|
|
Post by Mo Buck Writers Association on Mar 3, 2019 12:31:09 GMT -7
|
|
|
|
Post by Chad Taylor on Mar 3, 2019 13:10:32 GMT -7
Exciting, indeed! And welcome back, Mo!
One question for now: Can we adapt/re-purpose our existing LRF properties into TV shows? Something like Fargo comes to mind, where it's not directly tied to the original film but is a spiritual successor and uses the name. For example, say I wanted to re-tool The Squared Circle or Missoula into longer-running episodic series, would that be possible?
|
|
|
|
Post by Mo Buck Writers Association on Mar 3, 2019 13:13:05 GMT -7
Yes, that would be entirely possible. That's a great idea, btw
|
|
|
|
Post by Admin on Mar 3, 2019 13:59:43 GMT -7
I put it in on the survey, but I figured I'd say it here as well. To avoid getting too complicated I think that shows should only have a listed director for the pilot episode since they are the ones who develop the visual look of the series. The pilot director is then usually credited as an executive producer throughout the series, so that could remain to give the audience a reminder of the look of the show each time. Just a thought. I feel like it would be huge hassle to pick a director for every episode, especially since well-known directors usually only do pilots anyways.
|
|
|
|
Post by H.G. Hansen on Mar 3, 2019 14:12:19 GMT -7
I put it in on the survey, but I figured I'd say it here as well. To avoid getting too complicated I think that shows should only have a listed director for the pilot episode since they are the ones who develop the visual look of the series. The pilot director is then usually credited as an executive producer throughout the series, so that could remain to give the audience a reminder of the look of the show each time. Just a thought. I feel like it would be huge hassle to pick a director for every episode, especially since well-known directors usually only do pilots anyways. I agree there should be a director that way but there should be two or three extra directors in case because that also how shows work too. |
|
|
|
Post by Admin on Mar 3, 2019 14:20:39 GMT -7
I put it in on the survey, but I figured I'd say it here as well. To avoid getting too complicated I think that shows should only have a listed director for the pilot episode since they are the ones who develop the visual look of the series. The pilot director is then usually credited as an executive producer throughout the series, so that could remain to give the audience a reminder of the look of the show each time. Just a thought. I feel like it would be huge hassle to pick a director for every episode, especially since well-known directors usually only do pilots anyways. I agree there should be a director that way but there should be two or three extra directors in case because that also how shows work too. Generally speaking, regular series directors are not someone audiences are going to be familiar with and their job is to match the look the pilot director already established, so it would be pretty redundant to have to come up with some TV directors when they're just going to be copying the look already put into place by the director of the pilot. |
|
|
|
Post by H.G. Hansen on Mar 3, 2019 14:21:25 GMT -7
But isnt that what they do tho
|
|
|
|
Post by Admin on Mar 3, 2019 14:25:52 GMT -7
I feel like people would keep trying to hire film directors for mid-season episodes - which is not something that really happens. They hire guys who generally just specifically work in TV that general audiences wouldn't even know.
|
|
|
|
Post by Mo Buck Writers Association on Mar 3, 2019 14:26:01 GMT -7
Some early feedback from the survey results. Script lengthRight now, 1500 is in the lead, with 2000 in second place and a sum of all the différents forms of 3000 we received in third. I get why you want to write more, but here's why we simply can't do 3000 words (and why we didn't include it in the original survey) 3,000 words per episode x 10 episodes * 12 shows = 360 000 words It would make an average season 30 000 words, which is completely insane. I think you'd be able to tell a complete story with a 15 000 words limit (1500 x 10). As much as we like it here, it's not a full-time job and this is just too much work. The current word limit for a movie is 4000 and an average movie is about two hours, so let's cut it in half and have a limit of 2000 per episodes. Based on feedback, yes, weekends will be allowed to be longer, but 4000 still seems a bit long to me, but we'll see if your show is scheduled on a weekend. Schedule
2/3 of the answers have favored keeping it at 12 shows. We'll keep it that way and see in subsequent seasons if we want to increase. Limit per writer
75 % are in favor of keeping the limit. We'll keep it. Critics
First episode - midseason - end of season is currently the frontrunner, with end of season only and every episode trailing. It was our favorite option from the get-go, so we'll probably go with that. Staff and Ratings Everyone but one voted for the ratings and although you want the showrunner, EP and directors, we'll keep it simple and here's what we want to do. As Admin suggested, directors will be reserved to the pilot and this director will remain on board as executive producer and will act as showrunner, so he'll be credited that way. The EP are absent from the movie version, so it's understandable they will be left out, but aren't you the executive producer, deciding of everything? One thing we haven't thought of, your TV shows will have a budget Awards ShowFavorite so far: The Golden Views Awards Golden TV Reels TV Screen Awards
Hopefully you like the decisions, but these aren't set in stone. Argue below  |
|
|
|
Post by H.G. Hansen on Mar 3, 2019 14:30:32 GMT -7
I think some shows like the ones on the weekends need more words. An you can make them where they're only 8-10 episodes. I have at show that's more eof a miniseries and its pikot needs to be more than 3000 words. The other episodes will not be that long
|
|
|
|
Post by Mo Buck Writers Association on Mar 3, 2019 14:43:57 GMT -7
I know that by starting this I exposed myself to more messages and an increased activity on the board, but I'll have to decline your submissions if I think you cross a boundary.
I should have listened to myself and announce this after Letter to Myself comes out. I just got out of one of the darkest period of my life and I can't wait for you to find out what I went through so you think a little bit more about the person on the side.
You may think that I'm acting like a kid, but I'm dead serious. I dont want stubborn and antipathic people in my life.
|
|
|
|
Post by Admin on Mar 3, 2019 15:03:08 GMT -7
By the way, welcome back Mo!
Everybody, please be respectful of the rules being set in place for this new addition to the LRF brand. It's going to be a lot of work for the MBWA, just as LRF is for me, so let's keep things pleasant and most of all, let's keep everything fun. I don't want to find out that anyone is unnecessarily hounding or bugging Mo about these matters. The rules are going to be what is decided, and if you want to participate, please respect those rules rather than trying to get around them. Thank you, everyone. And thank you, Mo and the rest of the MBWA gang.
|
|
|
|
Post by alextheman on Mar 3, 2019 16:08:06 GMT -7
I disagree completely on the director point. TV has gotten to a point where it’s becone more Director driven like Togetherness and The Knick and others.
|
|
|
|
Post by Mo Buck Writers Association on Mar 3, 2019 16:20:10 GMT -7
I'm going to try to explain it one more time. You pick a director for your pilot and that will set the tone for your series, like Soderbergh for the Knick, that you mentioned. Picking Soderbergh for your pilot director would mean that the show would follow his style. Jay and Mark Duplass write and act in Togetherness, hence why they direct it. I don't see the point in picking directors for your tv shows, as Admin said, except the big names, general public don't know them. What if I tell you Peter Medak, Charles Haid, Bronwen Hughes, Scott Winant. They all worked on Breaking Bad, probably the best show of all time imo, but nobody knows them, but if I tell you Vince Gilligan, chances are that you know him and he's the one behind the show, so this is why you choose one from the start and stick with.
Hope it was clear.
|
|
|
|
Post by Admin on Mar 3, 2019 16:42:47 GMT -7
alextheman, That back and forth is exactly what Mo and myself were talking about. If a guideline has been set, it needs to be followed - not argued.
|
|
