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The biggest TiVo in the world

February 3, 2009 Film Industry, Follow Up, Television

follow upIn my post on [Cablevision and the infinite TiVo](http://johnaugust.com/archives/2009/cablevision-and-the-infinite-tivo), I argued that a proposed virtual-DVR service could be a Very Bad Thing for the film and television industry, and anyone who aspires to work in it.

But as a consumer of content, I would love it. That’s why studios, networks, guilds and operators need to keep working on ways to make it legal and cheap to watch any show, any time.

They just need to call it what it actually is: video on demand.

Much of the criticism in the ensuing comments came from one Anonymous poster, who claimed he wasn’t a lawyer, but sure wrote like one. And he didn’t deny that he worked for Cablevision, so it’s no surprise he had a strong opinion and very specific knowledge of the legal [proceedings thus far](http://johnaugust.com/archives/2009/cablevision-and-the-infinite-tivo#comment-167455):

> If you read the 2nd Circuit holding you will see that it is simply not the case that the holding could inadvertently extend to the very different system you imagine. If the Supreme Court hears the case, neither will their holding inadvertently extend to completely different systems. Agree with them or not, the justices are hardly a group of fools. The Court is certain to tailor the decision quite deliberately.

>That the system you imagine is achievable is irrelevant. Cases get decided based on the facts of what parties actually do, not based upon completely different facts that others concoct, regardless of whether those concocted facts are achievable.

But of course, the point of a blog is conjecture and analysis. And the job of a screenwriter is to ask what-if questions. What if the Yellowstone supervolcano exploded? What if monsters were afraid of us? What if SkyNet developed consciousness?

I’m certainly not qualified to argue about the language of the 2nd Court holding. But I’m very qualified to ask what-if questions. Nothing about the system I outlined in my original post is crazy. In fact, it’s all so reasonable that it seems very likely to be implemented, if not by Cablevision, then by another provider.

Anonymous [continues](http://johnaugust.com/archives/2009/cablevision-and-the-infinite-tivo#comment-167531):

> Let’s also remember that even when major changes are faced, the only thing that can be assured is that there will be widespread predictions of doom. Doom actually occurring is much less frequent. The Betamax case is an excellent example of such a change that spawned similar predictions of doom for the film and television industry, yet went on to have the exact opposite effect, vastly increasing revenues into that industry.

Revenues increased because *copyright holders* suddenly had an entirely new market for their product, which had hitherto been sitting on a shelf. The system I foresee Cablevision building wouldn’t create a new market. It would redefine an existing market (video on demand) and let them keep the profit for themselves.

I disagreed with almost everything Anonymous wrote, but it was a pleasure having such an eloquent spokesperson for the other side. I was serious when I said he/she needed to get a blog of his/her own.

[Sérgio Carvalho](http://johnaugust.com/archives/2009/cablevision-and-the-infinite-tivo#comment-167356) wonders if we’re just putting off the inevitable:

> You do understand that if personal DVRs are allowed, forbidding Cablevision’s “community disk” is a stopgap measure. It buys about ten to fifteen years. Moore’s law (applied to physical storage) coupled with codec evolution means personal DVRs will reach a virtually unlimited storage capacity at some point in the near future.

There’s a big difference between unlimited storage capacity and unlimited access to all television aired. Even if you had an infinitely big hard drive, you couldn’t simultaneously record every channel; there isn’t an infinitely big cable coming into your house. No matter what the storage capacity, a personal DVR is still limited to recording those things you’re interested in, or think you might ever be interested in.

[Nick](http://johnaugust.com/archives/2009/cablevision-and-the-infinite-tivo#comment-167361) offers a perspective from north of the border.

> In fact, in Canada, where the laws are different (though no less draconian in several ways) many cable companies are already offering a service like this: you can watch any show in an on-demand fashion if it is currently airing, but eventually those shows cycle out of your list of available shows.

The U.K. has a similar system, and it sounds useful. It’s the kind of thing networks and providers can offer jointly, with profit for both. While some WGA’ers disagree with me, I think it’s reasonable to define a window of time in which an episode is considered “new,” and doesn’t require any additional payment. ((To me, the window is a week. Maybe ten days.))

No matter what happens with the Supreme Court case, I think you’re going to see the clash between networks and providers become a much more public brawl in the next few years. Recently, Viacom threatened to pull 19 channels from Time Warner Cable when they couldn’t reach a deal. They played rough, with print ads featuring a crying Dora, and ultimately got the deal done.

If a company like Viacom decided they didn’t want their channels recorded on Cablevision’s DVR service, they could make that part of the deal — or walk. Cable isn’t a monopoly anymore. While Viacom would lose a lot of money, they don’t need one cable company as much as that one company needs them.

But again, the smarter solution is to work together find ways to let consumers watch any show at any time for the right price. Sure: easier said than done. But that’s the only way to ensure sustainability.

Comic book grammar

February 2, 2009 Comics, Formatting

comic bookNate Piekos has a [great piece at Blambot](http://www.blambot.com/grammar.shtml) explaining the grammar and tradition of comic book lettering. It’s worth a look for any screenwriter considering writing for the paneled medium.

> Comic book lettering has some grammatical and aesthetic traditions that are quite unique. What follows is a list that every letterer eventually commits to his/her own mental reference file. The majority of these points are established tradition, sprinkled with modern trends and a bit of my own opinion having lettered professionally for a few years now. The majority of these ideas have been established by Marvel and DC, but opinions vary from editor to editor, even within the same company.

Many of the examples, such as when to use ellipses verus dashes, have parallels in modern screenwriting. But as a former font nerd, I was surprised I never noticed the rule about crossbar I, or the existence of breath marks. They were always there, but when used properly, completely disappear.

(Thanks to [Daring Fireball](http://daringfireball.net) for the link.)

Be like MacGyver

January 31, 2009 Education

On Friday, I was asked to speak at a film school graduation. This is what I said.

. . .

The traditional function of a graduation speaker is to congratulate you on your accomplishment and challenge you to do your best work in the years ahead. So let me do that. Congratulations, you’re done! Now, go out and do your best work in the years ahead!

Now that that’s done, I want to talk for a few minutes about what the hell you’ve gotten yourself into. I mean, a film degree. Now? In this economy? A lot of you have friends and family in the audience, and I know they’re really happy for you. But secretly, they’re thinking, Jesus.

So what I’m going to say is as much for them as it is for you.

We call this “film school,” but really, that’s only for lack of a better term. You don’t really shoot much film. You don’t dip it in chemicals. You rarely touch it. Rather, what you do in a school like this is learn how to tell stories with words, pictures and sound.

And quite luckily, that’s what the world needs. Two examples.

A friend of mine writes for a major newspaper. And when she was done covering the presidential election, her bosses handed her a videocamera and told her that every piece she delivered now had to include a video component for the website. She needed to be able to shoot it, edit it and deliver it.

Another friend writes for a major magazine. In addition to her story assignments, she’s now required to come up with web features, like little Flash slideshows that can be easily monetized. She also finds herself suddenly on-camera, hosting arrivals at movie premieres, and dealing with all the requisite technical stuff.

There’s not a word for the kind of school that teaches you how to do all this. But the word that’s missing is probably a lot like film school. They send you out of here not to be a specialist, a cardiothoracic surgeon, but rather to be a generalist, a media MacGuyver.

You may think you’re going to be a screenwriter, a director or an editor, but the odds are you’ll be all of those things on different projects at different times.

The one thing you won’t be is an amateur. I want you to banish that word, because you need to treat everything you do from the moment you walk out the door as a professional. This is now your job.

That means doing your best work at all times, even when it doesn’t seem to matter. You may feel like you’re not getting graded. You are. It’s just that no one is telling you what score you got.

And let’s talk about your classmates. You probably have some good friends and some people you kind of hope to never see again. While you were in the program here, you had to rely on them. Your professors put you in teams. You got along, you fought, whatever. That doesn’t stop. No one makes a movie by himself. So if by next weekend, you’re not reading one of their scripts, or helping on something they’re shooting, something’s wrong. Trust me that five years from now, the most successful person in this class will be the one who worked the hardest for other people.

My last piece of advice is probably the one most likely to induce insomnia. Every night when you go to bed, ask yourself: What did you do today to get closer to your goals? That’s a hard question to ask. Feel free to beat yourself up, because no one else will anymore. That’s the best and worst thing about graduating — it’s the end of the systematic evaluation of your progress.

You need to stop wondering what you’re going to do, and focus on what you’re going to do next. Starting now. Congratulations, and good luck.

Alaska: The Satchel Boy

January 27, 2009 Directors, News, Television


Alaska: The Satchel Boy from John August on Vimeo.

Thinking about director [Kim Manners](http://johnaugust.com/archives/2009/kim-manners), I wanted to share a scene of his I really loved from the 2003 pilot for Alaska. Kim loved a gunfight, and I felt lucky to watch him put it together.

As a wrap present, Kim gave me Connie’s crayon drawing, nicely framed. It’s hanging in my office, over my TV.

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