40 years worth of TV writing experience and info, yours for the taking.
What’s that? You’ve heard about H’wood’s, erm, “ageism problem?” So although at 40+ you’re feeling at the top of your intellectual writing game, you’re worried that you might not stand a chance. Here’s some genuinely helpful advice:
Yes, this is a plug for Carole Kirschner’s new book, Hollywood Game Plan. But we’re thinking it’s worth reading. And maybe even buying too – even if you’re younger. Honest!
CONNECT WITH CAROLE KIRSCHNER
If you write for the screen you’ve no doubt pondered the High Concept, what the heck it is, and how you can spur your latest creative endeavor into being that High Concept.
Why?
Because high concept by definition appeals to a wide audience and we all want that, right? If not all of the time, then at least some of the time because after all, in appealing to that wide audience the concept must be unique and fascinating. I’d venture to say that means you’re being creative and original. It also means great box-office potential. That’s a key ingredient to spurring a successful screenwriting career. All that’s good!
Hello, and welcome to “What Do You Do Again?” a series of posts profiling different film production roles because many in the web series community don’t come from film school and don’t really know who all makes up a bustling film set. I certainly didn’t; in fact, for the longest time I thought a producer and a director were the same. And to be honest, I still don’t really know what the heck a gaffer is. Apparently it’s not Samwise Gamgee, which comes as a bit of a disappointment.
Every week, I’ll pick one production role to profile, so without further ado:
What does a director do? Lightning round:
Commercials are the point of commercial TV. I realize that, for those of you who do only streaming services, this concept may seem a bit foreign, but your monthly fees take the place of paid commercials, assuming the streaming service isn’t double-dipping.
Advertisers buy time to pitch products and/or services and/or whatever and the amount that the channel can charge is based on how many people are watching and which demographic groups those people represent. That’s why an ad during the Superbowl costs so much.
You probably knew all that.
Step right up, ladies and gents, for a good, long look into a showrunner’s mind. And you thought you were obsessed?
Carlton Cuse knows how to end a TV show. Before co-writing the last episode of Guillermo Del Toro and Chuck Hogan’s apocalyptic vampire story, “The Strain,” the showrunner and executive producer had already written four series finales. Four!
In 2000, Cuse penned “Final Conflict” Part 1 and Part 2 for the CBS action drama “Martial Law.” A year later, he wrote the ending to his breakthrough broadcast series, “Nash Bridges.” Then came the landmark finale of “Lost” in 2010 and, earlier this year, he dimmed the vacancy sign at the “Bates Motel” in a beautiful closing chapter.