Stylus is up first.
My question: years ago, I was watching Frasier via a mirror (in the days before smartphones, it was a way to see the TV while having a bath), and I noticed how odd it was to have everything flipped: the front door on the right of the screen etc. Thinking on it, I can't remember a multi-camera sitcom where the main 'point of entry' wasn't on the left side. Is this deliberate design, so the joke 'flows' from left to right, the same way we read? Are there any other common set designs that you would expect to use as a writer?
Thanks,
There were a lot of shows where the entrance was on the right. ALL IN THE FAMILY, Mary’s first apartment on THE MARY TYLER MOORE SHOW (along with the WJM Newsroom), Penny’s apartment on BIG BANG THEORY, Jerry’s apartment on SEINFELD, Ray's house on EVERYBODY LOVES RAYMOND, Grace's apartment on WILL & GRACE, the JEFFERSONS' apartment, etc. To my knowledge there’s not a conscious decision to place the entrance on the left.
Sometimes it has to do more with the way the stage is structured and which side is easier to get to the dressing rooms. I have no idea whether that’s remotely true but it could be, right?
cd1515 asks:
How far in advance do writers plan story arcs for smaller characters (ie, non-stars)?
For example, would you introduce someone’s father in season 2 because you plan to give him cancer or something in season 3?
Or do you not even know what you’re gonna do with him when you introduce him?
More the latter. The truth is we only bring back guest-star characters (like a regular’s “father”) if he really scores.
You sure don’t want to get locked into anything set for the future. Unless you pay the actor to keep a hold on him he is free to seek other work. So when you come back to him a season later he may be unavailable, working on something else.
THE GOOD WIFE had this problem all the time. They created a rich stable of guest-star characters. The good news is they were all terrific actors. The bad news was they were all terrific actors. Numerous times they’d check on an actor’s availability for a cool storyline they’d developed only to learn he was in Rangoon filming a mini-series.
Longtime reader of the blog, Wendy M. Grossman has a FQ.
It's been reported that Jill Soloway and Amazon Studios have been hit with fines for not crediting directors when their material ended up in I LOVE DICK episodes other than the one they were credited for. The story is here:
I understand the points about credit and compensation, and even the directors' complaints that Soloway (apparently) gave notes directly to cast.
But it's an interesting situation because Soloway's shows seem, more than usually for a TV series, like lengthy movies. So which needs to change: Soloway or the rules?
Boy, that’s an easy one. Soloway needs to change. I’ve seen this before. A show receives some recognition and suddenly the creator believes he or she is God. Union rules don’t apply to them. They’re special. They’re creating brilliance.
Meanwhile, a recent study by the Katz Television Group found that only 2% of Americans have ever seen a single episode of TRANSPARENT – even with all the hype. So she’s like the power-hungry dictator of a country the size of Lichtenstein.
And finally, from Theo:
Ken here's an article about how writers are working overtime because of one sleazebag.
Friday Question: Will writers, cast and crew get paid extra or will some other compensation be paid to them because of this one scum. Can they sue him or the network for shutting down the show/their livelihood?
My guess is no. The writers are indeed working like mad to find a new direction and salvage the season, but the sad fact is there is a lot of collateral damage to the Kevin Spacey debacle. On the one hand you could say that it was because of Kevin Spacey that all of these people have jobs on the show in the first place because without him there was no show originally. But there’s no question his behavior has caused a lot of heartache for a lot of people who have worked very hard on his behalf.
And unfortunately, collateral damage of a fact of life in Hollywood because jobs are so transient. An industry strike, a quick cancellation, a new studio regime, an actor getting injured or sick, production moved to Vancouver to save money – all of these can cause financial hardship for lots of workers.
What’s your Friday Question? And have a safe holiday weekend.
from By Ken Levine http://ift.tt/2mYHJrv
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