MarketingTogo - Marketing

So much happens behind the scene to create our favorite television shows. Cath-Anne Ambrose, Script Coordinator and Production Associate from Season Two to Seven of Stargate SG-1, joins Dial the Gate to share some of those details and update us on her world as an instructor!

This week and the next couple weeks we are covering Teenage Mutant Ninja Turtle: Mutant Mayhem. First up we've got script coordinator Andrew Joustra! Join our Patreon: patreon.com/nmyheadpodFollow Andrew: https://www.instagram.com/joustragram/Facebook: https://www.facebook.com/nmyheadpodInstagram: https://www.instagram.com/nmyheadpodTwitter: https://twitter.com/nmyheadpodYoutube: https://www.youtube.com/c/WhatsInMyHeadPodcast/featuredDon't forget to subscribe and follow us across all social media platforms.

Alyssa Feller, Writer and Script Coordinator, joins Susan and Ben to discuss The Devil Wears Prada, a 2006 comedy-drama. Alyssa shares what it's like having a career as a script coordinator and freelance writer for Frog and Toad on Apple TV+. She discusses how her role evolved during the show, creating the world of Frog and Toad, finding career inspiration in Tina Fey's Bossypants, and working with SpongeBob SquarePants voiceover actor, Tom Kenny. Alyssa plays our “Who Wore It Better” game. Follow Alyssa on Instagram and Twitter @Alyssa_Feller, or IMDb. Find her work at www.alyssafeller.com. Watch Frog and Toad on Apple TV+. Leave a rating and review on Apple Podcasts to help us reach more listeners. Find out about our guests and upcoming events by following us at Facebook, Twitter, or Instagram, contribute to our Patreon, or shop at lifeinthecredits.com. Life in Our Credits Hosts: Susan Swarner and Ben Blohm Executive Producer: Michelle Levin Logo Art: Melissa Durkin Music Composer and Performer: Steve Trowbridge

COWABUNGA DUDES! This week on @ready2retro we had the privilege to host Andrew Joustra who was the script coordinator on "TMNT: Mutant Mayhem" (2023). Listen to this conversation as Andrew shares many behind the scenes stories and personal reflections from his time on the film. In this episode you'll hear Kevin Eastman's (Co-Creator of TMNT) thoughts on the film, how Ice Cube approached his character as "Super Fly", the overall creative direction for "Mutant Mayhem" and so much more!It's a R2R Ninja Turtles theme so you know Joey from @ninjatoitles joined in the conversation and you should too!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5522857/advertisement

In this ep Hilliard and Chris sat down with writer/director Joe Carroll to talk about his long journey from Tennessee, doing background and PA work, writing and directing short films and music videos, moving to LA and writing a "who done-it" novel 'Sinful Confessions'', becoming a Script Coordinator on some top shows (one of a few, rare black men chosen for the position), co-writing and directing a film for streaming and so much more! You can find out more info about Joe Carroll on his website www.JoeCarrollonline.com Check out the ScreenWriterRR website at www.screenwritersrr.com for information, merch, or our Patreon! Support the show via the Patreon link. Remember support is love! We invest countless hours per week to deliver the actionable content that goes into this podcast. Connect with Us: Chris Derrick on Twitter Hilliard Guess on Twitter The Screenwriters Rant Room on Facebook --- Send in a voice message: https://anchor.fm/screenwriters-rant-room/message Support this podcast: https://anchor.fm/screenwriters-rant-room/support

Gaylyn Fraiche started as a Script Coordinator on the CBS series Johnny Bago for Executive Producers/Writers Peter Seaman and Jeffrey Price and Executive Producers Robert Zemeckis, Frank Marshall and Steve Starkey. Gaylyn's first experience in feature films was as Oscar-Winning Director Curtis Hanson's assistant on The River Wild, starring Meryl Streep and Kevin Bacon. She worked for Hanson for almost two years through the release of the movie and through early development of L.A. Confidential. From there she worked as Oscar-Winning Director Kathryn Bigelow's assistant on Strange Days. She began working at Castle Rock Pictures for CEO Martin Shafer on such films as The Green Mile, Best in Show, Miss Congeniality, and Proof of Life. She was promoted to Creative Executive and Director of Development. She also served as VP of Film and Television for Reese Witherspoon's Hello Sunshine. In this episode, we talk about: • Starting off as an assistant to Television Producers James Hirsch and Robert Papazian on 10 Movies of the week and 2 series, executive assistant to showrunner for CBS TV Series Johnny Bago, assistant to Curtis Hanson who is now an Oscar winning director (Hand who rocks the cradle), and Kathryn Bigelow on Strange Days • Reviewing Carrie Fisher's script revisions on yellow legal pads • Watching dailies with Meryl Streep and her 2.5 year old daughter • The perfect response when a man would say something awful in front of her and being the only woman in many rooms • Whether she would recommend the assistant producer track • Assistant to President of Castle Rock Entertainment, Martin Shafer, from development through international release of Miss Congeniality, The Green Mile, Two Weeks Notice, etc, networking with Hugh Grant and Sandra Bullock • Transition to Creative Director and then Director of Development for Castle Rock • Consultant for Tia Mowry for Motown christmas movie with Smoky Robinson and making movies with Hallmark and Netflix • Her role as Vice President for Film and Television at Hello Sunshine (Reese Witherspoon's production company) • How she got Nia Vardolis (who starred in My Big Fat Greek Wedding) to be in her movie Guest: IMDb LinkedIn Twitter Host: Instagram: @MentorsontheMic @MichelleSimoneMiller Twitter: @MentorsontheMic @MichelleSimoneM Facebook page: https://www.facebook.com/mentorsonthemic Website: www.michellesimonemiller.com Youtube: https://www.youtube.com/user/24mmichelle If you liked this episode, check out Actor/Director Tony Goldwyn (President Fitzgerald in Scandal)

Kira Talise is a storyteller born and bred in Los Angeles, California who was shaped by classic Black 90's TV shows and now boasts credits on modern-day classics like HBO's Insecure. Having risen through the ranks quickly as a Script Coordinator and now Staff Writer, Kira is more focused than ever to run her own writers' rooms and bring her stories to life. Today, she shares her journey as a writer and answers burning listener questions about the art and business of television screenwriting in Hollywood. Enjoy! Follow the show on Instagram @josiahsvoicepod #JosiahsVoicePodcast. Connect with Kira Talise on Instagram: @kira.talise. BLOG: Episode Notes. Theme Song: BREWERB. by MuhTeyOh. This episode is sponsored by Anchor: The easiest way to make a podcast. HTTP://anchor.fm/app. Listen to this episode at www.newsly.me or download the app on IOS or ANDROID. For a Free 1 Month subscription use my PROMO CODE: JosiahVoice. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/josiahsvoiceonblackfilm/message

We welcome Jeffrey Yerkes. Jeff worked in various roles on the Production Staff of Seinfeld for 5 years, including as a Writer's Assistant, Producer's Assistant, and Script Coordinator. He worked closely with Larry David, Jerry Seinfeld and the entire Writing staff. He had his hands on all facets of the Show, including Coordinating Casting Sessions and working behind-the-scenes with all Production Departments and Network Execs. He also appeared on-screen in 3 Seinfeld episodes. We talk in-depth with Seinfeld guest stars, cast, crew, and writers. Hear the stories about your favorite Seinfeld scenes from those who were there. This Podcast Is Making Me Thirsty is a podcast dedicated to Seinfeld, the last, great sitcom of our time. We are The #1 Destination for Seinfeld Fans. We talk to those responsible for making Seinfeld the greatest sitcom in TV history. Our guests are Seinfeld writers, Seinfeld actors and actresses and Seinfeld crew. We also welcome well-known Seinfeld fans from all walks of life including authors, entertainers, and TV & Radio personalities. We analyze Seinfeld and breakdown the show with an honest insight. We rank every Seinfeld episode and compare Seinfeld seasons. If you are a fan of Seinfeld, television history, sitcoms, acting, comedy or entertainment, this is the place for you. Patreon: https://www.patreon.com/seinfeldpodcast Official Website: http://www.seinfeldpodcast.com iTunes: https://apple.co/2RGC89m Spotify: https://spoti.fi/3tqDVh6 List of Podcast Episodes and Sponsors: https://bit.ly/3rn0PUp Seinfeld Episode Rankings: https://bit.ly/3ic8mEi Social: https://linktr.ee/ThisThirsty Twitter: https://twitter.com/ThisThirsty Instagram: https://www.instagram.com/thisthirsty/ "This Podcast Is Making Me Thirsty" is The #1 Destination Seinfeld Fans. --- Send in a voice message: https://anchor.fm/thisthirsty/message

This collection of episodes I'm re-sharing with you is part of the Intuitive Creators™ series, in which we are highlighting tools and mindset that will help you get to your next version of your desired self. As well as obstacles you may experience.  Like. in this episode, which features my good friend and TV Writer Greg Locklear on the subject of Imposter Syndrome. This topic is interesting because it's a good example of the on-goingness of a growth journey, meaning Imposter Syndrome can happen at any time of the journey but I think it especially happens during times we are stretching ourselves, challenging ourselves to step INTO that new version of ourselves. So much like how fear works, it's something that can be lessoned in its intensity and it can be there and not get in the way of your next steps. So that is actually the goal. Not to get rid of it but to find and apply tools to continuously work with it. I brought my lapel mics and field recording device to visit Greg in his new Hollywood home so we could talk casually and comfortably which we very much did. We relate over old café conversations about how we would build our dreams, the difficulties of living in Los Angeles, our shared lives in the hospitality industry and of course more specifically Imposter Syndrome.  Gregory's background includes: Producer of an award winning indie documentary called Corman's World: Exploits of A Hollywood Rebel  Script coordinator on TV Series like I Love Dick, Transparent, Happy!, and Project Blue Book. Director's Assistant on Marco Polo.  Script Coordinator on the Netflix series On Fate: the winx Saga Season 1 And now staff writer of Season 2 of Fate: the Winx Saga. Find Gregory Locklear: Instagram: @greglocklear IMBD: Gregory Locklear Join me here:  Intuitive Creators Academy & Collective Instagram:  @unleashxbarsi @thebarsi Facebook: @Unleash By Barsi Youtube: Unleash By Barsi BE BOLD & KEEP CREATING!   Music Credit & Licensing: Upbeat by Jon Luc Hefferman - Production Music This work is licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA

Meet Joon Chung, script coordinator and absolute sweetheart. From the Sesame Workshop to his job at Nickelodeon, Joon is able to talk about his position as a Script Coordinator on the East coast of the US, and how that differs from the same position held in Los Angeles. Various other things have also helped Joon grow before breaking-in, like the Staten Island Art Grant, and the projects that can be funded by such organizations. We discuss importance of being seen in media whether that is a character who looks like you or a character who has made the same life choices as yourself. We also talk about the impact that improv and sketch comedy classes has had on Joon's skills as a writer. Join us as we enter the Jooniverse to learn more about what it's like being a writer in animation. Instagram: @thejooniverse Twitter: @thejooniverse Website: https://www.thejooniverse.com/ If you enjoy our podcast, please share it and rate us on Apple Podcasts and Spotify. We want to expand our platform and amplify these BIPOC voices! --- Send in a voice message: https://anchor.fm/straight-ahead-podcast/message

Ellie Guzman was a Script Coordinator at Dreamworks when her bosses promoted her to Staff Writer. But first she started as a Production Assistant, moved up to Production Coordinator, and took a bunch of Dreamworks screenwriting classes. We'll talk about how she became a Script Coordinator, the landscape for animation writers, and her strategy to avoid getting pigeonholed. I'm Priscilla Nguyen, a pre-WGA writer, and you're listening to NEW SCREENWRITERS ON BREAKING IN.Ellie Guzman is a Salvadoran-American screenwriter. She graduated from USC in 2015 with a degree in Human Biology and worked in the ER before quitting to PA on an animated show. In 2019, she became Script Coordinator on another animated series called ARCHIBALD'S NEXT BIG THING IS HERE!, where she wrote her first freelance episodes. In 2020, she became Script Coordinator on KUNG FU PANDA: THE DRAGON KNIGHT, and in 2021, she became a Staff Writer on the same show.

Jeane Phan Wong changed reps during a low point in her career who helped her turn things around and get staffed. But first, she worked as an assistant for eight years, got into NBC Writers on the Verge, and sold three pilots. We'll talk about her experience as a Script Coordinator, how she sold those pilots, and why she decided to change her reps. I'm Priscilla Nguyen, a pre-WGA writer, and you're listening to NEW SCREENWRITERS ON BREAKING IN.Jeane Phan Wong is a Vietnamese Chinese writer. She grew up in the San Gabriel Valley and majored in English at UCLA. After interning briefly for a local congressman, she decided to pursue a career in Hollywood and worked as a TV assistant for eight years, starting on THE VAMPIRE DIARIES and ending with ARROW. In 2016, she participated in the NBC Writers on the Verge program, as well as the inaugural Women in Film / The Black List Episodic Lab. Jeane has also sold three scripts and landed one feature writing assignment. In 2021, she became a Staff Writer on an upcoming historical drama series.

My friend Josh Pitta joined me to chat about his experience in social media for Lucasfilm, production for Dreamworks, and in his current job as a script coordinator on the Warner Brothers show Batwheels. In this episode we talk about his path from PA to script coordinator, the future of the animation industry, and his advice for young writers. Josh's Instagram: @joshpitta Josh's LinkedIn Into the Writers' Room Website: intothewritersroom.com ITWR Instagram: @intothewritersroom

We're back with the perfect episode for anyone whose New Year's Resolution is "going green!" Callisto Soul puts a tree-hugging twist on an old fave. We welcome Script Coordinator Naomi Markman, one of Cowboy Bebop's freshest voices, to unravel why Maria Murdock and her "children" are more relevant than ever.

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

Disclaimer: this episode was recorded just days before the news: Hollywood Strike Averted As IATSE & AMPTP Reach Deal On New Film & TV Contract Hilliard talks with TV writer Corrine Van Vliet about the ins and outs of support staff -- working your way up from Writers PA, to Writers Assistant to Script Coordinator. We also talk about the IATSE strike, support staffs wants/needs/difficulties, etc and incase you didn't know -- Corrine is a member of both the WGAW & IATSE! Check out the ScreenWriterRR website at www.screenwritersrr.com for information, merch, or our Pateron! Support the show via the Patreon link. Remember support is love! We invest countless hours per week to deliver the actionable content that goes into this podcast. Connect with Us on Social Media: Chris Derrick on Twitter Lisa Bolekaja on Twitter Hilliard Guess on Twitter Corrine Van Vliet on Twitter The Screenwriters Rant Room on Facebook The Screenwriters Rant Room on Twitter --- Send in a voice message: https://anchor.fm/screenwriters-rant-room/message Support this podcast: https://anchor.fm/screenwriters-rant-room/support

Mira won Final Draft's Big Break Screenwriting Contest in 2020 for her TV Pilot Beirut. She talks to Write On about what it takes to win a screenwriting contest: "I personally suffer from perfectionism, but the most important thing is to get [your script] done, get it to a place so you can actually submit it on time. What also helps is getting lots of feedback. That's one of my favorite parts of the process of writing, is sharing it with other people, getting their opinions, and having them help me punch it up."   Mira goes on to talk about her role as a Script Coordinator on the show Lucifer, and how being support staff led to her first on-screen story credit. "Being in support staff positions has been such a learning curve for me. I wouldn't be the writer I am today without all that experience, without being invited to sit in the room and listen, being invited to pitch, getting opportunities to write outlines and write story documents.”   Don't forget to subscribe to the Write On Podcast on iTunes!     Now available on Google Podcasts!  

A series of glitch anomalies in one location convinces Phil to call a specialist to permanently wipe the minds of the occupants. Only one tech can stop the specialist and protect the inhabitants inside - Mitch Williams! But can Mitch, together with Five and Miko, save the day in time? Join the Voice of Mitch, Luke Youngblood; Writer, Script Coordinator and the Voice of Nix, Greg Nix; and Storyboard Artist Sarah Partington as we watch "I'm Mitch Williams" to find out! And then after the rewatch Co-Creator and Co-Executive Producer Dan Milano stops by to share his thoughts on the making of the episode. BOOSH!     Social Media Luke Youngblood Instagram @luke_youngblood Twitter @luke_youngblood Website lukeyoungblood.com   Greg Nix Instagram @gregnix Twitter @gregnixhuman   Sarah Partington Tumblr sarah-j-partington   Dan Milano Instagram @danmilanogtech Twitter @DanMilano   Check out the Glitch Techs newsletter, scripts, how the show is made and more! Glitch Techs Newsletter Glitch Techs Resources Glitch Techs Episode 1 - How they made it!   The Host Angela Entzminger Instagram @sketchysoul Twitter @sketchysoul Website www.sketchysoul.com          

Geoffrey D. Calhoun chats with Aaron Jacobs who works as a script coordinator on such Netflix Originals as Hoops and Paradise PD. Aaron discusses the expectations of being a script coordinator when on set and how knowing the ins and outs of production can take your own screenwriting to the next level.Of course, make sure to visit www.thesuccessfulscreenwriter.com for all your screenwriting needs.

Five leads his very own Glitch Techs squad when Mitch is out of commission, but will his new responsibility go to his head? Find out in Episode 006: Alpha Leader as we watch with Zehra Fazal, the Voice of Zahra, Phil Jacobson, Storyboard Artist, Marie-Eve Lacelle, Animation Rigger and Pipeline Optimizer, and Adam Ganse, Script Coordinator, Production Coordinator and EA!   Social Media   Zehra Fazal Instagram @ZehraFazal Twitter @ZehraFazal   Phil Jacobson Instagram @jackalope.king Twitter @OffBrandLink Website www.philjacobson.us   Marie-Eve Lacelle Instagram  @Zebirdbrain Twitter @Zebirdbrain YouTube @Zebirdbrain   Adam Ganse LinkedIn   Check out scripts, how the show is made and more:  Glitch Techs Resources Glitch Techs Episode 1 - How they made it!   The Host Angela Entzminger Instagram @sketchysoul Twitter @sketchysoul Website www.sketchysoul.com  

Animation Rigger and Pipeline Optimizer Marie-Eve Lacelle and Script Coordinator, Production Coordinator and Executive Assistant Adam Ganse share the joys of working on the pre-production and production side of episode four, Smashozaurs! Social Media   Marie-Eve Lacelle Instagram @Zebirdbrain Twitter @Zebirdbrain YouTube @Zebirdbrain   Adam Ganse LinkedIn   Check out scripts, how the show is made and more:  Glitch Techs Resources   The Host Angela Entzminger Instagram @sketchysoul Twitter @sketchysoul Website www.sketchysoul.com

It's the crossover you've all been waiting for! The Legendary Ladies have teamed up with the girls at Supergirl Radio (incidentally, one is Morgan's clone) to bring you a discussion of time-travel across Supergirl and Legends of Tomorrow! Rebecca and Morgan, of Supergirl Radio, give Amy and Kat (and Morgan's clone) a rundown of how time travel has been used so far in Supergirl, including introducing them to the "Legion of Super-heroes" and the "Legion Cruiser", as well as sharing some of the bigger plot points of Supergirl Season 3 that relied on time travel. The Legendary Ladies return the favor, teaching Rebecca and the other of Mogan's clones all about the Waverider, the rules(ish) of time travel in Legends of Tomorrow, and how a bowl of jello relates to the Temporal Zone. The hosts also make some snap judgements about some good ol' timey-wimey stuff, and the Legendary Ladies decide to hire New Rachel to be their Script Coordinator. This episode is also posted on the Supergirl Radio feed. Amy: @Amy_Marie97 Kat: @ComicUno Morgan: @Mojotastic Tweet or DM us on twitter: @Legends_Podcast Like us? Rate us 5 stars on iTunes! Find Legends of Tomorrow Podcast on: Social Media: Facebook – @Legends_Podcast Subscribe: iTunes – Stitcher Radio – YouTube – DC TV Podcasts – Google Play – iHeartRadio Contact: thelegendspodcast@gmail.com Support: TeePublic Store Check out Kat’s Comics Like Father, Like Daughter and They Call Her…The Dancer! https://www.etsy.com/shop/ComicUno?ref=seller-platform-mcnav

Scripts & Scribes Social #6 w/ Amy Thurlow (writer and veteran Writer's Asst, Script Coordinator, Showrunner's Asst and WPA on shows such as GOSSIP GIRL, KRYPTON and SLEEPY HOLLOW): We talk about the different roles of various assistant and coordinator positions in the TV writers' room, how she fights off procrastination, possibly converting her living room to a makeshift coffee shop in the new era of coronavirus and more.

Imagine having never gone to film school and getting a job proofreading scripts in a second language.Raul Martin Romero takes us into the nuts and bolts of his job, writing for television, and how he worked his way into a writer's room.Listen to Raul Martin Romero share with Tanya how he got from There to Here.Watch the full interview Get the latest the There To Here: Film & Media Podcast sent to you Find more podcasts from CoLab INC Film & Media Follow us on: Facebook Instagram LinkedIn Twitter YouTube

In this months episode we talk with Kyel, a script coordinator in the animation industry. We discuss how career journey, his inspiration and his love for trashy reality shows.

Welcome to the Ink and Paint Girls podcast- a look at animation through the women who make it! Hosted by Cassie Soliday   Today's guest is script coordinator and writer, Christina Kishpaugh! What I adore about Christina, is that she is herself in any room she walks into. But in a professional environment where others can sometimes try to put you in a box of how an assistant should act or speak, it's a challenge to be yourself! She shares with us how she manages others' expectations while living up to her own, how she began her Hollywood journey at an agency and landed on the Disney Jr show, “Mira,” and how she uses her personal podcast projects as research and development for her writing career.   Find Christina online: @stinakish on Instagram! Her podcasts: Drinks and Disney Dreadful Dames Jammiest Bits of Jam   ----- To submit your questions for future episode Q&A or to recommend someone to be interviewed, please email inkandpaintgirlspodcast@gmail.com!   Ink and Paint Girls on Social Media: Twitter @InkNPaintGirls Instagram @inkandpaintgirls

Cathryn Naiker joins Jimmer Lowe for an Episode of Q’d Up. A few years ago, Cathryn Naiker decided to leave her career in broadcasting to follow her dreams of becoming a comedy writer, comedian and according to the British Journal of Psychiatry, completely insane. But the risk has paid off. In 2019 Cathryn became a writer for This Hour Has 22 Minutes. Previously she was the writers room Script Coordinator for The Mr D Show season 8, writer for The Beaverton Season 2 and contributor for their website. She has also been a writing consultant for the popular YouTube Channel ASAPScience.Currently she is writing for the video game Later Daters with Bloom Digital and is a bursary recipient with the Toronto Artscape Daniels Launchpad for developing independent projects. Cathryn is also a proud alumni of The Writers Guild of Canada & Bell Media Diverse Screenwriters program. She also wrote and co-starred in the IPF funded web series Dhaliwal ‘15 with YouTube star Jus Reign. As a comedian, she has been accepted to the Women In Comedy Festival (WICF Boston) and performed at top comedy festivals such as, JFL42, Just For Laughs Pitch at your own risk & JFLZoo fest, Gilda’s Club Laugh Fest, She Dot (Toronto 3 years in a row), Border City Comedy Fest, Brantford Comedy Fest, and NXNE to name a few. She is an in demand performer in Canada's comedy scene and continues to pursue her goals of hilarious domination.

This week Steve and Chris dig into their Nerdiest roots (after defeating a crisis of the infinite podcasts) and talk about the Crisis Crossover in the Arrow-Verse And to help them is Jeane Wong, our very special guest, who works as a Script Coordinator for Arrow and has written 3 episodes of the show! Get some behind the scenes notes, find out just how hard this show was to put together, and how awesome is Marv Wolfman exactly? All this plus what other DC shows should have been crossed over with? And what would be the second greatest Television Crossover of all time? All this and more on the Episode One Podcast!

DOUBLE EPISODE DAY! Part 2!Welcome back to Dwight In Shining Armor: The Sunken Kingdom, the unofficial behind the scenes podcast about everything Dwight!In this seventh episode of the second season, “Queen Tree”, Josh Breslow talks again with the Co-Creator/Co-Showrunner of Dwight in Shining Armor, Brian J. Adams, and, for the first time ever, Production Designer, Kody Busch, and Script Coordinator/Executive Assistant to the the Showrunners, Nickolas Dimondi!What’s a Production Designer?What’s a Script Coordinator?What’s a Showrunner?Killing Trees IRL for the sake of the Script!Salt Lake Trees ≠ Hiram Trees!Clearing Brush and SNAKES!Soylent Green is Sticky Bog!Slipping in a New Episode!An Ideal Job!Loading in Logs!Rival Woodcutters!Hugging the Horizon Line (for real this time)!Survival Suit Chlodwig!David and Goliath!And most importantly: If you’re in Double Golden Rod… god help you.Find out more at https://the-sunken-kingdom.pinecast.co

This is the live recording of a panel I put together featuring TV writers' assistants and script coordinators to help demystify the jobs and the process of getting them for industry assistants who want those jobs someday! If you've wondered what it's like to be an assistant in a TV writers' room, you'll like it. Shoutout to Western Bagel in Studio City for the bagels, and UCB for letting us use the Inner Sanctum.

The Legends Of S.H.I.E.L.D. Director SP, Agent Haley, Agent Lauren and Consultant Michelle discuss the Legion season two episode eight “Chapter 16.” The reporters also run down the Marvel news roundup and discuss listener feedback.   THIS TIME ON LEGENDS OF S.H.I.E.L.D.:   Legion “Chapter 16” Marvel News Roundup Listener Feedback   The Legends Of S.H.I.E.L.D. Director SP, Agent Haley, Agent Lauren and Consultant Michelle discuss the Legion season two episode eight “Chapter 16” as well as the weekly Marvel news and listener feedback. The Agents go over their PSA for the week on why not to hit people and use your words instead – or a bottle filled with bitter apple spray, how Plato’s Allegory Of The Cave transfers to the internet and echo chambers, and Michelle gives multiple precognitiant cautionary statements.   LEGION “CHAPTER 16” [4:47]   LEGION “CHAPTER 16”   Chapter 16 aired Tuesday May 22, 2018 on FX and earned a 0.409 rating. Legion was renewed for a third season on June 1st, 2018. Season One:   Chapter 1 - 8 Feb 2017: 1.62 Chapter 2 - 15 Feb 2017: 1.13 Chapter 3 - 22 Feb 2017: 1.04 Chapter 4 - 1 Mar 2017: 0.75 Chapter 5 - 8 Mar 2017: 0.80 Chapter 6 - 15 Mar 2017: 0.73 Chapter 7 - 22 Mar 2017: 0.72 Chapter 8 - 29 Mar 2017: 0.81   Season Two:   Chapter 9 - 3 Apr 2018: 0.669 Chapter 10 - 10 Apr 2018: 0.439 Chapter 11 - 17 Apr 2018: 0.380 Chapter 12 - 24 April 2018: 0.434 Chapter 13 – 1 May 2018: 0.456 Chapter 14 - 8 May 2018: 0.353 Chapter 15 – 15 May 2018: 0.451 Chapter 16 – 22 May 2018: 0.409   Directed By:Jeremy Webb https://www.imdb.com/name/nm2007278/?ref_=tt_ov_dr 31 directing credits starting 1997 9x Casualty (2002-2004) 2x Doctor Who (2011) 15x Merlin (2008-2011) 2x Downton Abbey (2012) 2x Atlantis (2013) 2x Elementary (2016) 1x Fear the Walking Dead (2017) 2x Punisher (2017) 1x Runaways (2018) 1x Legion (2018) 2x Colony (2017-2018)   Written By: Noah Hawley - creator of show https://www.imdb.com/name/nm1279638/#writer 8 writing credits starting 2006 6 x Bones 14 x Legion Chapter 1 (2017) Chapter 2 (2017) Chapter 8 (2017) Chapter 9 (2018) Chapter 10 (2018) Chapter 11 (2018) Chapter 12 (2018) Chapter 13 (2018) Chapter 14 (2018) Chapter 15 (2018) Chapter 16 (2018) Chapter 17 (2018) Chapter 18 (2018) Chapter 19 (2018) ALSO PRODUCED: Bones, The Unusuals, My Generation, Legion, and Fargo   Written By: Jordan Crair https://www.imdb.com/name/nm7844308/?ref_=tt_ov_wr 1 writing credit starting in 2018 1x Legion (2018) Script Coordinator - 13x Legion / 10x Fargo / 13x Outsiders   NEWS [33:39]   NETFLIX SERIES   Iron Fist s2 is out and… good? https://io9.gizmodo.com/iron-fist-season-2-is-strong-and-has-a-finale-you-absol-1828866781   Mike Colter under fire for Ariana Grande comment https://comicbook.com/marvel/2018/09/02/luke-cage-mike-colter-ariana-grande-grope-tweet/   CAPTAIN MARVEL & BEYOND   EW unveils first look at Captain Marvel https://ew.com/movies/2018/09/05/captain-marvel-ew-cover-brie-larson   Michelle Yeoh “horrified” over James Gunn firing https://uk.movies.yahoo.com/michelle-yeoh-horrified-james-gunns-firing-unnecessary-good-exclusive-130735889.html   BONUS SHOW NOTES:   AoS to the Disney Streaming Service? (Mentioned by Seth of Geekville Radio)   Spider-Man PS4 is out and people are loving it!   FEEDBACK [48:18]   TWITTER   https://twitter.com/oh8four/status/1038658896615727104 THEY FIXED EVERYTHING #ironfistseason2 @MCUCast @Level7AccessPod @LevelSevenPod @LegendsofSHIELD   https://twitter.com/adanagirl/status/1035016233794580480 Pirate Angel‏ @adanagirl FollowingFollowing @adanagirl More On @MASTERCHEFonFOX, @GordonRamsay made 3 dishes in 45 minutes out of SCRAPS! There was no cave involved. @LegendsofSHIELD #ListenUpAHoles #MasterChef #IronMan #MCU   https://twitter.com/andiminga/status/1031907344140181504 andiminga‏ @andiminga FollowingFollowing @andiminga More andiminga Retweeted Brie Larson Wow, trolls on the internet being responsible for unlocking totally unjustified self-shame is just one of the worst aspects of the world-wide-web @LegendsofSHIELD   OUTRO [53:47]   Haley, Lauren, Michelle and Stargate Pioneer love to hear back from you about how you would rate the episode we just discussed, your top 5 Marvel character lists, your science of Marvel questions, who would you pick in an all-female Avenger team, or which Marvel male you would like to see shirtless. Call the voicemail line at 1-844-THE-BUS1 or 844-843-2871.                    Join Legends Of S.H.I.E.L.D. next time as the hosts discuss the Legion Season 2 ninth episode “Chapter 17.” You can listen in live when we record Sunday Afternoons at 1:00 PM Eastern time at Geeks.live (Also streamed live on Spreaker.com). Contact Info: Please see http://www.legendsofshield.com for all of our contact information or call our voicemail line at 1-844-THE-BUS1 or 844-843-2871   Don’t forget to go check out our spin-off podcast, Legends Of S.H.I.E.L.D..: Longbox Edition for your weekly Marvel comic book release run-down with segments by Black Adam on S.H.I.E.L.D. comics, Lauren on Mutant Comics and Anthony with his Spider-Man web down. Legends Of S.H.I.E.L.D.: Longbox Edition is also available on the GonnaGeek.com podcast network.   Legends Of S.H.I.E.L.D. Is a Proud Member Of The GonnaGeek Network (gonnageek.com).   This podcast was recorded on Sunday September 9th, 2018.   Standby for your S.H.I.E.L.D. debriefing ---   Audio and Video Production by Stargate Pioneer of GonnaGeek.com.

Steven Vitolo talks to Cody Brotter about writing freelance episodes for major television comedies (including "Blackish" on ABC) after being a Script Coordinator and Writer’s Assistant on several TV shows AND talks about creating his own successful app, Scriptation, which is already changing the game for TV writers' rooms around the country (and recently got a new round of funding led by Rob Morrow).

This week Kris has a greatly overdue guest who comes out from behind the TAN curtain and even talks about her own podcast, The Ink & Paint Girls Podcast! Cassie's Links: casassy.com http://inkandpaintgirls.com

Matt Demblowski is a comedy writer and TV producer who got his start in entertainment as a development executive for Stick Figure Productions, in New York, NY. He conceived, developed and produced such reality series as National Geographic's Repossessed! and American Gypsies, among other pilots and documentary films.  Matt's screenwriting has received honors in a number of national competitions including the Austin Film Festival (Finalist, Digital Series), Final Draft Big Break (Semi-Finalist, Comedy Pilot) and the Creative World Awards (1st Place, Comedy Spec). In September 2017, he released his original web series, Halftime, a show he created, wrote, directed and produced in his hometown of Pittsburgh, PA. Currently, he works as a Script Coordinator on Superstition at Syfy. In his spare time, he enjoys reading detective novels, binge-watching Game of Thrones and eating pizza. "I don't give up on projects. One of the things I'm working on now is literally the first screenplay I wrote ten years ago. I'm working on it for my own gratification. I want this script to be something that I'm proud of. And hopefully I've learned something over the years and I'll go back and fix things I didn't know how to fix then... I think there's something instructive about going back to something you once loved and digging into it and figuring out how to make it work." • Matt Demblowski on Twitter • Halftime, the web series   // Pulling Your Hair Out is produced and hosted by Richard Lowe. Music by Joshua Moshier.

Ross Zimmerman is a TV writer who recently completed writing his second episode of the Disney XD live-action/animation-hybrid kids show Kirby Buckets. He also wrote and produced the pilot for the online series Geex and has pitched an animated series to multiple networks. He has worked on over 28 different film and television productions during the course of his career, including the final season of How I Met Your Mother, as he worked his way up through the ranks from intern to PA to Script Coordinator to earning his first writing credits. "Writers just go and they write and they do it. You can't not write." • Ross Zimmerman on Twitter • Kirby Buckets (Disney XD) • The War of Art • Final Draft • Sticky Notes   // Pulling Your Hair Out is produced and hosted by Richard Lowe. Music by Joshua Moshier.

In the conclusion with my interview with Cassie Soliday we go out with a bang by discussing her work on her creative writing podcast Jammiest Bits of Jam, writing and editing The Animation Network Podcast Newsletter and the importance of pursuing your artistic journey and making time for yourself and … Continue reading

In part 2 of today's interview Cassie Soliday discusses the ins and outs of working as a Script Coordinator for the hit Disney Junior show Puppy Dog Pals, how one gets a job as a writer in the animation industry, writing and illustrating diary comics and how The Ink and Paint Girls … Continue reading

Cassie Soliday works as the Script Coordinator for Wild Canary Animation's Puppy Dog Pals on Disney Junior, is the creator of the diary comic Life Scientist, creator and host of The Ink and Paint Girls Podcast, co-host of the Jammiest Bits of Jam Podcast, and Newsletter Editor for The Animation Network Podcast. … Continue reading

Alex and Nick welcome Franklin jin Rho (FOX's The Exorcist) to discuss the ins and outs of being a TV script coordinator. He shares with us his advice, anecdotes, tips, and tricks to understanding and getting into this vital TV position, set halfway between the writers' room and production. How do you become a script coordinator (especially when you have no experience)? What do showrunners look for in candidates? What are the interactions like between writers and production? What can you do to get that first script and transition up? Are there any must-know shortcuts to Final Draft? The Paper Team offers some script revisions... SHOWNOTES Content Thoughts on TV script coordinating, getting a position, and making the best out of it (00:33) Outro (46:17) Links Franklin jin Rho on Twitter The Exorcist (FOX) AFI's Directing Program Friday Night Lights (NBC) Film Independent's Project Involve The Assets (ABC) Cole Fowler on IMDb Konami Code IBM's Watson Scriptation If you enjoyed this episode (and others), please consider leaving us an iTunes review at paperteam.co/itunes! :) You can find Paper Team on Twitter: Alex - @TVCalling Nick - @_njwatson If you have any questions, comments or feedback, you can e-mail us: ask@paperteam.co

In the series premiere of Fem TV, Melissa is joined by Alix Sternberg. Alix has worked on a number of TV shows, including Saturday Night Live and the upcoming Netflix Original Gilmore Girls: A Year in the Life. She is currently script coordinator on Supergirl, which kicked off this week on its new network, The CW.   Contact + Follow: Email | Twitter | YouTube

In episode sixty five of Wine and Comics, we read the first half of Crisis On Infinite Earths. Written by Marv Wolfman (Author), George Perez (Illustrator) THE BOOZE: Cocobon - Red Blend - 13.5% In this week's episode, Topher and Meghan are joined by the Script Coordinator for Arrow, Jeane Wong! You can buy next week's wine or comics! https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=TR6JEAVUGLE7W Check us out on Twitter: @WineAndComics Check us out on Facebook: facebook.com/WineAndComics Leave us a voice mail at: (818) 538-6199 LIVE on Periscope every Friday at 8pm PST at @TopherHarless. Download: https://itunes.apple.com/us/podcast/wineandcomicss-podcast/id992335068 Stitcher: http://www.stitcher.com/s?fid=82141&refid=stpr Tune In: http://tunein.com/radio/Wine-and-Comics-p829980/ iHeartRadio: http://www.iheart.com/show/53-Wine-and-Comics/

It's another don’t miss episode with the coolest chick in TV, my friend and office neighbor, Co-Executive Writer/Producer Nicole Mirante! HIGHLIGHTS: “Writer Gang Signs,” the Cub Reporter, Under One Roof series,  assisting director Thomas Carter, Writers Assistant vs Script Coordinator, the hit series Huff, moving up in the writers room, being in a Writer Fog, agent stories,  Law & Order Criminal Intent, NCIS and so much more!  Our motto, "Keep it real, keep it opinionated and keep it what? 2016” DIRECT LINK:  http://bit.ly/SRWW-89 Subscribe, Comment, Rate & 5 STAR Review on iTunes! http://bit.ly/HG-SRR-EP1 Twitter: @ScreenwritersRR @HilliardGuess @LisaBolekaja @NicoleMirante @LynelleWhite #ScreenwritersRantRoom #BlackNerds #Comedy #TVFilmDrama

Hilliard goes IN with old friend and big sis, Debra Fisher.  This week discussing her rise in TV from Assistant to Co-Executive Producer!   HIGHLIGHTS: Coming up in Children’s Television, the job of the Script Coordinator, a perfect Writers PA, PARTY OF FIVE, the face of the office, writing with SPEED, staffing on ALIAS, the eclectic resume`, Co-EP expectations, inside CRIMINAL MINDS, WITCHES OF EAST END, Lisa’s RANT and so much more!   Our motto, "Keep it street, keep it opinionated and keep it what? 2,015”   DIRECT LINK: http://bit.ly/EP-61   Subscribe, Comment, Rate & 5 STAR Review on iTunes or Stitcher!   http://bit.ly/HG-SRR-EP1   Twitter: @ScreenwritersRR @HilliardGuess @LisaBolekaja #ScreenwritersRantRoom

In this episode, @HilliardGuess talks with Kellie R. Griffin, writer-director-producer about her unorthodox rise from PA to Showrunner/Creator! With Co-host, award-winning Sci-fi/Horror writer and author, @LisaBolekaja. EPISODE HIGHLIGHTS: Kellie’s childhood in Philly, Howard University, from psychology and social work to New York Film Academy, becoming a PA then Writers Assistant on The Parkers, an in-demand Script Coordinator, how she became Head Writer on "Tyler Perry's House of Payne," creating "Reed Between The Lines" on BET, The Bison Project for Howard U Alumni, Anatomy of a Script and so much more! Our motto, "Keep it street, keep it opinionated and keep it what? 100!" Subscribe, Comment & 5 STAR Review Us! Direct Link: http://bit.ly/KELLIE-G   iTunes: http://bit.ly/HG-SRR-EP1 Stitcher: http://bit.ly/SRR-STITCHERLINK  Twitter:

Tune in for an episode with television writer and Scriptation founder Steve Vitolo. He talks about how he worked his way from Script Coordinator to full fledged Writer for the TV show Blackish. He also talks about the app he created called Scriptation, which tracks the changes in notes in script revisions. Finally, in this episode we have another catchup session with Jumai at film school. Follow along with Jumai’s adventures in real time. Check out her site here: www.jumaiyusuf.com with information about her student "Lucid", Instagram/Twitter (@iamjumaii) Unpaid Endorsements: Matt - Kamasi Washington jazz musician Steve - Aeropress for brewing coffee Oren - An observation that election day is not a great day to promote big things on social media, but it's a great day to promote little things Contribute to the Just Shoot It Patreon and help support the show: www.patreon.com/JustShootItPodAs always, follow @MrMattEnlow (www.twitter.com/MrMattEnlow) and Oren @SmiteyPieLeg(www.twitter.com/SmiteyPieLeg) on twitter. For more episodes visit www.JustShootitPodcast.comShow your support: rate and review us on iTunes. apple.co/2fl9ojySee who are guests are a week early on our instagram @JustshootItPod(www.instagram.com/justshootitpod/) Send feedback to @justshootitpod or justshootitpod@gmail.com or 
Call us at (262) 6-SHOOT-1, and we’ll air your voicemail on the show! Music was provided by the free music archive and by Jahzzar. Just Shoot It is a podcast about directing, filmmaking and storytelling. Each week we interview your directors, screenwriters, editors, cinematographers, and actors, and learn how they became successful, working content creators. We’re all about getting off your butt and making your own videos. We’ll share tips and stories of how people in the entertainment industry forced their ways into sustainable careers. Matt Enlow is a director working in comedy. His website is mrmattenlow.com Oren Kaplan is a director and VFX artist who has directed the theatrical feature, The Hammer, a Lifetime movie, and countless branded content videos. His website is directedbyoren.com Support this podcast at — https://redcircle.com/just-shoot-it-a-podcast-about-filmmaking-screenwriting-and9776/donations