Podcasts about showrunning

This is Episode 8 in the second season of The Directors Take Podcast. In this week's episode your hosts Oz Arshad and Marcus Anthony Thomas are joined by Writer & Showrunner Lauren Sequeira. A BAFTA nominated writer and a member of the BBC's Hotlist, they wrote on Kiss Me First and seasons 1 & 2 of Gangs of London before Showrunning their very own show, BBC3's original series Domino Day. As ever we break down Lauren's journey and craft to uncover those delicious nuggets of information. This chat covers…   -How Marcus and Lauren met… (lol) -Lauren's journey toward becoming a writer -How she got her agent and how they helped shape their career. -What did her first paid writing jobs look like?  -Writing on Gangs of London. -How she got her very own show commissioned. -Setting up a series, interviewing directors and building those relationships. -What is her writing process?   Our wonderful sponsor for this episode is The National Film and Television School.   Bio Lauren Sequeira is a writer hailing from South London, earning her first TV Credit on Kiss Me First, which was a show plucked from the mind of Bryan Elsey, the creator of Skins. From here Lauren created the digital Spin-Off series to BBC's The Dumping Ground, called Sasha's Contact Meeting, which earned her a BAFTA nomination and she was named on the BBC's hotlist for emerging talents tipped as future stars.    She also went on to write for Gangs of London, on both Season 1 and 2, before getting her very own show commissioned, the Original Series Domino Day which aired on BBC3 in February of 2024. Domino Day is a show which follows Domino, a powerful young witch who is haunted by her need to feed on the energy of others… And she uses Dating apps to find her new prey.   Nuggets of the week Lauren:  The sun (not the newspaper). Being outside and enjoying the sun. Oz: The rap beef between Kendrick, Drake and J. Cole. Marcus: Thelma & Louise - Screenplay   Credits Music by Oliver Wegmüller   Socials Lauren Sequeira: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram   If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.

Before a whirlwind vacation, Joanne helps Frank pick something for the cuties to listen to... Now out from the Good Story Guild: Divorce Ranch! Season one is now complete.June 1949. Heiress Mitzi Ballantyne has gone missing during her "Reno-vation" at the Sidewinder Resort. Detective Francis O'Connell, a Bible-toting bloodhound, would rather be at his Ma's sickbed. Instead, he steps off the train and into a den of liberated ex-wives who test his every nerve. Crooked cops, runaways, and divorcees collide in a female-forward, "west-of-center" take on the classic noir.After the pilot, pick up this six-part mystery wherever you listen to your podcasts! ***Created by Rachel Music.Showrunning by Michi Broman and Elena Christina Wagoner.Sound Design by Lauren CooperMusic by Michelle SudduthRecorded, Mixed and Mastered by Evan ChambersProduced by Simone KisielExecutive Produced by the Good Story GuildHosted by Ausha. See ausha.co/privacy-policy for more information.

We chat about the challenges and the episode ideas that never came to be, We reflect back on Dark Skies too.  Subscribe to Sci-Fi Talk Plus and get a 30 day trial. Cancel at anytime.

Running out of time, Francis returns to the casino and enters his personal den of lions. Helen tries her hand at espionage, but Hatsuko steals the show. Joey Matinee gets a chance to clear his name.Created by Rachel Music.Showrunning by Michi Broman and Elena Christina Wagoner.Part Five was written and directed by Rachel Music.Starring: Christopher Gebauer as Francis, Kate Fuglei as Aoife, Enrique Quintero as Hondo, Lorene Chesley as Sarah, Lisa Pedace as Helen, Laura Lee Walsh as Beverly, Laura Holliday as Dottie, Tina Huang as Hatsuko, and Chelsea Lang as Mitzi Ballantyne.Featuring the Divorce Ranch Players: Neill Fleming, Jamie Lujan, Cashae Monya, Marnina Schon, Meghan Falcone, Ted Evans, and Jesse BurchSound Design by Lauren CooperMusic by Michelle Sudduth"I Know How to Say Yes" (Music/Sudduth) was performed by Keiko Shimosato Carreiro.Recorded, Mixed and Mastered by Evan ChambersProduced by Simone KisielExecutive Produced by the Good Story GuildFollow us @goodstoryguild on Instagram.Hosted by Ausha. See ausha.co/privacy-policy for more information.

After confronting Helen, Detective O'Connell receives a telegram from Chicago, forcing Aoife to step in. Hatsuko and Beverly weigh their options, and Hondo plays hardball to get the answers he seeks. Created by Rachel Music.Showrunning by Michi Broman and Elena Christina Wagoner.Part Four was written by Michi Broman and directed by Rachel Music.Starring: Christopher Gebauer as Francis, Kate Fuglei as Aoife, Enrique Quintero as Hondo, Lorene Chesley as Sarah, Lisa Pedace as Helen, Laura Lee Walsh as Beverly, Laura Holliday as Dottie, Tina Huang as Hatsuko, and Chelsea Lang as Mitzi Ballantyne.Featuring the Divorce Ranch Players: Neill Fleming, Jamie Lujan, Cashae Monya, Marnina Schon, Meghan Falcone, Ted Evans, and Jesse BurchSound Design by Lauren CooperMusic by Michelle SudduthRecorded, Mixed and Mastered by Evan ChambersProduced by Simone KisielExecutive Produced by the Good Story GuildFollow us @goodstoryguild on Instagram.Hosted by Ausha. See ausha.co/privacy-policy for more information.

Against the backdrop of yet another disappearance at the Sidewinder, Francis struggles to relate to the divorcees. A horseback reconnaissance yields some clues, but now the pool of suspects is growing. Created by Rachel Music.Showrunning by Michi Broman and Elena Christina Wagoner.Part Three was written by Laura Skopec and directed by Rachel Music.Starring: Christopher Gebauer as FrancisKate Fuglei as AoifeEnrique Quintero as HondoLorene Chesley as SarahLisa Pedace as HelenLaura Lee Walsh as BeverlyLaura Holliday as DottieTina Huang as Hatsukoand Chelsea Lang as Mitzi BallantyneFeaturing the Divorce Ranch Players: Neill Fleming, Jamie Lujan, Cashae Monya, Marnina Schon, Meghan Falcone, Ted Evans, and Jesse BurchSound Design by Lauren CooperMusic by Michelle SudduthRecorded, Mixed, and Mastered by Evan ChambersProduced by Simone KisielExecutive Produced by the Good Story GuildFollow us @ goodstoryguild on Instagram.Hosted by Ausha. See ausha.co/privacy-policy for more information.

Detective O'Connell tries working within the system, but finds himself at odds with the freewheeling attitudes in Reno. At the casino, the stakes get even higher. Dottie confides in Francis, to the ire of her sister, Beverly. Created by Rachel Music.Showrunning by Michi Broman and Elena Christina Wagoner.Part Two was written by Brandon Thompson and directed by Rachel Music.Starring: Christopher Gebauer as FrancisKate Fuglei as AoifeEnrique Quintero as HondoLorene Chesley as SarahLisa Pedace as HelenLaura Lee Walsh as BeverlyLaura Holliday as DottieTina Huang as Hatsuko and Chelsea Lang as Mitzi Ballantyne Featuring the Divorce Ranch Players: Neill Fleming, Jamie Lujan, Cashae Monya, Marnina Schon, Meghan Falcone, Ted Evans, and Jesse BurchSound Design by Lauren CooperMusic by Michelle Sudduth***"You Take the Rules, I'll Take the Roulette" Performed by Jacob Alden RoaLyrics by Rachel Music, Music by Michelle Sudduth***Recorded, Mixed, and Mastered by Evan ChambersProduced by Simone KisielExecutive Produced by the Good Story GuildFollow us @ goodstoryguild on Instagram.Hosted by Ausha. See ausha.co/privacy-policy for more information.

June 1949. Detective O'Connell has been sent unceremoniously from Chicago to Reno to track down a wily heiress. Divorce Ranch is a Good Story Guild production. Created by Rachel Music. Showrunning by Michi Broman and Elena Christina Wagoner. Part One was written by Michi Broman and directed by Rachel Music. Starring: Christopher Gebauer as FrancisKate Fuglei as AoifeEnrique Quintero as HondoLorene Chesley as SarahLisa Pedace as HelenTina Huang as HatsukoLaura Lee Walsh as BeverlyLaura Holliday as Dottieand Chelsea Lang as Mitzi BallantyneFeaturing the Divorce Ranch Players: Neill Fleming, Jamie Lujan, Cashae Monya, Marnina Schon, Meghan Falcone, Ted Evans, and Jesse BurchSound Design by Lauren CooperMusic by Michelle SudduthRecorded, Mixed and Mastered by Evan ChambersProduced by Simone KisielExecutive Produced by the Good Story GuildFollow us @goodstoryguild Hosted by Ausha. See ausha.co/privacy-policy for more information.

Nevada, 1949. Heiress Mitzi Ballantyne has gone missing during her "Reno-vation" at the Sidewinder Resort. Detective Francis O'Connell, a Bible-toting bloodhound, would rather be at his Ma's sickbed. Instead, he steps off the train and into a den of liberated ex-wives who test his every nerve. Crooked cops, runaways, and divorcees collide in an offbeat blend of ensemble Western and classic Noir. Created by Rachel Music. Showrunning by Michi Broman and Elena Christina Wagoner. Produced by Simone Kisiel. Executive Produced by Good Story Guild. Hosted by Ausha. See ausha.co/privacy-policy for more information.

Today on AirTalk, TV sitcom genius and activist Norman Lear dies at 101. Also on the show, Emmy Award winning showrunner Jeff Melvoin tells us about his job in a new book; Actor Patrick Stewart chats with Larry about his new memoir and more. Norman Lear, Activist and TV Sitcom Pioneer, Dies at 101 (00:17) Showrunning 101: Everything You Need To Know About Hollywood's Most Demanding Job (34:00) Newly Appointed LA County Board Of Supervisors Chair On Homelessness, Sea Level Rise And More (51:36) Actor Patrick Stewart On His New Memoir, ‘Making it So' (1:02:47)

From a studio's perspective, what makes a great showrunning partner? This week, we got answers from returning guest Ken Segna. Ken Segna was most recently the head of TV Development at MRC, working on shows like The Girlfriend Experience and American Gods. For more showrunning tips and stories, visit www.theshowrunnershow.com.

Showrunning is a near-impossible job which is guaranteed to push you harder than the hours of the day can manage. Here are 5 Tips to manage the overwhelm that comes with too much work. For more showrunning goodness, visit www.theshowrunnershow.com or find us on YouTube!

Cody Heller is a writer, producer, and showrunner. Heller began her career on the FX comedy series WILFRED, which starred Elijah Wood. She went on to co-create the supernatural comedy series DEADBEAT for Hulu. Heller worked as a CoEP on the darkly comedic Showtime series KIDDING, which starred Jim Carrey. Cody then created, produced and showran DUMMY, which first launched on Quibi and now lives on the Roku Channel. The 10-episode series stars Anna Kendrick, and was inspired by Cody's experience discovering her then-boyfriend and now-fiancé (Dan Harmon)'s sex doll. Most recently Cody executive produced and showran Freevee's courtroom docu-style comedy series JURY DUTY, which stars James Marsden. #JoshuaHolland #CodyHeller #JuryDuty #Wilfred #Deadbeat #Kidding #Dummy #Producer #Writer #Showrunner #DanHarmon #Comedy #Documentary #ElijahWood #JimCarrey #AnnaKendrick | CODY HELLER | IG - https://www.instagram.com/normalheller/ Join Host

Showrunning is a mysterious art form to many so I wanted to bringing he someone who can shine a light on what it takes to be one. Today on the show we have powerhouse show runner, writer, director, producer, and all-around good guy Steven Deknight. Best known for his work across the action, drama, and sci-fi genres on TV shows like Smallville, Spartacus, Daredevil, Buffy the Vampire Slayer, Angel, and Jupiter's Legacy.Realizing his strengths early on in his career, Steven is a jack-of-all-trades who studied acting at the onset of film school transitioned through to writing, playwright, and screenwriting. Buffy the Vampire Slayer was his big break - starting off as writer and story editor on the show, Deknight went on to produce 42 episodes of the Spin-off show, Angel.The vampire Angel, cursed with a soul, moves to Los Angeles and aids people with supernatural-related problems while questing for his own redemption.Steven went on to direct and co-executive produce 66 episodes of the 2001 show, Smallville which set a viewers rating record of 4.34 million viewers per episode and had an amazing 10 seasons run.The series goes along with Clark Kent through his struggles to find his place in the world as he learns to harness his alien powers for good and deals with the typical troubles of teenage life in Smallville, Kansas.In 2009, He briefly wrote, directed, and consulted on the short-lived Dollhouse series. Almost immediately after, Deknight got an offered to executive produce and write the hit sensation and everyone's guilty-pleasure, Spartacus.A fictional historical drama series inspired by, Spartacus, the show focused on Spartacus's obscure early life leading up to the beginning of historical records.We do a deep dive on how Steve brought the Marvel universe's darker and grittier character Daredevil to Netflix that help launch The Defenders superhero on the streaming giant.Blinded as a young boy, Matt Murdock fights injustice by day as a Lawyer and as a street-level superhero by night, in Hell's Kitchen, New York City.His feature-film directorial and writing debut Pacific Rim: Uprising. We go into the weeds on his experience bring a studio tentpole to the big screen while under extreme pressure and restraints.Steve was a blast to chat.Enjoy this conversation with Steve Deknight.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/2664729/advertisement

Actor, director, and showrunner Bill Hader (BARRY, INSIDE OUT, THE SKELETON TWINS) joins Team Deakins to discuss his multi-faceted career in one of our funnier conversations. Reared in Tulsa, Oklahoma, Bill describes how he first rode into town despite an early setback being rejected from film school for being “too entertaining.” We later drive down memory lane as Bill recounts several exciting but terrifying stories of PA'ing on low-budget films around LA—stops include a seven camera setup (all pointed at a map), watching us wrap early on THE MAN WHO WASN'T THERE (with envy), and learning what a controlled burn is (and maybe isn't). Bill also shares his experience co-showrunning BARRY with Alec Berg, a discussion ranging in topics from “what is a tone meeting?” to which takes actor Henry Winkler consistently nails his performance. At the end, Bill discusses his post-BARRY aspirations and the longevity of classic films that, despite their imperfections, stand tall today on the merits of their craft. - This episode is sponsored by Dallas Film Commission  Instagram: @dallasfilmcommission

eff Melvoin has written an inspiring and comprehensive guide to the art & science of what may be the most momentous, yet mysterious title in Hollywood: Showrunner. At its core, the job is described as a writer/producer hybrid. But it encompasses so much more than just that.Jeff joins us to talk about Running The Show: Television From the Inside, and he shares his unique perspective on what it takes to make it in the TV industry (spoiler: talent will take you only so far!) Coming to his author role with decades of television experience from broadcast to basic cable to the realm of Bezos (whom he refers to as “the Stalin of Streaming”), Jeff's enthusiasm for mentoring and educating compliment his acumen as an accomplished show runner on Killing Eve, Army Wives, Designated Survivor, Picket Fences, and Northern Exposure. They also serve him well as the writer of a wise, funny, instructive and inside view of his field of expertise.Jeff brings us incredible insight and wisdom on the specific set of skills and personality traits required to succeed at showrunning and leadership in general. We hear his Six Rules, The Twelve P's, His One career-making line (which he wrote for an episode of Remington Steele) and much more. Plus, he's got stories from the many shows he's worked on, including Remington Steele, NYPD Blue and Alias and he's bringing the intel on the differences between American and British Productions as learned via Killing Eve. He's also sharing his views on streaming's landscape overhaul, the existential nature of the current writers' strike and the need-to-know phrase for responding to a studio exec's notes.Plus, Fritz and Weezy are recommending The Beanie Bubble on Apple TV+ and San Francisco Sounds: A Place In Time.Path Points of Interest:Running the ShowJeff Melvoin on InstagramJeff Melvoin on WikipediaJeff Melvoin on imdbThe Beanie BubbleYou're Wrong About... with Sarah Marshall and Jamie Loftus Beanie Babies Episode San Francisco Sounds: A Place In Time

Juggling a work-life balance is difficult for many of us, but perhaps even more so for the multi-hyphenate extraordinary talent that is Jennifer Podemski. As she has navigated her career through acting, writing, directing, producing and showrunning (with her beautiful film Little Bird coming up), not to mention her companies The Shine Network and Red Cloud Studios she has learned a few valuable lessons along the way. She tells Naomi and Amanda about how the art of fear management and the importance of celebrating the “little wins” have helped guide her through various iterations of her career. She also speaks to the freedom of owning your own artistic work, and how important it is to adapt the way we tell Indigenous stories so they are no longer extractive, but instead allow the community to maintain agency over their collective experience. Even though she's achieved success on a global scale, Jennifer will always be thankful for the creativity her grandmother fostered in her, and how she sometimes just takes jobs to be able to spend some quality time with her equally gifted sisters, Sarah and Tamara.

On this week's episode of the podcast, we tackle your screenwriting questions from the February Webinar, "Becoming a Professional Writer: 4 Things You Must Know."Show NotesFree Monthly Webinar - https://michaeljamin.com/webinarMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TranscriptsMichael Jamin:That's the thing some people think because there's so much bad stuff on the air. Well, I can be bad. I can be just as bad as them. There's so many reasons why a show might be terrible. Some, not all of them come down to the writing. Sometimes you'll have a star and the star. This is what the, this is what they wanna do. And writing be their writers be damned. Sometimes it's coming from the network or the studio. This is what they want. And so they're paying for it. Sometimes there's so many chefs in the pot, executive producers giving notes. You don't even know what you're doing anymore. I mean, to me, it's almost like the business is designed to make mediocre shows. And only occasionally something breaks through. And god bless when that happens. You're listening to Screenwriters. Need to Hear This with Michael Jamin. Hey everyone, it's Michael Jamin and welcome back to another episode of Screenwriters. Need to hear this. I'm here with Phil Hudson. He's back. Phil is back. I, Phil.Phil Hudson:Hi. Good to be back. And I got a new microphone for all of you concerned about my audio.Michael Jamin:That's a good looking microphone. I gotta say, Phil, if you looked better than mine, that's the one real podcasters use.Phil Hudson:It was very expensive.Michael Jamin:I feel like mine is like a tin can. Yeah. . Yeah. All right. It's fine though. So here we had a special episode. Yeah, I always say that, but I always mean it. Cuz we've been doing a lot of free webinars. Phil and I have been doing once a month. And, and so we get a lot of questions and so we couldn't answer all the questions. It's about an hour long. And we choose a topic we really dive in. The past ones have included, what are they included, how to write a good storyPhil Hudson:For things you need to know to become a professional screenwriter. There was a, yeah, one we got leaving me.Michael Jamin:We got Mon Mo. We got one once coming up as well. Kind of like how to get past in industry gatekeepers, how to get your material seen by Hollywood Insiders. All this kind of stuff. Each, each topic. One week, it's each month it's gonna be a different topic. And if you'd like, if you'd like to be invited you can go to my website, MichaelJamin.com and, and just sign up for there. We, you know, we do it once a month and it's free. Why not? And, but one thing I've noticed, Phil and I've noticed is that we do these things. We get a ton of signups and maybe only a quarter or so of the people actually show up, which is so interesting cuz it's free. It's not the money. It's, and, and I, and I know I'm preaching to the choir cuz anyone who's listening to this podcast is not someone, is the same kind of person who show up to a webinar. So I know I'm preaching to the choir, but I say this because there's so many people who definitely want to make screenwriting a reality. They wanna sell their screenplay, but they don't put the work in. Like, if they don't, like, if you're not gonna show up to a free webinar from a hosted by a guy who's telling you what you should do, then how are you going to make it? It's just not gonna happen. Phil. Like, what are you doing?Phil Hudson:I 100% agree. And it's also, it's interesting, right? But I think it highlights what I've been saying is there are a lot of people who are seamers. I think that's a term we talked about early on in the podcast. Mm-Hmm. people want to seem like they are a screenwriter. So they go to the coffee shop, they have their screenplay open, they talk about their screenplay. It's the same screenplay. They never finish it. They never move on. I can't go do that. I'm working on my screenplay and they don't show up. This is an opportunity to sit with a working showrunner telling you exactly what you need to do to break in the industry and how to write good stories, all of these things. And they're just nohow.Michael Jamin:But it's also, it's like, all right, so you wrote one screenplay, but that's not enough. Like, and, but for the people listening, if you are doing what I'm telling you to do or are suggesting, at least you're writing more, you're writing more, you're taking classes, you're writing, you're getting feedback, you're going to event like you're non, this is nonstop until you break in. And then once you break in, it's non-stop again. Because it just doesn't end. You don't, the doors, you know, I don't know. So anyway, I commend everyone who's listening to this. If you want to come to the webinar, you're more than welcome. Go to michael jamen.com and you'll see thePhil Hudson:Free webinar, MichaelJamin.com/webinarMichael Jamin:Webinar. And yeah, you'll get an invite and then it's free. And then we send you a replay within like 24 hours. It's also free then if you miss it after that, I think, we'll, it'll be available for a small purchase fees because there's, there's work involved in putting these things up. But yeah, go get it. It's free. It's free. Okay. Are we, are you ready, Phil? So we got a lot of questions. I couldn't answer all them cuz there's a time limit. So here are the ones that that I couldn't answer.Phil Hudson:Yeah. And, and this is for the February webinar because we've had, you've had a lot of great interviews coming up and we didn't wanna hold those back. And you got some good ones in the pipeline too. It was pretty exciting. Oh yeah. So February q and a, again, if you do get on that, we will answer your questions. Now, there are some questions that we've answered in previous q and a, so I'm gonna skip some of those. Some of them continue to come up, Michael. Yeah. And for your new audience members, I think we'll address those because they're important questions. And I think you're gonna prevent a lot of people from struggling and spending a lot of money in places they don't need to to be writers.Michael Jamin:Yeah.Phil Hudson:One other note that I thought was pretty cool feedback for everybody. We did have someone sign up for your course and it was because they've attended three of these webinars and I thought it was pretty cool. He said he'd spent $4,000 on direct mentorship and your free webinars were better than that. And that's why he signed up for your course.Michael Jamin:That's, that's the problem. Where's he getting the, where's the mentorship? Like who's thePhil Hudson:What? We don't know. Four grandMichael Jamin:4K guys. So yeah. Come to these webinars, you'll get, you'll save $4,000,Phil Hudson:$4,000 value guaranteed. All right. I can't guarantee anything for Michael Jamon, I promise. Anyway, Norwood, let's go to question oh one, Norwood Creach, ask copyright. What is the status of writing a screenplay if it has a copyright?Michael Jamin:I don't know, , but here's the thing. I don't give legal advice on my at all. I guess it protects you in some way, but I don't, I don't, I've only registered one script I ever wrote with the writer Guild of America. That was the first one I wrote. But after that, every script that I make is copywritten by the studio that I sell it to. So there, it's their, it's their legal headache if someone wants to steal it. So if you want to copyright, you can. And, but I, I've done talks about, I don't know, your biggest problem is someone should wanna steal you. Your biggest problem is if your, your work is so good. Someone wants to steal it. That's usually another problem you have. Right? Here's the problems. Your work is so terrible, no one wants to steal it, so. Right,Phil Hudson:Right. Cool. And then are you concerned, there are a couple follow up questions. Are you concerned with AI screenwriting?Michael Jamin:You know, not right now. I, I, I'm concerned. I have bigger pro, I have bigger concerns with ai and that is destroying the world. That's why they want to do this pause on it. Of all the writing that AI is gonna take away, I think, I think creative writing will be last on the list. They will take away technical writing. Mm-Hmm. instructions and stuff like that. And maybe some forms of copywriting.Phil Hudson:Marketing writing is going away. I mean, I, that's a search engine optimizer for most of my digital marketing career. That's a real concern for us. And Google is leaning towards allowing that type of copy.Michael Jamin:Oh, okay. ButPhil Hudson:In terms of, so it would be authoritative and you have to know how to communicate with the machine. But anyway, Uhhuh .Michael Jamin:But in terms of ai, you know, I'm not, I'm not worried yet. Maybe I'm being Pollyanna, is that what word? But I'm not worried yet. Cause it's not, it's certainly not there yet. Maybe in five or 10 years, but right now it's not there at all. And it's not even close to being there. So, yeah.Phil Hudson:Okay. Awesome. And then do you have any suggestions for writing narratives for young writers?Michael Jamin:Yeah, I mean, it's the same suggestions for everyone else. I, I, I have that free lesson at michaeljamin.com/free. It's a, it's the same lesson I would give an older writer. There's no difference. The, the, the advantage that older writers have is that I think when you're writing, you have any two things, and I've said this before, but you need to have something to say and you need to know how to say it. And I teach people how to say it. That story structure, how to unpack it and having something to say that comes with, unfortunately that comes with age and wisdom and that, you know, it's not, it's, it's unusual when someone young really has a, knows what they want to say. My daughter, who's only 20, she's got something to say and it shocks me. Cuz when I was her age, I didn't have anything to say. So, but but don't, you don't have to worry about that yet. Just continue writing.Phil Hudson:Awesome. Annie k ask, what's the best way to know if your script is ready to be passed on or get you a job? Is it competitions, is it a mentor? Any other suggestions?Michael Jamin:Well, we've talked about competitions. I'd say there's, and you may know more about this than I do. I'd say about three of them that are probably worthwhile. Right. Yeah. And Austin Nichols and, and Sundance Sun.Phil Hudson:Yeah. Sundance has different labs. They shifted things a little bit prior to the pandemic where they're doing not just strict screenwriting labs anymore, but they have lots of different things. In fact, I'm, I'm attached to a screenplay coming out of Ecuador now because they have a fund Okay. Working with several fellows and things. And that's you know, I'm not writing the screenplay or anything, they're just attaching me as a script consultant because I have background there and been in the laps. But those are the only real ones that do anything. I mean, there, there are some other ones, like Big Break I think is a really good one that's on my final draftMichael Jamin:And you get to meet. Oh, okay. I hadn't even heard of that. I hadn't evenPhil Hudson:Heard of that one. Yeah. So there are some, and we've talked about that in other podcast episodes as well with what the list is. But I can tell you, and we did talk about this a little bit on our webinar this month, the lot of that is a, is a way of funding the rest of the film festival. Mm-Hmm. , it's getting the judges to attend. I was working with a guy who ran some film festivals and he actually had me reading the scripts and giving my opinion and deciding who would get the best and Right. You know, I was a studentMichael Jamin:And that's the problem. I mean, and if you're gonna, people say, whoa, I placed in the, like, you gotta, you gotta win or come in second or something. I don't think placing and then they still think it's gonna change their life. It rarely does. You still have to continue the hustle, you know? I was gonna do anotherPhil Hudson:Hmm. Go ahead, go ahead.Michael Jamin:Well, I was gonna do another talk about this. Some woman made a post, she's like, yeah, I've one, I placed at all these contests and I still can't get an agent. I'm like, even if you did get an agent, it wouldn't change. Move the needle. You gotta do all this yourself. So mm-hmm. and I, and I'm gonna do a whole webinar on that. I did, and I actually did that. I did one where we talked about it to some degree, but I'm gonna lean into it a little bit more. It's like, nah, you got, you're not doing enough, you're not doing enough.Phil Hudson:This is anecdotal, but someone in the chat in your last webinar said that they had a friend who placed on the blacklist mm-hmm. , and they were promised all this industry connection. Nothing happened.Michael Jamin:They didn't even get a meeting or, or what?Phil Hudson:No, nothing came about. Nothing came of it.Michael Jamin:Yeah. So, so it's, it's not enough. Like Winnie, you know, these contents are relatively new. They weren't around when I broke in. But then again, the industry's changed so much and things are, you, can, there are things available now that would help you that weren't available then? Namely the internet, namely making your own stuff on your phone name. I mean, namely, like learning so much from people who are around industry. When I broke in 90, well, I moved outta, I got outta college in 92. There was no internet, there was no, how do I get a job? I had to drive out to Hollywood just to meet people to ask the questions. Now you can find out the answers on the internet, you know, so there's way more access now. So it's not, I wouldn't necessarily say it's harder now, it's just different. Yeah. And in some ways it's easier.Phil Hudson:Yeah. And you've, you give out tons of free resources and most of your audience knows this by now, but you've got the free lesson. You've got your social media, which is great @MichaelJamin, and yeah, there's lots of good stuff out there that you put out that just didn't exist before.Michael Jamin:Yeah.Phil Hudson:Alright. Daniel will ask, what's the ideal job to pay rent and have the time to pursue screenwriting?Michael Jamin:The ideal job would be assistant to an executive producer. Perfect job. Because you're basically sitting at their desk answering the phones that don't ring. That's what I did for a couple years. And so during that time, I wrote, and I would ask them questions, and that's the ideal job. The next best job would be a writer's assistant. So you're in the writer's and you're, I mean, in some degree, in some sense, that may even be a better job. You're in the writer's room and you're listening to these writers. You're learning how they break stories, but then you don't have the time to write or you write, you have to write it on the weekends or at night. So the, the both are great jobs,Phil Hudson:But you're learning so much through osmosis just being in that room, listening. Yeah, yeah. And seeing it happen.Michael Jamin:Yeah. So that would be a fantastic job.Phil Hudson:All right. Follow up. How can I stay home and write while not making my girlfriend think I'm a bum ass?Michael Jamin:Your girlfriend isn't into you anyway, so you don't have to worry about it. How can you stay home and write? You know, you're gonna have to, you're gonna have to make priorities. That's the, that's the thing. That's the, I I feel because you know, my my writing partner, I don't wanna talk about him. Well, it's not really, I don't wanna tell his story, but he, he was going through similar things. You know, he had a girlfriend and he had he had to write on the side. And it was, it was the struggle. How do you, how do you balance? Oh, you're just gonna have to make that happen. I didn't have a girlfriend at the time. I don't have to worry about it. Yep. Phil Hudson:For me, when I was dating, I had what I call the red carpet test. I, I was so fixed on knowing exactly what I wanted to do with my life, which is be a professional writer. Yeah. That when things started getting serious with a a girl, I would ask them, how comfortable would you feel on a red carpet? Correct, mm-hmm. and no girl passed that test. They were all, they, I'd feel really uncomfortable. And then I asked my wife and she said that, and she said, oh, I, I wouldn't have a problem with that. And she's so supportive of me, like, so absolutely supportive of everything I do, that she understands that that's what I want to do. And she, I, I also prioritize what she wants though. It's, it's a give and take and a balance. Yeah. And, but that's, you just gotta find the right relationship. I think that handles that.Michael Jamin:Yeah, you're right. And if you're in the wrong one and they don't like you, then resentment's gonna your're bo 10 years from now, you're gonna resent her if she's gonna resent you. So, yeah.Phil Hudson:That, that's hard, hard advice to hear. But it's important advice is oftentimes your relationships, family and romantic will be the thing that holds you back from achieving your goals.Michael Jamin:Yeah. You know, my wife, she ran a, a, well, you know this for the girls. She ran a, a, a girl's clothing company and I, for, for it's 15 years. And I handled all the marketing and I wrote all the commercials. And then, then when she stopped doing that, she threw herself into helping me doing what I'm doing now. And she was like, I was like, well, you know, thank you for your help. She said, well, you, you supported me just as much, so now I'm just doing it for you. So it, it's that kind of thing. You, if you're not in a supportive relationship, you've got a problem. Yeah.Phil Hudson:Breakup. That's the answer. Yeah. Michael's not telling goesMichael Jamin:Back to, I told you she wasn't into you. .Phil Hudson:Alright. Delara, Casey, what would you consider a giant following on social media isn't requiring somebody to have a car? Oh. And then there's a follow-up question. So let's go with what would you consider a giant followingMichael Jamin:? No, I have no freaking idea. I have no idea. And I asked this of my agent on my book agent. I said, Hey, how big of a following do you need to have? I don't know. Okay. I don't know. I, I don't know. I don't know. I have no idea. And I asked my you're gonna have to ask a kid. I told, I had a, I had lunch with my nephew a couple weeks ago, and his friends, you know, they're young kids. They're, they're twenties, they're in college. And we were talking about TikTok and I told him, he said, yeah, we had a, a visitor, a lecturer come guy had a lot of followings. He had like 800,000 following followers. I'm like, oh, okay. That's a, i I got I got 412 and they thought, , they thought I'm meant 412 , right? Like 412 followers. And I said, no, no, 412,000. And they're like, oh, that's a lot. . So I don't know what I,Phil Hudson:I have an answer for this.Michael Jamin:What is thePhil Hudson:Answer? So, so because of my, what I'm currently doing, and you know, I'm, I'm now posting things professionally on my social media about being a, a writer or a, an associate producer or an assistant to these guys. And they're currently having me help them run their social media and do the promotional stuff for them for their new film. Quasi comes out on April 20th on Hulu, and that means I'm traveling with them and I'm sitting with a, a publicist from Searchlight Pictures and their publicist, who is the publicist for about half of the top comedians standup comedians, 50,000 followers.Michael Jamin:50,000 is considered an influencer in that spacePhil Hudson:That allows you to, they want to engage with you to selfishly promote their product or their people. ButMichael Jamin:What platform, cuz 50,000 on TikTok is said, it doesn't an Instagram,Phil Hudson:She said it doesn't matter. So anybody who has over 50,000, she wants me to write 'em down so that they can engage them about helping promote the film.Michael Jamin:It doesn't matter. She says.Phil Hudson:Yeah. So I'll confirm. I mean, I'm going back on the road with them, you know, in a couple days and I'll ask that question as a follow up, but 50,000,Michael Jamin:But I wonder number because reach has really changed. I wonder if they're aware of, of there's no reach anymore. Yeah. ,Phil Hudson:It's, it's a numbers thing for sure. Yeah.Michael Jamin:Okay. Interesting. There's your answer. 50,000.Phil Hudson:All right. Follow up question from Delara isn't requiring somebody to have a car, a form of discrimination to be a production assistant?Michael Jamin:You know, is it required? Is is is having two arms form of discrimination to be a baseball player? Well, that's the, you gotta swing a bat. So, you know, I don't know what to say. I mean, I don't know what to say about that.Phil Hudson:There, there have been people, by the way, there have been famous pitchers with one arm who have done the job Yeah. And done it. Well, the, the, I think this is just my opinion, a hundred percent Phil Hudson's opinion here. Mm-Hmm. , I think that we're too focused on discrimination and less focused on what is the requirement to be able to do the function of the job. Mm-Hmm. , if you have to get from white Woodland Hills, California to Pasadena to hand a script to an actor, and that's an hour and a half in your car in traffic, you can't rely on a bus to get you there to do that job. No. No. And that is a function that is a requirement of the job. And so having the vehicle is, and, and they don't say quality of the vehicle, by the way. And they, they cover your miles for the car, which is the wear and tear and the gas in the vehicle. Right. So that you get compensated for those things, but you just have to be able to do the function of that job.Michael Jamin:I mean, it would great if the studio had a car, a beater that, okay, you gotta drive the car. You here's the car, here's the, here's the studio car, and now you gotta run errands with the car. That'd be fantastic. But you know, there's, they, I don't know. You still have to get to work, you still have to find a way to get to work. You still have to know how to drive. Yeah. There'd still be obstacles in your way. SoPhil Hudson:No, no. If you're set PA and you're on set all day, that's a different story. Cuz you can get two set on time. Someone can drop you off, you're there for 12 to 14 hours and then somebody has to pick you up and take you home. Yeah. It's a different story. You can carpool with other people at work, if you're in the camera department colliding, whatever those are, you can do those jobs. But to be like an office pa or writer's pa you're getting people's lunches. You're, you're like going out and running errands. You gotta have a vehicle to do that job. So I don't think it's discrimination.Michael Jamin:I mean, the at the bottom line is like, people who have some money are always gonna have it easier than people who have absolutely no money. Mm-Hmm. . And so that's just the way it is. Is it fair? No. It's just the way it is. So I, I don't know.Phil Hudson:Yep. Until the machines start picking us up and we just get in the car without knowing why.Michael Jamin:Yeah. Maybe that'll happen. That's right. They'll have self-driving cars and PAs will be outta work. SoPhil Hudson:I don't know. Yep. There you go. They just throw stuff in the back.Michael Jamin:Yeah.Phil Hudson:All right. Ariel Allen asks, do you recommend starting with short scripts and just working those before moving to full length?Michael Jamin:Well, short, I mean, that's what I do as a TV writer. I, I write short scripts. They're 22 minutes long. I don't write features. So, and I think writing a, you know, a short script, a 22 minute script is takes much less time than writing a feature. So I recommend Sure. You know, that's why I write fe To me it's more interesting. I like the, the pace, the change than spending all this time on a feature, which could take a couple years in the same amount of time. I could bang out several epi several or, you know, on half dozen or so episodes of television. So,Phil Hudson:Yeah. And I think, and this is old data, so it might have changed, but I doubt it. The timeframe when being offered a script assignment for a feature is six months to turn in your first draft.Michael Jamin:Uhhuh probably defense. They want it yesterday, to bePhil Hudson:Honest. Right. But, but I think you have six months to get in your draft is, they'll push you for it. But that's what the Writer's Guild has is the timeframe Okay. To get in draft one. And then there's a time for the, for draft two. So that being said, how many pilots can you write in six months of tv?Michael Jamin:Me personally?Phil Hudson:You personally, as a professionalMichael Jamin:Screener. Oh. Oh, I don't know. I, I mean, I don't try to write that many pilots. I, you know, we write, we might do one a season, you know, one a year, youPhil Hudson:Know, because you, you're working writer two, so we gotta consider that.Michael Jamin:Yeah. But you could write, it's, it takes less time to write an episode of television on, you know, spec script than a, than a pilot.Phil Hudson:Sure. Okay. Another follow up question. I live in Texas and I'm nowhere near. Oh.Michael Jamin:But you know, hold on, Phil. One, one second though. I don't, I say yeah, if, if I find it very hard to tell a compelling story, that's if it's too short. If you don't have enough time, if you're only doing like five minutes, if you wanna write a short that's a five minute short, I would have, I would've a hard time telling a compelling story that amount of time. I think for me it's like 20 minutes is kind of the sweet spot. Maybe 15. But any shorter than that, it's like I, I, I don't know. I need time to get the plane up in the air. You know,Phil Hudson:When I was in film school, the assignments were your scr, your short could be no longer than like five minutes or three minutes depending on the professor. And yeah. Some of the professors were my age cuz I was a, a, you know, an older student and I talked to them after and they're like, yeah, it's just because I don't wanna sit through that much boring content.Michael Jamin:Yes.Phil Hudson:Right. Cause they couldn't tell a story. And, and that was, I've talked about it before, amazing cinematographers, great camera work, but nothing happening and it's just boring to watch, even if it's pretty. Yeah. So they would have those caps and then I had to hit that restraint for my final project. And because of your mentorship and the work that I'd been putting into writing, I knew that my script needed to be 12 minutes long and it was a 12 minute script and I cut it down to a five minute. And after my professor in my directing class was like, yeah, you, that story needs to be longer because there was not enough time to breathe and to fill those moments. And so, yeah. Yeah. I, it's definitely, and the formatting was very different too. Writing a short, we, we talked about that all the time as students is there's just not a lot of ramp up time to get across the information you need. And when you talk about those three fundamental things you need to know in a story in your, you talk about that in your free lesson. Mm-Hmm. hard, hard to get that across super fast and finish that plot in three minutes.Michael Jamin:Well it's also cuz you wanna make that end, if you want that end to be impactful, to really hit somebody, it's like, it's not even so much about getting all the exposition out. It's about like, what do I need to do to make that ending feel like a payoff to really feel emotional. And like, if you don't have enough time to do all the other stuff, the ending is just gonna feel unearned. It's gonna, you know, it's gonna feel un unearned, which is the, you know, bad writing.Phil Hudson:Right. Alright, follow up question from Ariel. I live in Texas and I'm nowhere near quote the industry. Yeah. How do you actually gain connections in the film or TV industry?Michael Jamin:Well, I think, I think the problem is you need to be in Hollywood. You, you, you're Ariel's saying, I wanna work in Hollywood, but I don't want to work in Hollywood. Yeah. Like, well, there's a problem. Yeah. And so, andPhil Hudson:There is an industry in Texas. There are a lot of filmmakers in Austin and a lot of people are moving to Austin. But what do you want to do in the industry? And this is the question I have from a lot of people. Would you stay in la Why are you in la? It's cuz this is where the writing happens. Yeah. If I could live in another state and do it, I probably would. Yeah. Taxes are better, A lot of reasons why. Less traffic, less pollution, all those things. But yeah, this is where the writing happens. And so this is where I am until I achieve that. Or I'm at a level where I can move somewhere else and then, you know, do the job from elsewhere. And, and I know that's like feature writers at a really high level, like in years in, in Academy Awards mm-hmm. , it's not something that's,Michael Jamin:And even they have to come back in for meetings. Although maybe with Zoom it's less and less, but they have to, you know. Yeah. But that's the, I mean that's the thing. It's like, I know she doesn't wanna leave Texas for whatever reason cuz she likes it there. She has friends, family, she, you know, whatever reason she doesn't wanna leave. But there are people who will leave and those people are gonna have a leg up. Mm-Hmm. . Those people want it more. No one wants to move away from their friends and family. No one wants to. And so the people who come out here like yourself are hungry because they're uncomfortable. They wanna make it happen because they've already sacrificed. So those people have an, have an advantage. And to be honest, I think they should because they've already given up more. They want more.Phil Hudson:Yeah. Sacrifice.Michael Jamin:Yeah. Yep.Phil Hudson:Justin, via, you mentioned early in your career you started working under a working writer who helped show you the robes. How did you approach that relationship? I think this referring to the the book writing for Doe what's his name?Michael Jamin:Oh, well I had Bill Addison mean, I had, I had a writing teacher and he was a retired guy and he lived in the Pacific Palisades and he had a class once a week in his, you know, dining room. And we all drove there. That, so yeah, I studied under him. He gotta study. You gotta, I always felt like you gotta study. There were, there were classes offered. I could have taken a class at UCLA Extension or something like that, but I wanted to be sure of who I learned from. And I found him a guy I wanted to learn from, the guy who had the job that I wanted. And so he was retired sitcom writer. Perfect. I didn't wanna learn from professional teacher, which many of them are, some of them are not, but many of them are. SoPhil Hudson:This is a question leader. How did you find him? What did you do to find that?Michael Jamin:You know what I, I heard, I don't remember who told me, but I moved to la moved to Hollywood. Now I'm in the circles, now I'm hanging out. I'm, this is where everyone comes here because they wanna become a screenwriter or actor or whatever. And so you're meeting people at parties who wanna do, who want the same thing that I want. And then you're talking, and then someone mentioned this guy, someone, he, he wasn't in the phone book, he wasn't on the internet. There was no internet back then. Someone mentioned his. And then I, I met, I learned it from someone who I was talking to. This is why people come to Hollywood. And I was like, great. Gimme his number. And then I went. So I, I don't remember who told me, but that's how I found out.Phil Hudson:Did you develop any kind of relationship with him? I think that's ju Justin's second part of that question. How did you approach that relationship? Or was it really just a teacher-student relationship where you show up, you kind of listen, he dictates down that kind of thing, orMichael Jamin:Yeah, it was teacher student. He told me, I, after reading some stuff that I would never make it as a professional writer. He thought he was doing me a favor cuz he thought, well, don't waste your time trying to do this. Do something else with your life. He, he wasn't trying to be mean. He was trying to do me a favor, but he didn't know me well enough. He didn't know me, that he didn't know how hard I work and how I tenacityPhil Hudson:There, there's a tenacity there that most people don't have. And so he saw where you were and said, this is as far as you will go, not knowing Yeah. You'd hit the wall until it broke down. Yeah.Michael Jamin:Right. SoPhil Hudson:Huge lesson in that for everybody listening by the way. Like, that's what you have to do. Yeah. Hit the wall until it falls down.Michael Jamin:Yeah. In, in college I wanted to be a creative writing. I just wanted to study, wanted to be in the creative writing program. I was good enough to take classes, but I wasn't good enough to get into the program where I, that was my major. And so they told me I wouldn't be a writer either. Yeah. Who cares? No one's, no one's gonna tell me what I get to do with my life.Phil Hudson:Look who's laughing now?Michael Jamin:No one's laughing. not even the audience.Phil Hudson:Michael doesn't make anybody laugh.Michael Jamin:Phil Hudson:When you say, okay, and then follow up, when you say it doesn't matter whose hands your script gets into, would you go as upload your script to online?Michael Jamin:I I, I, not necessarily. I I would be really, you know, I wanna know who I was giving it to. Not, but, you know, I wouldn't upload it to the, to the interwebs. And I, I meant it in terms of a great script. Ha has legs the same way a great show has legs. This like, here's the thing. I saw this great show, and I was gonna talk about this in one of my upcoming webinars and made a note of it. There's this guy named Derek Delgado, and he put on a show, he had a one-man show, it was on Hulus called in and of itself. Someone told me about it and I watched it and I was blown away. It was so original and so creative. I was blown away. I stopped when I was done. Let's go back to the beginning start. I've never do this.I never go back to the beginning when I just finished it. Let's watch it again, forget it. But I did that. And then afterwards I started telling everyone, you gotta watch this show. This is amazing. And and, and, and I was doing it. Like no one asked me to share it. I was sharing it because I was giving a gift. Like, go watch this. This is amazing. You're gonna love this. And I would look good in that person's eyes because I was the one who discovered this precious gem that no one else was talking about. I'm the only one who's, this is my little thing and now I'm giving it to you. And I felt like a gift. And that's what a great script could do. Like, you show it to someone and they're blown away if they're like, oh, it's okay. You're, nothing's gonna happen. But if they're blown away, they will tell people, not because they're trying to help you, but because they're trying to help themselves and make themselves look good to the, to their friends and family. And, you know, look what I just gave you this great recommendation.Phil Hudson:You might have literally just equated it to this, but could your audience equate it to finding that, show that water cooler talk, the one everyone wants to talk about and share with their friends?Michael Jamin:Yeah. Right. It's, and it's not, it's not like, you know, at the end of the whatever water cooler, white lotus or whatever, whatever's big right now, it's probably not white lotus anymore. But no one there wouldn't say, Hey, did you, no one says, Hey, if you enjoyed your show, this show, please share it with your friends. There was none of that at the end of HBO's episode of White Lotus. It was, people loved it and they just went to work the next day. You gotta watch this show. Yeah.Phil Hudson:So what, what was that moment for you, for the audience? What is that moment for you when you were watching a show and that's the level you want to be at to be a pro.Michael Jamin:Oh, well, but when you, when you, what, what are you saying? When you get,Phil Hudson:What I'm saying is for the audience member, think about a time when you watched a show and you well felt this is something I need to go tell Joe about or Mike about.Michael Jamin:Yeah.Phil Hudson:That moment, that quality, that's what you're striving for, to work at a professional level at the upper echelons of Hollywood. Yeah. And when someone has that experience with your script, that is what's gonna happen in script format.Michael Jamin:Yeah, exactly. Exactly. They'll, that's, that's when I say give it to, it doesn't matter who you give it to you, if you give it to someone and it's amazing, they will give it to someone else and they're not gonna give it to some idiot on the internet. They don't know they're gonna give it to a friend who can help someone who's further up the ladder. They're just gonna pass it along. You know, they give it to someone who knows someone who knows someone in the industry. And if it's great, it'll find, it'll, it'll, it'll start walking. Cuz little good scripts have legs. Yeah. And if it's not, if it's mediocre, it won't.Phil Hudson:Yeah. I, I put a script online, but it was also very well documented here on this podcast with you giving me notes that I wrote that script. So there is a paper trail of authority and ownership that goes back to me and logged IP addresses when you download it so that if someone stole it, I feel legally protected enough to do that. And it's of service. And I got great notes from a professional writer, Michael. So it was absolutely worth me doing that. I don't think either of us are suggesting you do that.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:The question you've answered many times before but continually pops up because everyone focuses on this. At first, do you need an agent?Michael Jamin:Well, you do need an agent to get submitted to a TV show, to get the meeting, to get a pitch meeting. You do, you do need an agent, but an agent, an agent is really not gonna get you work. Mostly agent's, field offers agent will do the 5% of the work that you can't do. You still have to do 95% of the work. And so yes, you need an agent, but the agent is not the answer to your problems. And there's a lot you can do without an agent. So. Yep.Phil Hudson:And you've said before, any script you get when you're staffing a show, those people have come from someone with an agent. Yes. And you're still hoping for a good writer out of that batch.Michael Jamin:Yeah. If I get, if I'm staffing a show, and let's say I got three dozen scripts to read, which is not an exaggeration. All of them come from agents, all of them come from managers. You know, you can't submit to me, you can't, I won't touch it. So it all comes through a rep, a rep, and of those 36 scripts, maybe only one or two are any good. SoPhil Hudson:Yeah. Okay. this was a comment specific to the time, but I think it addresses something that happens on your website. Jeff says, so I'd love to take Michael's course, but it's currently closed. Sad face.Michael Jamin:Oh,Phil Hudson:Sad face. So the course is closed now. Yeah. you are now doing an enrollment period on the course. Do you wanna talk about that?Michael Jamin:Yeah. So once a month we open it up and it's brief. It's like three days or something fell, right? It's, it's like three or 40 or something like that. It's not a lot.Phil Hudson:A lot of people join which is great and a lot of people are getting a lot of value out of it, but we close it down so that we can provide a better experience to those people. Because when it's open all the time, it's a little crazy for both of us.Michael Jamin:Yeah. It was cra Yeah, it's, so we got on a row par, we onboard everybody, shut the door, take a breath, do it again nextPhil Hudson:Month, answer questions in the private group, the people in there help you out. All that stuff. So if you're wondering why the course is closed here's a hint. Maybe attend the live webinar.Michael Jamin:Yeah. You'll get a better, actually, if you attend the webinar, we, we give you a better deal. . Yeah. So come the webinar, you got a special deal. If not just get on my email list and you'll know when it's open. And when it's open, get in. And then if you miss it, get in the next time. You know, it's every month.Phil Hudson:Yeah. Got it. PJ works, and we've addressed this as well, but I think he phrases it really interestingly. Just curious, how do we have bad movies and TV shows if you have to be really good to be in the industry?Michael Jamin:That's the thing. Some people think because there's so much bad stuff on the air. Well, I can be bad. I can be just as bad as them. There's so many reasons why a show might be terrible and some not all of them come down to the writing. Sometimes you'll have a star in the star. This is what the, this is what they wanna do. And writing be damn writers be damned. Sometimes it's coming from the network or the studio. This is what they want. And so they're paying for it. Sometimes there's so many chefs in the pot, executive producers giving notes. You don't even know what you're doing anymore. I mean, to me it's almost like it, the business is designed to make mediocre shows. And only occasionally something breaks through. And god bless when that happens. But you know, why, why?Just because that's how it, this is the, the business. This is the, it's a business. So everyone wants through chasing the same thing. I read a book, but I think it was Charlie Hawk, he described it as everyone wants to make a hit show. Everyone's in a, in a life raft. And so you have the director, the actor, the writer, the studio executive, the production company, everyone. And everyone's got an org and they're paddling as fast as they can, but the raft is circular. And so everyone's paddling, but the raft is going around in circles because, you know, that's what the problem is. When you have all these, they all want the same thing though, which is to get to the other side. But they're paddling. And so that's what happens. You start spinning around.Phil Hudson:Yeah. Yeah.Michael Jamin:Unless you have a, you get lucky it's lightning in a bottle or you have a really strong showrunner who has enough f you minor to say no, but, and that's, and by the way, that's not me. So it's some people who have the clout,Phil Hudson:You know, there's a really good book on this called Difficult Men. And it's about the showrunners, A difficult man behind scenes of a Creative Revolution from The Sopranos by Brett Martin. And it talks about this, these showrunners who were those guys and they wrote Mad Men and mm-hmm. , all these shows that you know and love. And it, they just had the chops to do the job and the attitude to say no. But the chops were so good. They HBO and these companies just let them do their job.Michael Jamin:Once you start making a successful show, they usually back off. Once they learn to trust the showrunner, they back, they usually back off. But in the beginning, everyone's scared. And the bigger budget, the budget is every, the more scared everyone is.Phil Hudson:JJ Abrams just had a show canceled on h HBO this year.Michael Jamin:What was it?Phil Hudson:I, I can't remember the name of it, but it was like a massive budget. It was like one of the first things Discovery chopped. Like they just cut theMichael Jamin:Budget. Oh yeah. Well, becausePhil Hudson:They were cutting budgets everywhere. So, yeah. Two questions similar, gonna combine them. So she, Shea Mercedes and Leonte Bennett. How do we learn, or how can I practice screenwriting every day when I don't have an idea for a screenplay? And let me combine it with another, yeah. Bark bark 4 35. How can a beginner start to be a screenwriter? What are the first steps? So what, how do I write if I don't have any ideas? How can I learn to write and, you know, what are my first steps if I want to be a screenwriter? These feel very new to me.Michael Jamin:Well, if you don't have an idea, you're screwed. I mean, you know, but you don't have to have a good idea. You have to have, you don't have to have a great idea to have a good idea. And there's, it's the execution, which is which matters. I talk, one of the modules we have in the chorus and I, and trying to through one of the most popular ones is minding your life for stories. How, how to mine your life. Cuz you all have stories. People wanna, I think new writers think that let's create a world and let's create all the characters in this world. I'm like why bother? Why not just write what you know? And that way you, if you come, you take the story from your life. You don't have to create a story cuz it ha already happened to you. You don't have to create a character.You're the character. All you gotta do is figure out how to unpack the details of the story and that story structure. And that can be learned, that can be taught. That's what we teach. And so that's what I would do. I, you know, that's what I would do. Start writing what, you know, and what, you know, there's a misconception. You know, this guy on Paul Guillo, he, you know, he's a another writer on, on, you know, on the internet, on the social media. And he, you know, he talked about this the other day and I was like, he said it perfectly, which is people say, write what you know, but they don't really understand what that means. They think, well that means if you're a plumber, write about plumbing. Right. About a, your character is a plumbing plumber. No, no, no. Right. What you know means the internal struggles that you face.So if you are insecure about your education, your character write about a character who's insecure about that. If you're insecure with, about your looks or if you were abandoned as a baby, write about that. I mean, so it doesn't have to be the outside, it's the entire, it's the internal struggle. What you feel on the inside. That's what you know. And, you know great the Great Gatsby, you know, a great American novel, F Scott Fitzgerald wrote it. And so that's, that was about a guy who felt poor. He felt poor. And and he wanted the girl. And he, he always felt he would never have any self worth until he was rich. And then he'd be worthy enough to get the girl. As much as he loved the girl, being rich was more important to him cuz he always had the emptiness.And if you know anything about f Scott Fitzgerald's background, that was him. That's how he felt. And even when he had the, even when he earned money as a, as a novelist in the screenwriter, he couldn't keep it in his pocket. He had to spend it because that's how he felt. That was, that's how he felt whole on the, on the, you know, on the inside. And that's why he had a drinking problem. That's why he died at the age of 40 something because of an of alcoholism, because he had that hole. But the character of Great Gatsby's pretty close to him.Phil Hudson:Yeah. Yeah. Episode 39 of this podcast, A great writing exercise. There are some ideas in there and some other things that you can do to learn more about how to practice your skills and, and develop those things. But the other thing we talk about on this podcast often is being okay with yourself and being okay with your emotions and being okay. Being vulnerable. But you also talk about the dichotomy of when's, what's too far, what's oversharing. Yeah. So dive into the podcast a bit more if you're new and there's maybe we'llMichael Jamin:Do, actually that's a good point. Maybe we'll do a whole webinar on oversharing and stuff like that.Phil Hudson:Yeah. All right. So, so again, lots of questions about do I need to live in LA to be a writer? How to make connections with people outside if I'm not there. We've already addressed these LA's where the writing is, but you can make connections in your area and online. Your, your screenwriting course is a great place to do that. Mm-Hmm. , outside of that, there are Facebook groups. Lots of reallyMichael Jamin:Popular. Yeah. We have a private face. We have a private Facebook group just for the students and those guys. I gotta say Phil cuz I don't do this. Those guys are, they're, they're hitting it hard. They are having table reads. Mm-Hmm. , they're having script swaps, pitch sessions, pitch set, and like what? And like, I'm not in charge of that. They are. And it's because they're freaking focused and they just wannaPhil Hudson:Make happen. Like they're beginning guests too. Like one of, one of the writing members, Laurie, her, her husband is a pretty well known writer. Mm-Hmm. . And he came in and did a guest pitch session where people, writers pitched to him and he gave feedback.Michael Jamin:Good for him. Yeah. He,Phil Hudson:He's, he has famously one of the, I think it's the most valued script sold. And he came in and he did it to help you because that's a student. That's not a connection you or I have.Michael Jamin:Nope. Nope. There's a connection with another student. So like, I'm impressed and that's why we, and you know, we keep a close. It's like, you can't join. I get, we get people every day they want to join. Like, no, no, no, no, no. It's only for students because I don't want this turning into a cesspool of of trolls and, and idiots. Yeah. Like every other screenwriting group on, on Facebook where the people are just mean and stupid and and awful to each other. It's not what's going on in there. So Yeah.Phil Hudson:Absolutely. Cool. Gary Hampton, what would you say it's beneficial to volunteer to be a writer's assistant or producer's assistant to gain some practical experience?Michael Jamin:Well, you can't volunteer. I mean, it's a paying position. It's not an internshipPhil Hudson:And you can't intern anymore because some interns sued. And so no one wants to do that anymore.Michael Jamin:Right. So it's a paid position. It's not a, it's not a well paid position, but, you know, so you can't volunteerPhil Hudson:For it. That, that being said, personal experience with this. You, I remember I got a text, I was sitting in my office and you were like, Phil, there's a PA job on Tacoma fd. Do you want it? It pays horrible and the work sucks. And I said, I would do that job for free. And you said right answer and you told me that's exactly what you did. Like you volunteered. Isn't that how you got your job? You or your first one of your first Yeah, myMichael Jamin:First job, this was on a show called Evening Shade. This was a long time ago with Bet Reynolds. And and who else was in it anyway? Mary Henry. But I sent out resumes. I'll do, I'll please, I'll work for free. Finally, some someone said, fine, you wanna work for free, you can start tomorrow. We'll give you $300 a week. And I was like, 300, you know, now $300 a week is nice. Nothing , but I jumped at it. It's better than free. I jumped at it.Phil Hudson:Yeah. butMichael Jamin:It's only because he only offered me the job because I said, I'll work for free.Phil Hudson:You were willing to do it. Yep. So you had the desire follow up question. What's the best way to get into a writer's room? And I know that's a crap shoot.Michael Jamin:Get as a Well, the best way to get in as a writer's assistant, you know, but you, that's hard. You have to get in first. You get start as a pa.Phil Hudson:And the, and the answer to this, having done basically all of this over the last several years is bust your butt. Mm-Hmm. , serve, serve, serve. I remember. And I think I've, I think Seavers aware now. I remember there was one point where Seavert was like, yeah, Philip Burnout. And you were like, no, he won't. Cuz you've known me long enough. ButMichael Jamin:Did he say that? I conversationsPhil Hudson:There's a level, there's the level at which I was like putting out in the writer's room and I, I remember I overheard that conversation. You're like, not fell. I appreciate you having my back. But it gets, it gets exhausting at a certain level and you just have to keep putting up it.Michael Jamin:It gets emotionally exhausting too. That's probably the, that's probably even harder than the physical. It's like, cuz you're so close, you're five inches away from the seat that you want to sit in.Phil Hudson:You're sitting outside the room.Michael Jamin:Yeah.Phil Hudson:Yep. I, I would literally have to remind myself when I would get overwhelmed with like those thoughts. I'd say, this is the job I would've killed for two years ago, isMichael Jamin:The job. That's exactlyPhil Hudson:Right. I killed for three years ago.Michael Jamin:That's exactly right.Phil Hudson:That's how I kept going. It's not fun. And a lot of people are like, oh, isn't that beneath you? Like, nothing is beneath me as long as it helps me progress. Nothing.Michael Jamin:Mm-Hmm. . Yeah. So.Phil Hudson:Alright. How do you so love Leah Ann Clark. How do you stick to your story when people tell you that is not sellable because they have not lived through the events?Michael Jamin:Well if it's not sellable, like, I mean, I don't know who's telling you It's not sellable. No story sellable, just to be clear. You know, even if you pitch a two of i, I pitched stories. That's like, that's, I can't sell that. You know why? It's only the minute it sells, it's sellable. But if you tell a story authentically and truthfully, that's the only thing you can hope for, is to write a great story. That's what I say. I if you're gonna look for the, the market, oh, this is what the market's looking for. What's the market looking for? Forget it. That's a moving target. The minute you fire that hour, the target is gone. It's twoPhil Hudson:Years old too, soMichael Jamin:It's always changing. It's just like, you know, so, but all you get, all you can do as a writer is write a great story. That's the only thing that you have control over and not worry about selling it. Can you write a great story? And if you can, then it becomes a calling card. People will hire you to write something else. Just focus on writing a great story.Phil Hudson:Yeah. Another really good piece of advice in the industry is if there's a story that you feel in your soul you need to tell, don't put that one off. Write that one.Michael Jamin:Yeah. Write that one immediately,Phil Hudson:Right? Yeah. Yep. Jeff Rice Studios ask, could you talk about some of the staff management process of Showrunning or being the quote captain of the ship quote?Michael Jamin:Well, as the showrunner, you know no one becomes a comedy writer or even any kind of writer to even drama writer because they want to be a manager. They don't become, they don't, that's not why we go into it. They, if you did, you go into middle management, you get a job in the corp in a corporation. So you're, we all do it because you want to be creative. Then you rise to the level where you have your own show, or you're running someone's show for them. And and now you have to keep everyone motivated. And so the way you keep motivated, you know, is not by shutting people down. You have to lead, but you also have to make 'em feel like they have a voice. And this is tough. It's like, it doesn't make me comfortable at all. It's not why I went into it anyway, so I was to, was to do this. So, but you have to just be a decent human being and hopefully you know, but, but your job, by the way, is when you're on staff, your job is not to be creative, per se. Your job is to give the showrunner what they want. Mm-Hmm. is to help them make their show.Phil Hudson:Yeah. Awesome. Raven Wisdom when in a groove riding a scene and as happens, life interrupts the flow and you lose the moment. What has helped you to return to that moment or scene and continue that thought?Michael Jamin:You know, I, I, I guess, I dunno how long life is putting you on hold, but you should be, be, hopefully you're making time every day, even if it's only 15 minutes to, I mean, we all have 15 minutes. Right. You know? Yeah. I hopePhil Hudson:Famously, I think it was Hemingway would stop purposefully mid-sentence mm-hmm. so that when he sat down at his computer or his typewriter, he could pick up his thought. Yeah. And so I think that's something you just have to train out. And it's actually a good thing cuz facing a blank page, not knowing where you're gonna go next is far worse than reading the last sentence and then continuing typing.Michael Jamin:Yeah. Yeah. Yeah. Okay.Phil Hudson:All right. We've got a lot of questions here still, Michael. So we're gonna get through a couple of the last ones, and I think couple more. A lot of this is repetitive, so I'm just gonna pick probably four or five more, and then we'll wrap it up. Does that sound good to you? Yeah,Michael Jamin:That sounds good.Phil Hudson:Okay. If you're a writer hoping to staff on a traditional network, procedural style show, do you specifically need a procedure, procedural style sample, or just a great sample that shows your unique quote voice?Michael Jamin:I've never written on a procedural. Don't even don't like 'em. I don't watch 'em. I, I would assume it's probably both. They're gonna want more than one sample. They're gonna want a sample of a procedural, and they're gonna want a sample of something else.Phil Hudson:That's always the case though. It's always two, right? Yeah. You need a, you did it and it's not a fluke. You can do it again. Yeah.Michael Jamin:So I have won Beach. Yeah. Yeah.Phil Hudson:Yeah. Okay. All right. And Kay Films, do you remember shadowing a writer that is currently in the film industry?Michael Jamin:I don't know about shadowing. I've worked for many writers. I never shadowed anyone. I, I i that like, there's no such thing as shadowing a writer. A writer is just in front of a computer, and if you were to shadow them, you'd, you'd be standing over their shoulder watching them type, like, it'd be horribly uncomfortable for everyone. It's not like a, it's not a visual job to How do you open, how do you open final drafts? Like that's what you'd see. Yeah. but I, I, I've worked for our writers and I've talked to him about story. I've had conversations, I've worked for a guy named William Masters Simone, this is when I first breaking in. And he wrote a great movie called The Beast. He wrote called another one called Extremities with, I think it was Farrah Faucet. He was a playwright. He was a playwright out of New Jersey who worked as a grave digger. He was a grave digger, and he write plays, literally. And brilliant writer. That'sPhil Hudson:Fascinating. Like, I want to Yeah, that's a fascinating backstory right there.Michael Jamin:And he was such a sweet guy. So down to earth. And then he got brought on, I was working on a, I was the writer assistant on a movie called What's Love Got Love What's Love got to do with it? The Tina Turner story. And so he would come and he got, he flew in for I think three or four weeks to rewrite the script. Then I don't think he, yeah, I don't think he got any credit for it, but he got a boatload of money, I'm sure. And he came down to LA and he type up the pages on his old typewriter. Then I'd retyped them and put 'em into the computer and format it correctly for for the movie. And such a sweet man. He's like, let me buy you lunch. Here's pizza. What can I do? He was just so nice. I, I really loved his attitude. He was kind very down to earth. That's it. ButPhil Hudson:You've adopted that attitude too. I mean, I've, I've done things to, to help you because I want to help you and you've Yeah. Repaid in kindness beyond what I feel I've done for you. Well, thank you. I've seen you do that for other people as well, so,Michael Jamin:Yeah. You know, because no one, I don't, no one goes into screenwriting cuz they think it's gonna, they're gonna be in charge of the, the world. Yeah. You, you take another profession if you have a giant ego. But yeah, he was, he was a super nice guy.Phil Hudson:On those lines, Aaron ha has asked, what is the best way to approach someone who you want to mentor you or learn from them? Is there any specific things you did in that relationship or others?Michael Jamin:I don't know. I, I would imagine that's a question probably for you. I think what you do is you give first. Yeah. That's what you do.Phil Hudson:Yeah, a hundred percent. And, and that does two things. One, just naturally I feel of, I feel good and feel of value when I serve other people. Yeah. Like there's a, there's a feeling. For me it's very physical. It's like a kinetic, kinesthetic, like tingly feeling of good, right? When I do something for other people, it's a selflessness that I just, I think it comes from being very poor and not having, and knowing how valuable that little bit of help really moves the needle for people.Michael Jamin:And that's, so that's, that's the point then. So it's like when you approach someone as a men, when you want someone to be your mentor, you're basically saying, I, I want you to gimme something. I what you have. I want, can you give me what you, what you have? And so that's not the attitude. The attitude is what can I give you mentor to make your life better. What can I give you?Phil Hudson:I'm in the broken lizard social media right now, helping them with t

Dan Erickson is the creator and showrunner of Apple TV's Emmy© Award-winning series, SEVERANCE. After attending NYU's Tisch School, where he received a Masters in Dramatic Writing. Upon moving to Los Angeles, he delivered food and worked in a string of office jobs, all while conceiving and writing the original pilot for Severance. The script became the first TV pilot ever selected for the annual Bloodlist, which ultimately led to a creative partnership with Ben Stiller's Red Hour Productions, Endeavor Content, and Apple. Atypically, this also led to Dan becoming Showrunner, retaining huge levels of creative control and driving the production - and the show became an instant cult and critical hit largely due to its powerful and original storyworld. In this episode, Dan talks to fellow storyteller and CEO and co-founder of Kinetic Energy Entertainment, Diana Williams about his career and building the show's mind-bending world. Dan and Diana discuss the intricate process of story world design, exploring how Dan's original play - and real life office experience - inspired the show. Dan relates the journey of the show from concept to screen (and as unknown writer to showrunner) including early pitches and his experiences working with Ben Stiller and Chris Black. We also learn what it means to be a showrunner on your first series and the demanding balancing act of creative and organisational priorities it entails. This includes in particular the focus on tone and how establishing the right tone - and maintaining this - is one of the most important and challenging aspects of the role.

In this episode of The Directors' Take podcast, your hosts Oz Arshad and Marcus are joined by Writer & Director Alice Seabright (SEX EDUCATION & CHLOE) for a deep dive on directing craft... We dove so deep that we had to split this conversation into two. This is Part 2, which covers....   -A sincere apology for the excellent cliffhanger at the end of Part 1. -Alice details how she got her very own TV show. -What the greenlight process was like. -What were the differences between being a lead director and 2nd block director? -What she looked for when choosing the 2nd block director. -Tackling a TV schedule. -Reshaping story on the day and in post production.   Alice Seabright is a Writer/Director who gained acclaim for a series of short films such as the BFI backed PREGNANT PAUSE, SEX ED and END-O which was an official selection at the BFI London Film Festival. Alice then went on to direct and write episodes of the hit Netflix show SEX EDUCATION before having her own TV show commissioned by BBC & Amazon, a mystery/thriller titled CHLOE, which released to strong reviews.   Nuggets of the week Marcus: YouTube Channel - Corridor Crew Oz: The Good, the Bad and the Ugly (Dir: Sergio Leone, 1966) Alice: Book - The Creative Act: A Way of Being by Rick Rubin   Credits Music by Oliver Wegmüller   Socials Instagram: @TheDirectorsTakePodcast Twitter: @DirectorsTake   If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.

Tiny Beautiful Things Executive Producer and Showrunner Liz Tigelaar joins The Art of Kindness with Robert Peterpaul to discuss her powerful new Hulu series, leading with kindness on set, working with the masterful Kathryn Hahn and much more. Tiny Beautiful Things is now streaming on Hulu providing a funny, yet poignant look at a woman who becomes an esteemed advice columnist, all while her own life falls apart. It stars the always-amazing Kathryn Hahn and is produced by Reese Witherspoon's Hello Sunshine in conjunction with ABC Signature. Liz is a writer and producer who has truly worked on all your favorite shows. She got her start as a writer's assistant on the CW drama Dawson's Creek. Over the years the honed her craft on popular shows like Brothers & Sisters, Once Upon a Time, Revenge and Bates Motel. Her most recent hit wasn't tiny, but little… as she was the showrunner on Little Fires Everywhere… eh see what I did there? She's also served as an executive producer on series like The Morning Show, Casual and Nashville. Got kindness tips or stories? Please email us: artofkindnesspodcast@gmail.com Follow us @artofkindnesspod / @robpeterpaul Support the show! (https://www.buymeacoffee.com/theaok) Music: "Awake" by Ricky Alvarez & "Sunshine" by Lemon Music Studio. We are supported by the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

After working as an actress on and off Broadway, in regional theater, and in TV and film, Marguerite MacIntyre turned her focus to writing, adapting Liz Tigelaar's novel Pretty Tough for Tornante/Hulu. Since then, she has written/produced for genre hits The Originals and Legacies, the limited drama series Containment, and Hulu's Golden Globe nominated comedy, Casual. Most recently she was Co-Executive Producer on limited series From Scratch for Hello Sunshine/Netflix, and Co-Creator/Showrunner with Julie Plec of Vampire Academy for Peacock. We met first in the writer's room, where I was drawn to Marguerite's keen intellect, warm heart, her facility with dual art forms, acting and writing. She wrote the powerful episode in which Amy and Lino say goodbye. Marguerite is the real deal, a wise soul, and the kind of friend you learn something new from every time you meet. Stay in Touch: IG: @liftedpod @tembilocke Learn more about your ad choices. Visit podcastchoices.com/adchoices

Marta Kauffman is an Emmy- and Golden Globe-winning television writer, producer and showrunner behind the hit series Friends and Grace & Frankie. After graduating from Brandeis University, Kauffman got her big break alongside David Crane when their pilots Dream On (1990) and The Powers That Be (1992) were greenlit. The pair then launched Bright/Kauffman/Crane Productions with Kevin Bright and became the trio that created the iconic sitcom Friends. Marta's expansive and successful career includes creator, director, EP and showrunner credits on a number of television series, films, digital series and projects. In 2015, Kauffman started her production company, Okay Goodnight, with industry veteran Robbie Tollin and Hannah KS Canter. Their first series, Grace & Frankie, starring Jane Fonda, Lily Tomlin, Martin Sheen, and Sam Waterston premiered on Netflix in 2015 and is Netflix's longest-running original ever. The series has received multiple Emmy and SAG nominations and is premiering the final episodes of its seventh and last season later this year. In 2018, the company produced the documentary Seeing Allred, which premiered at the 2018 Sundance Film Festival and is currently available on Netflix. Kauffman has received a number of honors and awards including the Paddy Chayefsky Laurel Award for lifetime achievement in television writing from the Writers Guild of America, the 2016 Outstanding Television Writer award at the 23rd annual Austin Film Festival & Screenwriters Conference, The Kieser Award at the 44th Annual Humanitas Awards, and Variety's TV Producers Impact Report for consecutive years in 2019 and 2020. Okay Goodnight and Kauffman currently have numerous projects in various stages of development at multiple networks

Damon Vignale (he/him) is a writer and showrunner of various shows such as The Murders, Motive, Common Law and more. It is a process where he is fully invested in the whole process to even being on set. Damon speaks about:The logistics of a writers' roomThe responsibilities of a showrunnerHopes for the future of the writers' roomFollow us on social media!NewsletterWebsiteInstagramFacebook Program notes: BIPOC Credits Podcast is a self funded passion project with the goal of creating a platform for BIPOC crew members to talk about their own experiences and dreams. If you would like to sponsor/ support us, please email us at bipoc.credits.podcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Meet David Casey! David is a Showrunner, Director, and TV executive. He lives in Detroit and is an award-winning filmmaker who specializes in directing, writing, showrunning, show development, and leading logistics for large-scale teams in challenging environments around the world from preproduction through post. Much of David's work focuses on high-impact storytelling in travel, social justice, natural history, adventure, and environmentalism. David has executive produced and showrun over 100 hours of television and his work has been seen on Netflix, Intel, Discovery, Animal Planet, History Channel, MTV, Paramount+, and Amazon to name a few. David's extensive showrunner and executive producer credits include the globally produced Coyote Peterson: Brave the Wild, Ocean Warriors from Executive Producers Robert Redford and the late Paul Allen, and long-running Ice Cold Gold for Animal Planet, which he created. On the executive side, David he has held positions at History, Moxie Pictures, Wilderness Productions, ITVS, Cineflix Productions, and Vice President Al Gore's Current TV.  David and I met when I was brought on to Season 3 of Ice Cold Gold as a Story Producer and a friendship quickly sparked. I'm super excited to share our conversation with you all.  We chat about the importance of saying yes when you're leading and hiring to your weaknesses, why collaboration is the heart of elevating your own work, and how it's possible to be intentional with the choices you make with your career if advocacy for the environment and human rights are important for you. Learn more about the Blissful Spinster Podcast and connect with Cris on the website at: https://www.blissfulspinster.com

Hosts Tasha Huo and Josh Hallman sit down with Rasheed Newsom, co-showrunner of BEL-AIR on Paramount+ and author of the upcoming historical novel, MY GOVERNMENT MEANS TO KILL ME.  They discuss Rasheed's rise from production assistant to showrunner, how being a showrunner is actually just being a middle manager disguised as a boss, lessons he's learned from writers rooms that have imploded, and why the #2 job in a writers room should be the most coveted job in Hollywood.   Questions / Comments: ActTwoWriters@gmail.com Edited by the GREAT Paul Lundquist Music by 414beg

In this episode, Matt & Oren chat with Dennis Lehane, the Showrunner & Writer of the new Apple TV+ series Black Bird, starring Taron Egerton & Paul Walter Hauser.Matt's Endorsement: Van NeistatOren's Endorsement: Star Wars & Anti-ImperialismContribute to the Just Shoot It Patreon and help support the show.Send feedback or questions to @justshootitpod or justshootitpod@gmail.com.Follow Matt on twitter and instagram.Follow Oren on twitter and instagram.Wanna be on the show? Call us with a question at (262) 6-SHOOT-1, and we'll air your voicemail on the show.Show your support: rate and review us on iTunes. apple.co/2fl9ojySee who our guests are a week early on our instagram @JustshootItPodMusic was provided by the free music archive and by Jahzzar.Each week on Just Shoot It we interview your directors, screenwriters, editors, cinematographers, and actors, and learn how they became successful, working content creators. We'll share tips and stories of how people in the entertainment industry forced their ways into sustainable careers. We're all about getting off your butt and making your own videos. See acast.com/privacy for privacy and opt-out information.

Naren Shankar is the Executive Producer/Showrunner of the critically acclaimed television adaptation of the international best-seller science fiction novel series, The Expanse, an Amazon Prime Original Series from Alcon Television Studios.Naren spent eight seasons as a Writer-Executive Producer and Co- Showrunner of the most-watched show in the world, CSI:Crime Scene Investigation. In 2011 he helped launch NBC's Grimm as a Writer- Executive Producer.Prior to CSI, Naren was an Executive Producer on the SyFy Channel cult hit series Farscape for The Jim Henson Company, and spent three seasons as a writer-producer on Showtime's The Outer Limits.Naren began his career as a writer and science consultant for Star Trek: The Next Generation, and he holds a PhD in Applied Physics & Electrical Engineering from Cornell University.Naren has been honored with multiple Emmy nominations for Best Series, a WGA Award nomination for CSI's two-hour event "Grave Danger" directed by Quentin Tarantino, and has received WGC and Saturn Awards for The Outer Limits, CSI, and Farscape. The Expanse won a Hugo Award for "Leviathan Wakes" in 2017 and was nominated in 2019 for "Abaddon's Gate."

Naren Shankar is the Executive Producer/Showrunner of the critically acclaimed television adaptation of the international best-seller science fiction novel series, The Expanse, an Amazon Prime Original Series from Alcon Television Studios.Naren spent eight seasons as a Writer-Executive Producer and Co- Showrunner of the most-watched show in the world, CSI:Crime Scene Investigation. In 2011 he helped launch NBC's Grimm as a Writer- Executive Producer.Prior to CSI, Naren was an Executive Producer on the SyFy Channel cult hit series Farscape for The Jim Henson Company, and spent three seasons as a writer-producer on Showtime's The Outer Limits.Naren began his career as a writer and science consultant for Star Trek: The Next Generation, and he holds a PhD in Applied Physics & Electrical Engineering from Cornell University.Naren has been honored with multiple Emmy nominations for Best Series, a WGA Award nomination for CSI's two-hour event "Grave Danger" directed by Quentin Tarantino, and has received WGC and Saturn Awards for The Outer Limits, CSI, and Farscape. The Expanse won a Hugo Award for "Leviathan Wakes" in 2017 and was nominated in 2019 for "Abaddon's Gate."

I can't tell you how excited I am for today's episode. I had the pleasure to speak to the legendary director Barry Sonnenfeld. We discuss his idiosyncratic upbringing in New York City, his breaking into film as a cinematographer with the Coen brothers, and his unexpected career as the director behind such huge film franchises as The Addams Family and Men in Black, and beloved work like Get Shorty, Pushing Daises, and A Series of Unfortunate Events. We also chat about the time he shot nine porno films in nine days. That story alone is worth the price of admission.I don't think Will does get upstaged because his reaction is always funnier than what is actually happening. That is also the reason Tommy is funnier than Will.In his new book Barry Sonnenfeld, Call Your Mother: Memoirs of a Neurotic Filmmaker shares his laugh-out-loud memoir about coming of age. Constantly threatened with suicide by his over-protective mother, disillusioned by the father he worshiped, and abused by a demonic relative, Sonnenfeld somehow went on to become one of Hollywood's most successful producers and directors.His book is written with poignant insight and real-life irony, the book follows Sonnenfeld from childhood as a French horn player through graduate film school at NYU, where he developed his talent for cinematography. His first job after graduating was shooting nine feature-length pornos in nine days. From that humble entrée, he went on to form a friendship with the Coen Brothers, launching his career shooting their first three films.Though Sonnenfeld had no ambition to direct, Scott Rudin convinced him to be the director of The Addams Family. It was a successful career move. He went on to direct many more films and television shows. Will Smith once joked that he wanted to take Sonnenfeld to Philadelphia public schools and say,“If this guy could end up as a successful film director on big-budget films, anyone can.”His book is a fascinating and hilarious roadmap for anyone who thinks they can't succeed in life because of a rough beginning.Barry Sonnenfeld's philosophy is,“Regret the Past. Fear the Present. Dread the Future.”This EPIC conversation is almost two hours and had me on the floor laughing one minute and in absolute shock the next. This is by far one of my favorite interviews I have ever done on the show.So sit back, grab a drink and enjoy my conversation with Barry Sonnenfeld.

Despite having written for multiple scripted series, SNL, and now Showrunning her own animated series, the essence of good writing remains simple for Anna Drezen: "Write about what you're obsessed with." --- Support this podcast: https://anchor.fm/thescreenwritinglife/support

Marta Kauffman is an Emmy- and Golden Globe-winning television writer, producer and showrunner behind the hit series Friends and Grace & Frankie. After graduating from Brandeis University, Kauffman got her big break alongside David Crane when their pilots Dream On (1990) and The Powers That Be (1992) were greenlit. The pair then launched Bright/Kauffman/Crane Productions with Kevin Bright and became the trio that created the iconic sitcom Friends.Marta's expansive and successful career includes creator, director, EP and showrunner credits on a number of television series, films, digital series and projects. In 2015, Kauffman started her production company, Okay Goodnight, with industry veteran Robbie Tollin and Hannah KS Canter.Their first series, Grace & Frankie, starring Jane Fonda, Lily Tomlin, Martin Sheen, and Sam Waterston premiered on Netflix in 2015 and is Netflix's longest-running original ever. The series has received multiple Emmy and SAG nominations and is premiering the final episodes of its seventh and last season later this year. In 2018, the company produced the documentary Seeing Allred, which premiered at the 2018 Sundance Film Festival and is currently available on Netflix.Kauffman has received a number of honors and awards including the Paddy Chayefsky Laurel Award for lifetime achievement in television writing from the Writers Guild of America, the 2016 Outstanding Television Writer award at the 23rd annual Austin Film Festival & Screenwriters Conference, The Kieser Award at the 44th Annual Humanitas Awards, and Variety's TV Producers Impact Report for consecutive years in 2019 and 2020. Okay Goodnight and Kauffman currently have numerous projects in various stages of development at multiple networks.

My guest on the podcast this week is screenwriter, author, and showrunner Rasheed Newson. Rasheed and his writing and producing partner T. J. Brady have worked on The Chi and Narcos among other drama series, and currently serve as the showrunners for the hit series Bel-Air on Peacock which reimagines the classic sitcom The Fresh Prince of Bel-Air as a drama. Rasheed and I talk about his upbringing in Indiana, the first time he held a boy's hand, finding himself while attending Georgetown University and the journey to his current role as showrunner on the hit series Bel-Air on Peacock!His first novel "My Government Means to Kill Me" is available for preorder.Support the show

Steven Kane is an American television and theater writer, producer and director.Personal Life: Steve Kane was born in Cherry Hill, New Jersey, where he graduated from Cherry Hill High School West as a proud member of the 1985 and 1986 New Jersey Knowledge Bowl Championship Teams. His rock band, Next Century, almost came in third in back to back "Battle of the Bands" contests (Kane played key-tar) but he did manage to win consecutive "Best Director" awards in the school's annual One Act Play festival. He also had a girlfriend.Flush with these early successes, Kane went on to major in English and French at the University of Pennsylvania before attending graduate film school at the University of Southern California. His USC Masters Thesis, a short film entitled Heroic Symphony, garnered awards at film festivals around the country. He had several girlfriends during this time.Career: Kane got his start in the entertainment industry writing and directing independent film and theater. His first feature film, The Doghouse, won Best Director at the NY Indy Film Festival. His collection of One Act plays, Out of Your Mind, had a successful run in Los Angeles at the GuerriLA Theater.His television credits as a writer and producer include The Closer (for which he received an Edgar Nomination), Major Crimes, Alias, NCIS, and Without a Trace, as well as comedies American Dad and Curb Your Enthusiasm. From 2012-2018, he served as Creator, Executive Producer, and show runner of TNT's The Last Ship, a post-apocalyptic drama based on William Brinkley's novel of the same name.In 2019, it was announced that Steven would join the HALO series at Showtime as Showrunner, Head Writer, and Executive Producer.Dramatizing an epic 26th-century conflict between humanity and an alien threat known as the Covenant, Halo the series will weave deeply drawn personal stories with action, adventure and a richly imagined vision of the future. In a war for humanity's very survival, our deadliest weapon is our greatest hope.See Master Chief, Cortana, the Covenant, and the other Spartans of Silver Team more in this epic trailer for the new Paramount+ Original Series, Halo. Find the Halo, win the war. Stream the premiere of the new original series Halo on Thursday, Mar. 24, exclusively on Paramount+.In its adaptation for Paramount+, HALO will take place in the universe that first came to be in 2001 with the launch of Xbox®'s first “Halo” game. Dramatizing an epic 26th-century conflict between humanity and an alien threat known as the Covenant, HALO the series will weave deeply drawn personal stories with action, adventure and a richly imagined vision of the future.The series stars Pablo Schreiber (the Master Chief, Spartan John-117), Natascha McElhone (Dr. Halsey), Jen Taylor (Cortana), Bokeem Woodbine (Soren-066), Shabana Azmi (Admiral Margaret Parangosky), Natasha Culzac (Riz-028), Olive Gray (Miranda Keyes), Yerin Ha (Kwan Ha Boo), Bentley Kalu (Vannak-134), Kate Kennedy (Kai-125), Charlie Murphy (Makee) and Danny Sapani (Captain Jacob Keyes).

Marta Kauffman is an Emmy- and Golden Globe-winning television writer, producer and showrunner behind the hit series Friends and Grace & Frankie. After graduating from Brandeis University, Kauffman got her big break alongside David Crane when their pilots Dream On (1990) and The Powers That Be (1992) were greenlit. The pair then launched Bright/Kauffman/Crane Productions with Kevin Bright and became the trio that created the iconic sitcom Friends. Marta's expansive and successful career includes creator, director, EP and showrunner credits on a number of television series, films, digital series and projects. In 2015, Kauffman started her production company, Okay Goodnight, with industry veteran Robbie Tollin and Hannah KS Canter. Their first series, Grace & Frankie, starring Jane Fonda, Lily Tomlin, Martin Sheen, and Sam Waterston premiered on Netflix in 2015 and is Netflix's longest-running original ever. The series has received multiple Emmy and SAG nominations and is premiering the final episodes of its seventh and last season later this year. In 2018, the company produced the documentary Seeing Allred, which premiered at the 2018 Sundance Film Festival and is currently available on Netflix. Kauffman has received a number of honors and awards including the Paddy Chayefsky Laurel Award for lifetime achievement in television writing from the Writers Guild of America, the 2016 Outstanding Television Writer award at the 23rd annual Austin Film Festival & Screenwriters Conference, The Kieser Award at the 44th Annual Humanitas Awards, and Variety's TV Producers Impact Report for consecutive years in 2019 and 2020. Okay Goodnight and Kauffman currently have numerous projects in various stages of development at multiple networks

Steven Kane is an American television and theater writer, producer and director.Personal Life: Steve Kane was born in Cherry Hill, New Jersey, where he graduated from Cherry Hill High School West as a proud member of the 1985 and 1986 New Jersey Knowledge Bowl Championship Teams. His rock band, Next Century, almost came in third in back to back "Battle of the Bands" contests (Kane played key-tar) but he did manage to win consecutive "Best Director" awards in the school's annual One Act Play festival. He also had a girlfriend.Flush with these early successes, Kane went on to major in English and French at the University of Pennsylvania before attending graduate film school at the University of Southern California. His USC Masters Thesis, a short film entitled Heroic Symphony, garnered awards at film festivals around the country. He had several girlfriends during this time.Career: Kane got his start in the entertainment industry writing and directing independent film and theater. His first feature film, The Doghouse, won Best Director at the NY Indy Film Festival. His collection of One Act plays, Out of Your Mind, had a successful run in Los Angeles at the GuerriLA Theater.His television credits as a writer and producer include The Closer (for which he received an Edgar Nomination), Major Crimes, Alias, NCIS, and Without a Trace, as well as comedies American Dad and Curb Your Enthusiasm. From 2012-2018, he served as Creator, Executive Producer, and show runner of TNT's The Last Ship, a post-apocalyptic drama based on William Brinkley's novel of the same name.In 2019, it was announced that Steven would join the HALO series at Showtime as Showrunner, Head Writer, and Executive Producer.Dramatizing an epic 26th-century conflict between humanity and an alien threat known as the Covenant, Halo the series will weave deeply drawn personal stories with action, adventure and a richly imagined vision of the future. In a war for humanity's very survival, our deadliest weapon is our greatest hope.See Master Chief, Cortana, the Covenant, and the other Spartans of Silver Team more in this epic trailer for the new Paramount+ Original Series, Halo. Find the Halo, win the war. Stream the premiere of the new original series Halo on Thursday, Mar. 24, exclusively on Paramount+.In its adaptation for Paramount+, HALO will take place in the universe that first came to be in 2001 with the launch of Xbox®'s first “Halo” game. Dramatizing an epic 26th-century conflict between humanity and an alien threat known as the Covenant, HALO the series will weave deeply drawn personal stories with action, adventure and a richly imagined vision of the future.The series stars Pablo Schreiber (the Master Chief, Spartan John-117), Natascha McElhone (Dr. Halsey), Jen Taylor (Cortana), Bokeem Woodbine (Soren-066), Shabana Azmi (Admiral Margaret Parangosky), Natasha Culzac (Riz-028), Olive Gray (Miranda Keyes), Yerin Ha (Kwan Ha Boo), Bentley Kalu (Vannak-134), Kate Kennedy (Kai-125), Charlie Murphy (Makee) and Danny Sapani (Captain Jacob Keyes).

Have you ever wanted to become a professional creative? To make a living with your own voice and words and thoughts and actions? I know I have. And if there's ever a person to learn from... it's Jay Acunzo. Jay started his career in the marketing world and eventually made the switch to life as a full-time podcaster, author, showrunner, and speaker; sharing his knowledge gained in the business world with others looking to rise above all the average content out there. He got so good at running his own show, that dozens of others now go to him to help launch, run, and sometimes even host their shows. Jay dabbles in a little bit of everything, but at the end of the day he's a storyteller. And while he says he's not there yet, his goal is to one day become the "Anthony Bourdain of the Business World." I'd say he's well on his way. If you want to check out Jay's work you can find him on his podcast, Unthinkable, you can read his book, Break The Wheel, or you can just check out his website jayacunzo.com to see all the other creative things he's up to. We're getting weird with things on social. You should follow along. Website - destinationdifferent.co Instagram - @destinationdifferent TikTok - @destinationdifferent

Sera Gamble is a writer and producer, best known for her work on "Supernatural", "The Magicians", and Netflix's hit series "You". In this episode, Sera sits down with Pete to talk about her 10,000 hour long journey from poetry to screenplays, television screenwriting's chain of command, writing a story through the eyes of Joe Goldberg, social media's influence on storytelling and more…SHOW NOTES:(00:00:00- 00:05:30) — Pete's Intro(00:05:30- 00:8:05) — From Cincinnati To California (00:8:05- 00:10:10) — First Time Being Inspired By A Story (00:10:10- 00:14:20) — Writing And Story Process (00:14:20- 00:18:30) — Path To Screenplay Writing (00:18:30- 00:22:30) — 10,000 Hours (00:22:30- 00:27:50) — Entering ‘Project Greenlight'(00:27:50- 00:32:20) — Stepping Into Television Writing (00:32:20- 00:35:00) — Chain Of Command(00:35:00- 00:40:25) — Running A Show And Working With Directors (00:40:25- 00:41:20) — “Transitions: A Director's Journey And Motivational Handbook” Promo(00:41:20- 00:48:22) — Supporting Characters And Joe Goldberg(00:48:22- 00:53:00) — Social Media Influence On Storytelling (00:53:00- 01:02:00) — Lightning Round Questions(01:02:00- 01:03:15) — Pete's Outro*** Watch on YouTube: https://bit.ly/37iekw1*** Get your Director's merch: https://www.drctr.video/

This week Alrik and Liz talk with tv writer and creator/showrunner of the Starz show Hightown about working in both TV and indie film. We also have a short interview with filmmaker Donavan Edwards about his short film, Sunday Dinner, made by the Utah Jazz. Enjoy! Sunday Dinner from the Utah Jazz: https://www.youtube.com/watch?v=4oGG6j9xh1w For 20% off your Jambox subscription use code MMIH @ jambox.io Check out the ISA at: www.networkisa.org This Weeks Article: https://www.indiewire.com/2022/01/sundance-filmmakers-direct-blockbusters-1234692811/

A lot has changed since 2017 when Hector originally interviewed the SpongeBob showrunners on the Nickelodeon Animation Podcast. The tragic passing of its creator and the expansion of the SpongeBob Universe marked a new era for the beloved series. Despite all that has changed Marc Ceccarelli and Vincent Waller have carried the torch throughout these evolutions. Through hard work and collaboration with veteran artists and writers they have stayed true to its original vision, voice and timeless humor. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

While our hosts celebrate the holidays, they look back on a two part interview Hector did with SpongeBob Universe showrunners Marc Ceccarelli and Vincent Waller, that originally aired on the Nickelodeon Animation Podcast. Hear krusty insights on how the team collaborates to crack a story and bring visual life to the written word, relying on the incomparable brilliance of many artists, until each episode is grilled to Krabby Patty perfection.  Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Ken continues his chat with comedy writer, Dave Hackel. This week they delve into what a showrunner really does. It's a unique and rigorous responsibility. And Dave is one of the best. They also discuss BECKER, a show Dave created and ran for five years. Lots of great info here. More podcasts at WAVE: https://podcasts.apple.com/us/artist/wave-podcast-network/1437831426

Host Josh Hallman makes co-host Tasha Huo tell the story of how she became a Showrunner on TOMB RAIDER: THE ANIMATED SERIES, what the job entails, what surprises there were, and steps writers can take to prepare for the job.   Questions/Comments: ActTwoWriters@gmail.com  Edited by Paul Lundquist Music by 414beg

We're back! Meg, Lorien, and Jeff have all been traveling, producing, and on set, and oh, do we have UPDATES. Lorien - who is now entering post on the project she SHOWRAN - answers all of your questions from what kinds of writers she's looking for in the room, and what her expectations for them are once they arrive. THANK YOU to our intern Jess Fisher for producing and cutting this episode! You've been a rock for us in some of our busiest times. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thescreenwritinglife/support

Multiple Emmy nominee Melissa Rosenberg is Series Creator and Showrunner of Marvel's Jessica Jones. The show garnered tremendous response and critical acclaim, including winning the prestigious Peabody Award for its genre-bending approach. As one of Hollywood's most versatile, sought-after storytellers, Rosenberg is currently in an overall deal with Warner Bros. TV to develop new projects. Her company, Tall Girls Productions, focuses on developing and producing film and TV series with an emphasis on interesting, complex roles for women in front of and behind the camera. On the film side, Rosenberg's credits include all five screenplays for the vampire romance phenomenon, The Twilight Saga, which grossed more than $3 billion worldwide. She also wrote the hit dance film Step Up, which launched a multi-film franchise. Additional television credits in Rosenberg's diverse range include four seasons as both head writer and Executive Producer of the Showtime original series Dexter, which earned multiple nominations and awards, including the Peabody Award.

Hosts Tessa Markle and Carolina Alvarez welcome showrunner, Misha Calvert! We chat with Misha about what a showrunner is and what a showrunner does. From network TV to webseries. We also chat about her recent show, STRUT, and the issues the show addresses. Website: https://www.mishacalvert.com STRUT: https://watch.revry.tv/details/35552 IMDb: https://www.imdb.com/name/nm5661017/?ref_=pro_nm_visitcons Instagram: @mishacalvert Twitter: @mishacalvert Facebook: https://www.facebook.com/mishacalvertofficial --- Support this podcast: https://anchor.fm/femme-regard-podcast/support

Angela Harvey. After helping write and produce a hundred episodes of MTV's Teen Wolf, Angela went on to serve as writer/producer for shows at CBS, ABC, Marvel Television and FX. She's currently developing shows with 20th Television, Bad Robot, and Disney Plus. Angela has written & directed three short films including Prom, which premiered at the 2020 Austin Film Festival. She is currently in development on her feature film directorial debut. Follow her on Twitter: https://twitter.com/nationsfilm/ Jeffrey Lieber is credited as one of the creators of the hit ABC show, Lost. He's been writing and showrunning television for decades in Hollywood including NCIS: New Orleans, Charmed. Impulse and Don't Look Deeper. He's known for tweeting advice regularly on Twitter and mentoring new screenwriters with his "Showrunner's Rules." https://twitter.com/JeffLieber --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bravemaker/support

Recorded on 7/10/2021A new episode of Unsourced Wall is here!We look at the new trailer for Disney+'s What If?This week's new releases, including Immortal Hulk and the X-Line,Plus, the new episode of LOKI!#Netflix#Marvel#LOKIComics Code UHthority:https://linktr.ee/ComicsCodeUHThorityLinks:Twitter: https://twitter.com/the_snickmanRSS Feed: http://feeds.feedburner.com/UnsourcedWallRadioiTunes: https://itunes.apple.com/us/podcast/unsourced-wall-radio/id1378368779?mt=2Art Credit:https://twitter.com/dotemcee

In this check-in episode, Shu and Sherm fill you in on what's happening in their lives and careers as well as discuss the balance between work and home life.  They answer some questions from listeners and give tips on how to manage your time. Listen now!WebsitePatreonInstagramFacebookTwitterE-mail: diversityhirespodcast@gmail.comShow Less

Would you be a good SHOW RUNNER? If the answer is yes, and even more so if the answer is no, then you need to LISTEN to veteran show runner Ian Gelfand discuss the art of show running on this episode of the Film and TV Development Podcast. Ian gives you tips for how to work your way up to show runner status, what exactly a show runner does and doesn't do and why you should never get too comfortable. --- Support this podcast: https://anchor.fm/centerforactivelearning/support

Showrunning is a mysterious art form to many so I wanted to bringing he someone who can shine a light on what it takes to be one. Today on the show we have powerhouse show runner, writer, director, producer, and all-around good guy Steven Deknight. Best known for his work across the action, drama, and sci-fi genres on TV shows like Smallville, Spartacus, Daredevil, Buffy the Vampire Slayer, Angel, and Jupiter's Legacy.Realizing his strengths early on in his career, Steven is a jack-of-all-trades who studied acting at the onset of film school transitioned through to writing, playwright, and screenwriting. Buffy the Vampire Slayer was his big break - starting off as writer and story editor on the show, Deknight went on to produce 42 episodes of the Spin-off show, Angel.The vampire Angel, cursed with a soul, moves to Los Angeles and aids people with supernatural-related problems while questing for his own redemption.Steven went on to direct and co-executive produce 66 episodes of the 2001 comics show, Smallville which set a viewers rating record of 4.34 million viewers per episode and had a great 10 seasons run.The series goes along with Clark Kent through his struggles to find his place in the world as he learns to harness his alien powers for good and deals with the typical troubles of teenage life in Smallville, Kansas.In 2009, He briefly wrote, directed, and consulted on the short-lived Dollhouse series. Almost immediately after, Deknight got an offered to executive produce and write the hit sensation and everyone's guilty-pleasure, Spartacus. In this interview, he shares that as the creator of a hit show, it was a major career booster for him.A fictional historical drama series inspired by, Spartacus, the show focused on Spartacus's obscure early life leading up to the beginning of historical records.We do a deep dive on how Steve brought the Marvel universe's darker and grittier character Daredevil to Netflix that help launch The Defenders superhero on the streaming giant.Blinded as a young boy, Matt Murdock fights injustice by day as a Lawyer and as a street-level superhero by night, in Hell's Kitchen, New York City.Deknight finally ventured off into film in 2018 for the big budget. His feature-film directorial and writing debut Pacific Rim: Uprising. We go into the weeds on his experience bring a studio tentpole to the big screen while under extreme pressure and restraints.Steve was a blast to chat. Enjoy this conversation with Steve Deknight.

Music Follow-ups/Corrections A7x - New Record is approximately 70% done according to M. Shadows on 93X in Minneapolis. The follow up to 2016’s The Stage. AFI - Bodies is the name of the new record, and it will be out June 11. Follow-ups/Corrections Cyberpunk 2077 - CD Projekt Red have announced that the next update, due later this month, has been pushed back to the second half of March. Final Fantasy VII 2 new mobile games announced for the world of FFVII. First Soldier and Ever Crisis. First Soldier is a Battle Royale game. Ever Crisis seems to be something of a companion game to the main title. Pokemon 3 new games announced. Pokemon Legends:Arceus, an open world game set in an earlier era of the Sinnoh region. ACTUALLY catch those Pokemon. Also, Diamond and Pearl have remakes coming down the pike. Brilliant Diamond and Shining Pearl will be headed to Switch later this year. https://youtu.be/YUW1ZWAq09M https://youtu.be/BjCwUk06ZSk Sony FX3 Basically an a7sIII for filmmakers. TV/Streaming Follow-ups/Corrections MODOK - New trailer. New release date May 21. https://youtu.be/xuzivJRlxNw Animaniacs - Renewed for a THIRD season already!! Twilight Zone - CANCELLED! Bad Batch - May 4th premiere. Avatar Studios Nickelodeon has a new subsidiary. The original creators, Michael DiMartino and Bryan Konietzko, will rule side-by-side. Paramount Plus March 4th is right around the corner. Paramount had their investor’s call and announced shows that have been kicking around in the Rumor Mill for a little while. 9.99 premium tier, 4.99 ad supported. https://youtu.be/sNky0GJG1x0 GI Joe: Lady Jaye New live action series announced on Amazon. Erik Oleson will be showrunner. (Daredevil, Man in the High Castle and such) Andor George Lucas is writing on the show? That is what IMDb says. It should be noted that there is the (characters) distinction as part of the listing… perhaps this is still just part of his contract in selling. https://www.imdb.com/title/tt9253284/fullcredits?ref_=tt_cl_sm#cast Star Trek: Section 31 Still a back burner project. Alex Kurtzman and Paramount+ head of Programming, Julie McNamara, have said that it definitely WON’T happen until one of the current 5 projects is over. Metal Lords D.B. Weiss is Showrunning a new show that is a coming-of-age comedy about 2 kids trying to start a metal band in High School. David Benioff is EPing as well, with Tom Morello coming in as the Executive Music Producer. The show is for Netflix. Movies Follow-ups/Corrections Spider-Man 3 - Officially titled “No Way Home.” Dec 17, 2021. Also, Tom Holland’s contract ends after this movie. Though he has been quoted as saying that he would re-sign in a “heartbeat.” Army of the Dead - Teaser FINALLY https://youtu.be/H83kjG5RCT8 Mortal Kombat - Red band trailer highest viewed in history. Blue Beetle Director Angel Manuel Soto told Twitter that he was the man for the job. (as well as an interview with The Wrap) will actually be Jaime Reyes. Set to start production in the fall. https://www.thewrap.com/angel-manuel-soto-blue-beetle-latino-superhero-dc-warner-bros/ Harley Quinn James Gunn and Margot Robbie have apparently began discussions for a Harley movie. As Gunn made known on his IG. Pet Sematary Prequel movie in the works. Set to go straight to streaming on Paramount+, with screenwriter Jeff Buhler set to return from the 2019 remake. Beavis and Butthead New movie in the works, headed to Paramount+ Rumor Mill Confirmations/Refutations Lex Luthor - Wole Parks IS, in fact, playing black Lex in Superman & Lois. Not known for sure if this is alternate universe Lex, but odds are… Big Hero 6 - Feige shoots down live action rumors. Mass Effect Movie in the works, AND being teased by Henry Cavill?? Film has been in the works since May 24th, 2010. Aquaman 2 New rumor has it (again) that Emilia Clark will be replacing Amber Heard in the upcoming movie… Scarecrow Solo movie in the works?

It's time for the Comic Talk Headlines with Generally Nerdy!  Honestly today's episode is pretty big, its late...  All that and MORE!! Catch up on all the nerdy headlines in TV and Movies, Tuesdays and Fridays. Plus, don't forget to subscribe for more fresh content.    TV/StreamingFollow-ups/CorrectionsMODOK - New trailer. New release date May 21.  https://youtu.be/xuzivJRlxNw Animaniacs - Renewed for a THIRD season already!!Twilight Zone - CANCELLED! https://deadline.com/2021/02/the-twilight-zone-reboot-is-canceled-by-cbs-all-access-1234700684/ Bad Batch - May 4th premiere.Avatar StudiosNickelodeon has a new subsidiary. The original creators, Michael DiMartino and Bryan Konietzko, will rule side-by-side. They will be doing both movies and series. First project is set to be a theatrical release.https://cosmicbook.news/avatar-last-airbender-movies-series-nickelodeon Paramount PlusMarch 4th is right around the corner. Paramount had their investor’s call and announced shows that have been kicking around in the Rumor Mill for a little while.Halo, Fraiser, Fairly Odd Parents (live action), Kamp Koral: Spongebob’s Under Years, CG Rugrats, Yellowstone Spin-off (6666: working title), Road Rules and Real World, Reno 911! Hunt for QAnon, Behind the Music, Unplugged, YO! MTV Raps. 9.99 premium tier, 4.99 ad supported.https://cosmicbook.news/paramount-plus-price-content https://youtu.be/sNky0GJG1x0 GI Joe: Lady JayeNew live action series announced on Amazon. Erik Oleson will be showrunner. (Daredevil, Man in the High Castle and such)https://deadline.com/2021/02/g-i-joe-tv-series-lady-jay-amazon-from-erik-oleson-paramount-tv-eone-skydance-tv-1234700747/ AndorGeorge Lucas is writing on the show? That is what IMDb says. It should be noted that there is the (characters) distinction as part of the listing… perhaps this is still just part of his contract in selling.https://www.imdb.com/title/tt9253284/fullcredits?ref_=tt_cl_sm#cast Star Trek: Section 31Still a back burner project. Alex Kurtzman and Paramount+ head of Programming, Julie McNamara, have said that it definitely WON’T happen until one of the current 5 projects is over.https://variety.com/2021/tv/news/star-trek-universe-paramount-plus-prodigy-1234914526/ Metal LordsD.B. Weiss is Showrunning a new show that is a coming-of-age comedy about 2 kids trying to start a metal band in High School. David Benioff is EPing as well, with Tom Morello coming in as the Executive Music Producer. The show is for Netflix.https://blabbermouth.net/news/tom-morello-to-serve-as-executive-music-producer-on-netflixs-metal-lords-film/ MoviesFollow-ups/CorrectionsSpider-Man 3 - Officially titled “No Way Home.” Dec 17, 2021. Also, Tom Holland’s contract ends after this movie. Though he has been quoted as saying that he would re-sign in a “heartbeat.”Army of the Dead - Teaser FINALLY https://youtu.be/H83kjG5RCT8 Mortal Kombat - Red band trailer highest viewed in history.Blue BeetleDirector Angel Manuel Soto told Twitter that he was the man for the job. (as well as an interview with The Wrap) will actually be Jaime Reyes. Set to start production in the fall. https://www.thewrap.com/angel-manuel-soto-blue-beetle-latino-superhero-dc-warner-bros/ Harley QuinnJames Gunn and Margot Robbie have apparently began discussions for a Harley movie. As Gunn made known on his IG.Pet SemataryPrequel movie in the works. Set to go straight to streaming on Paramount+, with screenwriter Jeff Buhler set to return from the 2019 remake.https://deadline.com/2021/02/new-paranormal-activity-pet-sematary-the-in-between-movies-heading-to-paramount-1234700369/ Beavis and ButtheadNew movie in the works, headed to Paramount+https://deadline.com/2021/02/beavis-butt-head-movie-weekly-show-from-trevor-noah-inside-amy-schumer-specials-lead-paramount-comedy-slate-1234700292/ Rumor MillConfirmations/RefutationsLex Luthor - Wole Parks IS, in fact, playing black Lex in Superman & Lois. Not known for sure if this is alternate universe Lex, but odds are…Big Hero 6 - Feige shoots down live action rumors.Mass EffectMovie in the works, AND being teased by Henry Cavill?? Film has been in the works since May 24th, 2010. Aquaman 2New rumor has it (again) that Emilia Clark will be replacing Amber Heard in the upcoming movie… ScarecrowSolo movie in the works?You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

It's time for the Comic Talk Headlines with Generally Nerdy!  Honestly today's episode is pretty big, its late...  All that and MORE!! Catch up on all the nerdy headlines in TV and Movies, Tuesdays and Fridays. Plus, don't forget to subscribe for more fresh content.    TV/StreamingFollow-ups/CorrectionsMODOK - New trailer. New release date May 21.  https://youtu.be/xuzivJRlxNw Animaniacs - Renewed for a THIRD season already!!Twilight Zone - CANCELLED! https://deadline.com/2021/02/the-twilight-zone-reboot-is-canceled-by-cbs-all-access-1234700684/ Bad Batch - May 4th premiere.Avatar StudiosNickelodeon has a new subsidiary. The original creators, Michael DiMartino and Bryan Konietzko, will rule side-by-side. They will be doing both movies and series. First project is set to be a theatrical release.https://cosmicbook.news/avatar-last-airbender-movies-series-nickelodeon Paramount PlusMarch 4th is right around the corner. Paramount had their investor’s call and announced shows that have been kicking around in the Rumor Mill for a little while.Halo, Fraiser, Fairly Odd Parents (live action), Kamp Koral: Spongebob’s Under Years, CG Rugrats, Yellowstone Spin-off (6666: working title), Road Rules and Real World, Reno 911! Hunt for QAnon, Behind the Music, Unplugged, YO! MTV Raps. 9.99 premium tier, 4.99 ad supported.https://cosmicbook.news/paramount-plus-price-content https://youtu.be/sNky0GJG1x0 GI Joe: Lady JayeNew live action series announced on Amazon. Erik Oleson will be showrunner. (Daredevil, Man in the High Castle and such)https://deadline.com/2021/02/g-i-joe-tv-series-lady-jay-amazon-from-erik-oleson-paramount-tv-eone-skydance-tv-1234700747/ AndorGeorge Lucas is writing on the show? That is what IMDb says. It should be noted that there is the (characters) distinction as part of the listing… perhaps this is still just part of his contract in selling.https://www.imdb.com/title/tt9253284/fullcredits?ref_=tt_cl_sm#cast Star Trek: Section 31Still a back burner project. Alex Kurtzman and Paramount+ head of Programming, Julie McNamara, have said that it definitely WON’T happen until one of the current 5 projects is over.https://variety.com/2021/tv/news/star-trek-universe-paramount-plus-prodigy-1234914526/ Metal LordsD.B. Weiss is Showrunning a new show that is a coming-of-age comedy about 2 kids trying to start a metal band in High School. David Benioff is EPing as well, with Tom Morello coming in as the Executive Music Producer. The show is for Netflix.https://blabbermouth.net/news/tom-morello-to-serve-as-executive-music-producer-on-netflixs-metal-lords-film/ MoviesFollow-ups/CorrectionsSpider-Man 3 - Officially titled “No Way Home.” Dec 17, 2021. Also, Tom Holland’s contract ends after this movie. Though he has been quoted as saying that he would re-sign in a “heartbeat.”Army of the Dead - Teaser FINALLY https://youtu.be/H83kjG5RCT8 Mortal Kombat - Red band trailer highest viewed in history.Blue BeetleDirector Angel Manuel Soto told Twitter that he was the man for the job. (as well as an interview with The Wrap) will actually be Jaime Reyes. Set to start production in the fall. https://www.thewrap.com/angel-manuel-soto-blue-beetle-latino-superhero-dc-warner-bros/ Harley QuinnJames Gunn and Margot Robbie have apparently began discussions for a Harley movie. As Gunn made known on his IG.Pet SemataryPrequel movie in the works. Set to go straight to streaming on Paramount+, with screenwriter Jeff Buhler set to return from the 2019 remake.https://deadline.com/2021/02/new-paranormal-activity-pet-sematary-the-in-between-movies-heading-to-paramount-1234700369/ Beavis and ButtheadNew movie in the works, headed to Paramount+https://deadline.com/2021/02/beavis-butt-head-movie-weekly-show-from-trevor-noah-inside-amy-schumer-specials-lead-paramount-comedy-slate-1234700292/ Rumor MillConfirmations/RefutationsLex Luthor - Wole Parks IS, in fact, playing black Lex in Superman & Lois. Not known for sure if this is alternate universe Lex, but odds are…Big Hero 6 - Feige shoots down live action rumors.Mass EffectMovie in the works, AND being teased by Henry Cavill?? Film has been in the works since May 24th, 2010. Aquaman 2New rumor has it (again) that Emilia Clark will be replacing Amber Heard in the upcoming movie… ScarecrowSolo movie in the works?You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

On this episode, Cooper talks to writer and showrunner, Anthony King, who started his career as an intern at Manhattan Theatre Club before going on to write for TV and Theatre, receiving Emmy and Tony nominations along the way.If you’d like to contact us feel free to email us at PANationPodcast@gmail.com or find us on Twitter and Instagram @PANationPodcast.

After discussing Mike Tyson, Shu and Sherm get into the nitty gritty of the roles of a TV writer from prep to production. Also, is Martin Lawrence the Black Lucille Ball? 

In this week's episode, I spoke with television writing veteran Michael Jamin, a man who helping writers get an exclusive sneak peak at what's next for TV writing. He’s written on or has show-run for various series including: King of the HillJust Shoot MeBeavis & ButtheadBrickleberry Tacoma F.D. And many more. In our discussion we discuss tips on finding your writing partner, cracking the TV writer’s code, and how to find the truth in your writing. It is my pleasure to bring to you my interview with Michael Jamin. Follow Michael on Facebook:

What is pitching? Why does pitching require so much work? Is spec writing overhyped? Are brads overhyped? The Diversity Hires have the answers to this and so much more in this week's episode!

Watchmen. The Good Place. On this week's Millions of Screens, Leo, Libby, and Ben are joined for the first time by three Emmy-nominated guests: Michael Schur, creator and showrunner of NBC's 'The Good Place;' Damon Lindelof, creator and showrunner of HBO's 'Watchmen;' and Cord Jefferson, staff writer for both. Jefferson, who has recently run a room of his own, reflects on what he learned working under both Schur and Lindelof, while later in the episode Lindelof praises Schur on 'The Good Place' finale. Additionally, Libby discusses why two scripted 'Tiger King' shows might not be a bad thing and Ben explains why he's excited about 'The West Wing' reunion set to air on HBO Max.

Alex and Nick invite Mike Scully, executive producer, co-creator, co-showrunner of FOX's Duncanville, long-time writer/showrunner of The Simpsons, and writer/producer on Parks and Recreation/The Carmichael Show/Everybody Loves Raymond, to learn all about his writing process and running a comedy room. From staffing a writers' room and reading samples, to breaking episodes and producing an animated show, we take a deep dive into what goes into creating a comedy series from the inside. Content 1 – Beginnings, pitching, and becoming a showrunner (00:00:43) 2 – Staffing Duncanville and other writers' rooms: reading samples, assembling the right staff and advice for showrunner meetings (00:09:19) 3 - The Duncanville & Simpsons rooms and writing process: best practices, format differences, blue-skying, breaking episodes, tone, structure, and character arcs (00:23:53) 4 – Production of Duncanville: animation, department heads, casting and punch-ups (00:40:47) Final advice, resources, and next week on (01:11:38) Links Duncanville on FOX Mike Scully on Twitter Everybody Loves Raymond Parks and Recreation The Carmichael Show What a Country! Out of This World Resource "Tinker in Television" - Grant Tinker If you enjoy Paper Team, please consider supporting us on Patreon at paperteam.co/patreon! :) Special thanks to Alex Switzky for helping us edit this episode. You can find Paper Team on Twitter: Alex - @TVCalling Nick - @_njwatson For any questions, comments or feedback, you can e-mail us: ask@paperteam.co

REI owns and operates some incredible (and surprising) podcasts. Today, we talk to their head of podcast strategy, Chelsea Davis, on what it takes to make a truly resonant show WITHOUT throwing budget at the problem. Chelsea owns the end to end show development process across all shows. She's got a ton on her plate, and she handles it with genuine care for craft and for the audience. Best of all, her words of wisdom and her generous disclosure of their approach help us realize: Success in podcasting is about what's between your ears, not what's in your wallet. INSIDE THE EPISODEThe clip played was taken from the REI podcast Camp Monsters: https://www.rei.com/blog/podcasts/camp-monstersChelsea Davis on Twitter: https://twitter.com/omsandhoney Jay Acunzo on Twitter: https://twitter.com/jayacunzo SPONSOR: Casted, the world's first marketing platform for B2B podcasts: https://casted.us/ 3 CLIPS IS THE OFFICIAL SHOW OF MARKETING SHOWRUNNERS, a media company covering and advancing the movement of marketers making shows. Get our monthly newsletter rounding up the best content about this craft at https://marketingshowrunners.com/subscribe

Alex and Nick invite Aron Eli Coleite, executive producer, co-creator, and showrunner of Netflix's Daybreak, to learn all about his writing process and running (or curating) the post-apocalyptic dramedy. From staffing a writers' room and breaking character stories, to communicating a creative vision and producing the show, we take a deep dive into what goes into creating a series from the inside. Content 1 - Beginnings and becoming a showrunner (00:01:09) 2 - Staffing Daybreak: reading samples, assembling the right staff, showrunner meetings, and creating opportunities (00:20:16) 3 - The Daybreak writers' room and writing process: blue-skying, breaking episodes, structure, and character arcs (00:37:26) 4 - Production of Daybreak: department heads and casting (01:05:37) Final advice, resources, and next week on (01:17:09) Links Daybreak on Netflix "The Only Podcast Left" - Daybreak scripted podcast on Spotify Aron Eli Coleite on Twitter Aron Eli Coleite on Instagram Resource "Understanding Comics" - Scott McCloud This episode brought to you by Roadmap WritersUse the code PAPERTEAM to get $15 OFF your Roadmap Writers Program If you enjoy Paper Team, please consider supporting us on Patreon at paperteam.co/patreon! :) Special thanks to Alex Switzky for helping us edit this episode. You can find Paper Team on Twitter: Alex - @TVCalling Nick - @_njwatson For any questions, comments or feedback, you can e-mail us: ask@paperteam.co

#45 - DFFB Session Panel - "What is Showrunning?"

Heute beleuchten wir mit den Gästen Anna Winger (Deutschland 83), Anna Stoeva (Houses) und Kristina Peters (TNT), die Arbeit und den Nutzen von Showrunnern in Deutschland. Zusätzlich wird darüber diskutiert, was gebraucht wird, um Stoffe erfolgreich bei Sendern einzureichen. Diese Folge ist eine Sondersendung mit der Deutschen Film- und Fernsehakademie Berlin "DFFB". Sie wurde auf dem Panel "What is Showrunning" bei den DFFB Sessions aufgezeichnet.

A conversation about the role of the showrunner in Doctor Who, and who the next one might be Theme arrangement: Richard Judge

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

In "BIG IDEAS," office workers maintain a cheerful facade, as they must ignore a dark workplace undercurrent to stay employed and with benefits -- or maybe even alive. This episode is written by the talented Laura Buchholz. Laura wrote for A Prairie Home Companion with Garrison Keillor from 2003-2013. She is currently a freelance contributor to Reductress and Volume One. She has produced and hosted Story Slams in St. Paul for The Moth, and has written and performed in several Fringe shows in Minneapolis and New York City. This episode features the voice talents of Molly Barnes, Jen Sellmeyer Kieffer, Mike Theiste, Jill Thiel Markgraf, Wayne Dallman, Ken Szymanski, Sekaidah Dillon, Matthew Kiskunas, and Neil Dunbar. A project of Chippewa Valley Writers Guild and produced by Converge Radio 99.9's Scott Morfitt, Nathan Baughman, and Alexx Stadtlander. Showrunning by Karen Drydyk. This is all made possible by a grant from the Jamf Nation Foundation!

Guy Toubes is the writer and showrunner for the Emmy Nominated animated series The Stinky And Dirty Show on Amazon Prime. As a prolific writer and story editor for countless children’s shows, Guy has a unique perspective on telling stories that both entertain and teach children and adults.  The Go Creative Show is supported by: Premium Beat Rule Boston Camera Hedge Shutterstock News Shooter Show Topics Creating the Stinky and Dirty Show What does a showrunner really do The Mr. Rogers effect How to tackle big problems on kids shows Story development and writing techniques Why sound designing is extremely important for children's television Working with Mark Hamill and much more! PremiumBeat.com Song of the Week Seeking Perfection by Vincent Tone   Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio Follow Our Guest Guy Toubes Twitter Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram   Follow Matt Russell Gain Structure Sound Twitter

We sat down with CBS Program finalist Antonio "Sinsation The Writer" to answer his questions about navigating this crazy business.      Direct Link: www.bit.ly/SWRR-226     David Mamet Memo To Writers of THE UNIT Javier Grillo-Marxuach 11 Laws of Showrunning   Scripts You Better Have Read BIG (the script) KRAMER vs KRAMER (the script) TOY STORY (the script)   Our Favorite Writing Coaches Carole Kirchner - Hollywood Game Plan Pilar Alessanro - On The Page Lee Jessup DMA - Planet DMA   Alex Freedman and Nick Watson's Paper Team podcast (https://www.tv-calling.com/paperteam/) a go-to resource for young TV wri

His IMDB bio packs a punch: "Daniel Powell is a producer and production manager, known for Inside Amy Schumer (2013), The Daily Show (1996) and The Colbert Report (2005)." Dan has had an impressive run with Comedy Central for years and has used the power of hard work (and a little luck) to secure an impressive list of production credits. Not only is he a badass in the entertainment space, he's an all-around nice guy. I think you'll enjoy hearing his story and what he's learned so far on his creative journey. You can find Daniel on Twitter here: @danieljpowell Music courtesy of BenSound.com

Arne Berggren er forfatter, regissør, produsent og showrunner. Han har skapt serier som Hvaler og Dauinger, vært medforfatter på Seks som Oss og Taxi, og har styrt norges største show - Hotel Cæsar - gjennom 342 episoder.

TV Talk #17: Brian Davids and Shayne Bowman discuss the world of television as of Thursday, Jan. 27, 2016. Makin’ The Rounds (General TV Talk) Shows/topics discussed: The X-Files, Mad Dogs, Colony, Arrow, The Flash, DC’s Legends of Tomorrow, The 100, Baskets, Shameless, Outsiders, 24: Legacy, Happy Valley, Game of Thrones, House of Cards, Doctor Who, Top of the Lake, Start Up, The 11 Laws of Showrunning, The Deuce, Billions and Better Call Saul. What’s coming up this week: THU: You, Me and the Apocalypse on NBC SAT: 22nd Annual Screen Actors Guild Awards on TBS/TNT SUN: Grease Live on Fox SUN: The Venture Bros returns to Cartoon Network TUE: American Crime Story: The People v. O.J. Simpson on FX WED: Madoff 4-ep mini-series on ABC Contact Film Schlubs Follow on Twitter: Film Schlubs Brian Davids Shayne BowmanEmail: FilmSchlubs@gmail.com

In this brand new, supersized episode, the Children of Tendu look at the business of television from the tippity-top, leveraging their combined forty years of experience into a discussion of showrunning. In our Golden Age of television, what does it mean to lead the creation of a television, how does it work, and what are some of the sins committed by both experienced and inexperienced managers in the pursuit of getting the show on the air by any means necessary. This episode is an in-depth discussion of Javi's essay "The Eleven Laws of Showrunning" which can be found on his personal webpage both for reading online and as a downloadable PDF.

In this kick ass, first episode of 2016 -  we talk with Executive Producer/Showrunner Jeff Melvoin “The Series Fixer!” HIGHLIGHTS: Engaging the fans, becoming a journalist at Time Magazine,  coming up in TV with: Remington Steele & Northern Exposure, “The Hail Mary Syndrome,”  Showrunning the series Army Wives, rising above the clutter, the WGA Staff Writers Boot Camp, vanity & fear, the WGA Showrunner Program and so much more! Our motto, "Keep it street, keep it opinionated and keep it what? 2016” DIRECT LINK: http://bit.ly/EP-84 Subscribe, Comment, Rate & 5 STAR Review on iTunes! http://bit.ly/HG-SRR-EP1 Twitter: @ScreenwritersRR @HilliardGuess @LisaBolekaja @Jumper139 #ScreenwritersRantRoom #BlackNerds #Comedy

Welcome back to Business of Film, episode #64. This episode features one of the best showrunners in the business, Naren Shankar (CSI, The Expanse). Naren started his career on Star Trek: TNG where he worked for 52 episodes. Since then, he worked on the Outer Limits, 182 episodes of CSI, Alost Human, and more recently ... The post BoF #64 – Showrunning with Naren Shankar appeared first on Craft Truck.

AFTERBUZZ TV -- AfterBuzz TV's Creators and Showrunners edition, is a long form interview series featuring TV Creators and Showrunners discussing their television shows, as well as their thoughts, passions and journeys. In this episode hosts Stephen Lemieux, Matt Lieberman, Liz Rishmawy, and Zach Wilson interview Steven Maeda about the future of Syfy's Helix, who we can expect to see in season 2, and gives insight into the career of Showrunning. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV For more of your post-game wrap up shows for your favorite TV shows, visit http://www.AfterBuzzTV.com Learn more about your ad choices. Visit megaphone.fm/adchoices

AFTERBUZZ TV -- AfterBuzz TV's Creators and Showrunners edition, is a long form interview series featuring TV Creators and Showrunners discussing their television shows, as well as their thoughts, passions and journeys. In this episode hosts Stephen Lemieux, Matt Lieberman, Liz Rishmawy, and Zach Wilson interview Steven Maeda about the future of Syfy's Helix, who we can expect to see in season 2, and gives insight into the career of Showrunning. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV For more of your post-game wrap up shows for your favorite TV shows, visit http://www.AfterBuzzTV.com

Just Shoot It is a podcast about directing, filmmaking and storytelling. Each week we interview your favorite up-and-coming 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. Each week 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 www.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 www.orenfilm.com.Support this podcast at — https://redcircle.com/just-shoot-it-a-podcast-about-filmmaking-screenwriting-and9776/donations