Having known quite a few Southern women in my time, I found myself attracted to this series as soon as I read the title. And guess what? It turned out to be amazingly well done. Very well written. Very well acted. Well shot.
In other words, no shit here, amigos.
The Good and the Bad:
As a loyal member of the Writers Guild of America, West, I’ve never let myself get too attached to Quentin Tarantino because for all his brilliance as a writer and director (and I really do think he’s brilliant) he’s also a great danger to all the professional TV and film writers out doing their thing these days.
He’s a danger because he refuses to join the Guild. And, you know, if enough brilliant writers never join or secede from the WGA it’s going to hurt all TV and film writers where we live: In the departments of health care benefits and that very scary “P” word – pensions. It’s a studio contribution problem. If studios hire more and more non-members of the Guild to do their things, employer funds that are the basis of our benefits will dwindle, and you knmow where they can lead.
Here we go with another question about what goes on once you’re in the biz. Hang on!
From DP:
Having read your book, Television Writing from the Inside Out, a few times, I know you mention that when you first started, your outlines left much to be desired and that it wasn’t until you’d been working in the Industry for several years that you really cracked the secret of plot construction.
NOTE FROM LB: Just emailed the following to all those on the TVWriter™ eMail list. But the info really is for everybody:
Gang,
Because I know you’re all dying to see where we stand:
by Larry BrodyIf you think the FANTASTIC FOUR reboot that opened last weekend sucked, I won’t argue. But I will say that you shoulda seen this one.
I mean it. You really should see this one because as messed up as it is, this never-released Roger Corman produced cheapo from 1994 still has something that none of the later movie attempts, including the most recent, have ever had.
Heart.