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Archives for 2012

In defense of shiny discs

March 6, 2012 Film Industry

Tasha Robinson isn’t ready to give up on DVDs and Blu-rays:

[F]or me, hanging onto discs isn’t about sentiment, a Luddite fear of technology, or even protecting a hefty financial investment in an aging medium, as so many people do whenever the market-dominating format in an industry changes. It’s a way of voting with my feet, or with my wallet.

By saying, “I’ll fully switch over to streaming when it looks and sounds as good, feels as stable, and provides as much library depth as disc options do,” I’m encouraging streaming companies to prioritize improving those things. Because media conglomerates don’t care about sentiment, and won’t hold back on progress to comfort the timid. But they do care about where people are spending money.

I’ve generally come down on the other side of the debate — shiny discs are going to go away at some point, so why not now?

But Robinson makes strong arguments I’ve never seen articulated so clearly, particularly about how the transition to streaming prioritizes consumption over ownership:

Media companies have every reason to not passively wait to see what consumers want, and to try to drive the market to places that will be more profitable and less expensive for them. And they simultaneously have every reason to drive people to value only the newest releases, and the most readily available content. They want purchasers to care about “new and now” because ideally, they want to sell you something new, right now — every minute of every day.

Robinson doesn’t address piracy, which is like discussing climate change without mentioning fossil fuels. The media companies aren’t moving towards streaming because they want to stop selling DVDs and Blu-rays. They are streaming movies because they need to compete with illegal downloads.

But from the perspective of a consumer who wants quality and selection, Robinson’s points are well-made.

Link via @LoganHard.

Let’s run a studio!

Episode - 27

Go to Archive

March 6, 2012 Film Industry, Follow Up, QandA, Scriptnotes

Celebrating Leap Day, John and Craig play the game of “What If?” Specifically, what if we each were handed the reins of a major Hollywood studio?

We discuss what we’d movies we’d make, what standard practices we’d change, and how we’d address the shifting realities of movie-going and home video.

Could we really do it better? Doubtful. It’s easy to play make-believe, but much tougher when you’re reporting to a major multinational corporation.

Still, there are things that everyone seems to get wrong, and it’s worth the conversation about what could be done better. And if any tech billionaires feel like investing, you know where to find us.

Before that long conversation, we answer a bunch of follow-up questions:

  • When optioning a novel, is there a rule of thumb for what percentage of the total purchase price the option should cover?
  • Does the WGA cover a novelist’s based-on credit?
  • What does it mean when a novelist has a producer credit?
  • What is Daniel Wallace’s role in the Broadway version of Big Fish?
  • What’s to stop a screenwriter from writing a novel version of his spec, and then having his script be “based on” it?

All this and more in this episode of Scriptnotes.

LINKS:

  • Asymco crunches the studio numbers
  • Intro: The Big Valley opening credits
  • Outro: Hey Ya cover by Mat Weddle

You can download the episode here: AAC.

UPDATE 3-8-12: The transcript of this episode can be found here.

Getting more women writing TV

March 6, 2012 Television

Jane Espenson wants more women TV writers, but not for “a female point of view”:

[If] you suggest that female writers have a specific (and limited) purpose, you are inviting those showrunners to feel they don’t need to hire additional women writers once they have one woman in the room; they have their female character generator, their lens onto the female point of view. […]

I love the idea of a showrunner purposefully creating a staff that looks like the world: a balance of men and women, an emphasis in diversity of cultural background, racial makeup, and orientation, based on the idea that talent is evenly distributed among humanity. But if it’s done with some notion of splitting up the tasks of writing this or that type of character, I think we’re in danger of disparaging our own ability to look out of the eyes of someone else. If we stop trying to see the world through ALL of our characters, then we’re no longer in the empathy business.

Espenson suggests it’s a supply problem as well: you can’t staff writers who don’t exist. You won’t get more female TV writers until you get more women leaving film school with a overwhelming drive to write great television.

Anatomy of a script

March 2, 2012 Education, WGA

Robin Schiff and Winnie Holzman’s great discussion series “Anatomy of a Script” is starting up again in March, and highly recommended for film and TV writers wanting to learn more about the craft.

Each session starts with a screening of the film or TV episode, followed by a discussion with the writer. I did one last year for Big Fish, and really enjoyed the questions from such a smart audience.

The guests this year look great:

March 13: Mike White on Enlightened

March 21: Russell Gewirtz on Inside Man

March 28: Alex Gansa & Howard Gordon on Homeland

April 4: Lisa Kudrow and Michael Patrick King on The Comeback

April 11: Mike Mills on Beginners

April 18: Florian Henckel von Donnersmarck on The Lives of Others

You can buy tickets for individual sessions, or the whole series. Proceeds benefit the Writers Guild Foundation.

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