Hollywood Showrunner Gloria CalderÓN Kellett
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{FREE} Showrunners : How to Run a Hit TV Show Ebook, Epub
SHOWRUNNERS : HOW TO RUN A HIT TV SHOW PDF, EPUB, EBOOK Tara Bennett | 240 pages | 02 Sep 2014 | Titan Books Ltd | 9781783293575 | English | London, United Kingdom Showrunners : How to Run a Hit TV Show PDF Book Good insight, but essentially just a transcript of the documentary of the same name. Open Preview See a Problem? The doorbell dings. TV ratings are a real measure of a showrunner's success. The film intends to show audiences the huge amount of work that goes into making sure their favorite TV series airs on time as well as the many challenges that showrunners have to overcome to make sure a new series makes it onto the schedules at all! In the past few years, the recognition of the showrunner has grown exponentially. Other Septembers, Many Americas. Find books coming soon in But taking the culmination of a half-dozen answers of a few lines each to a question, still gives Showrunners by Tara Bennett is a companion books to the documentary "Showrunners: The Art of Running a TV Show. If you are at all interested in becoming a writer for TV or for film, this book is for you. It's a great read and adaptation of of the documentary. Blood Brothers. Plus you can tell they both really CARE. Very interesting insight of showrunning and the tv show industry. I Told You So. Find lots more television-related content on the next page. I'm excited to watch the doc that goes along with it. These people are responsible for creating, writing and overseeing every element of production on one of the United State's biggest exports - television drama and comedy series. -
As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Canadian Canada $7 Spring 2020 Vol.22, No.2 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SPRING 2020 VOL.22, NO.2 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA The Law & Order Issue The Detectives: True Crime Canadian-Style Peter Mitchell on Murdoch’s 200th ep Floyd Kane Delves into class, race & gender in legal PM40011669 drama Diggstown Help Producers Find and Hire You Update your Member Directory profile. It’s easy. Login at www.wgc.ca to get started. Questions? Contact Terry Mark ([email protected]) Member Directory Ad.indd 1 3/6/19 11:25 AM CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 22 No. 2 Spring 2020 Contents ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Cover Publisher Maureen Parker Diggstown Raises Kane To New Heights 6 Editor Tom Villemaire [email protected] Creator and showrunner Floyd Kane tackles the intersection of class, race, gender and the Canadian legal system as the Director of Communications groundbreaking CBC drama heads into its second season Lana Castleman By Li Robbins Editorial Advisory Board Michael Amo Michael MacLennan Features Susin Nielsen The Detectives: True Crime Canadian-Style 12 Simon Racioppa Rachel Langer With a solid background investigating and writing about true President Dennis Heaton (Pacific) crime, showrunner Petro Duszara and his team tell us why this Councillors series is resonating with viewers and lawmakers alike. Michael Amo (Atlantic) By Matthew Hays Marsha Greene (Central) Alex Levine (Central) Anne-Marie Perrotta (Quebec) Murdoch Mysteries’ Major Milestone 16 Lienne Sawatsky (Central) Andrew Wreggitt (Western) Showrunner Peter Mitchell reflects on the successful marriage Design Studio Ours of writing and crew that has made Murdoch Mysteries an international hit, fuelling 200+ eps. -
Between Film and Television. an Interview with Lodge Kerrigan
INTERVIEW · Cinema Comparat/ive Cinema · Vol. III · no. 7 · 2015 · 28-34 Between film and television. An interview with Lodge Kerrigan Gerard Casau and Manuel Garin After directing key films of contemporary independent cinema, episode). But usually it’s the director who changes; they bring like Clean, Shaven (1993), Claire Dolan (1998) and Keane in a guest director. There are a number of theories regarding (2004), Lodge Kerrigan has directed a number of television why that’s the case, but usually what happens in the traditional episodes for shows such as The Killing (Veena Sud, AMC- financing model is that the network will approve or order a Netflix, 2011-2014), Homeland (Howard Gordon and Alex pilot, and then a pilot is made, they bring in the director to do Gansa, Showtime, 2011-) or The Americans (Joe Weisberg, FX, the pilot. Later the network will approve it or not, and then they 2013-). A month before the release of his latest project, The have to go and write scripts, generate scripts, and in this time Girlfriend Experience (Lodge Kerrigan and Amy Seimetz, Starz, the directors has already left, moved on, they have no continuity 2016), an eleven-episode television series produced by Steven of vision from the director. And I think now what’s beginning Soderbergh, we talked with him about the differences between to change, and what Soderbergh did on The Knick(Jack Amiel working for film and working for television, both in terms of and Michael Begler, Cinemax, 2014-), and the first season of narrative and mise-en-scène. -
2010 Annual Report
2010 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Media Council Board of Governors ..............................................................................................................12 Public Programs Media As Community Events ......................................................................................................................14 INSIDEMEDIA Events .................................................................................................................................14 PALEYDOCFEST ......................................................................................................................................20 PALEYFEST: Fall TV Preview Parties ...........................................................................................................21 PALEYFEST: William S. Paley Television Festival ......................................................................................... 22 Robert M. -
Newsletter-SPRING 2019
Newsletter-SPRING 2019 Since the mid-1980's this organization has been dedicated to honoring Rod Serling—one of the most talented and pro- lific writers in American television. This newsletter highlights RSMF activities, as well as the continuing interest in Rod Serling in the press... on bookshelves... DVDs and the internet. SERLING FEST ! Following two successful public events in 2017 & 2018 — the RSMF is planning another MAJOR celebration in October 2019! SERLING FEST 2018 Attendees in Binghamton, NY (July 5-7) experienced everything ROD SER- LING... from a “Rod Serling Day” Press Conference... Presentations by guest experts on Serling and his work... big- screen presentations (PLANET OF THE APES and TWILIGHT ZONE: THE MOV- IE)... a live radio production of “The Time Element”... guest authors & book signings... a reading by Anne Serling... a Rod Serling Trivia Challenge Game... Raffle Prizes... The Twilight Zone Es- cape Room, and MUCH more. Check out the gallery of PHOTOS on page 7 of this Newsletter! INSIDE THIS ISSUE: Narrate Your Own Twilight Zone................. 2 RSMF Member’s New Serling Book.......... 2 Serling’s First Rejection Letter................... 4 Rod Serling Film Festival............................. 4 From the RSMF ARCHIVES.......................... 4 2018 Rod Serling Award............................... 5 Dimension of Re-imagination...................... 6 Live Radio Performance-2018 Fest............. 7 RSMF Profile: VP Kate Murray..................... 8 Narrate Your Own Twilight Zone: Behind the Scenes By Steve Schlich You’ve probably heard the phrase “Ten year overnight success”—meaning something good that seems to come out of nowhere, but in fact was years in the making. The Narrate Your Own Twilight Zone contest is that. -
From the Workshop of JJ Abrams
CHAPTER SIX From the Workshop of J. J. Abrams: Bad Robot, Networked Collaboration, and Promotional Authorship Leora Hadas University of Nottingham Whether ‘New golden age’ (Leopold, 2013) or ‘Peak TV’ (Paskin, 2015) – whatever glowing accolades cultural commentators now choose to use, all describe television in the United States as going from strength to strength. For a sustained number of years now, critics and popular opinion alike has celebrated a qualitative transformation in the output of an industry that has struggled for years to shed the image of a ‘vast wasteland’ (Minow, 1961). In critical and academic circles alike, credit for these exciting developments and the transformation of US television has tended to focus on a specific feature of the contemporary industry: the figure of the showrunner, television’s new auteur (Martin, 2013). The emergence of the showrunner-as-auteur has provided US television with a crucial source of cultural legitimacy, one traceable back to Bourdieu’s concept of the ‘“charisma” ideology’ (1980, p. 262) at work in judgements of artistic value. Shyon Baumann (2007) has analysed how film found legitimation as How to cite this book chapter: Hadas, L. 2017. From the Workshop of J. J. Abrams: Bad Robot, Networked Collaboration, and Promotional Authorship. In: Graham, J. and Gandini, A. (eds.). Collaborative Production in the Creative Industries. Pp. 87–103. London: University of Westminster Press. DOI: https://doi.org/10.16997/book4.f. License: CC-BY- NC-ND 4.0 88 Collaborative Production in the Creative Industries an art form in the 1960s through the celebration of autonomous film artists. -
Writers Guild of America, East
Contract Bulletin 2017 Writers: Not Keeping Up During this “peak TV” era, when more television is being produced than ever, and when everyone who works in television is finding a sellers’ market for their skills, why is the average TV writer seeing their income go down? There are five critical parts to the answer: 1. The number of episodes, and therefore, episode fees are half the traditional number on many series. 2. These fewer episode fees are being amortized across more than two weeks per episode. 3. Writers are held exclusive and under option even when not working on these short season series. 4. Residuals are too low in the emerging rerun markets. 5. Script fees remain unequal to the network rates for the growing areas of the industry. We will look at each of these, in turn. First, Peak TV is great creatively. The short season—10 to 13 episodes—that has come to predominate offers the luxury of tight story arcs. But, with the per-episode payment structure for TV writers, it pays for only half of a traditional full season, even though it usually takes the writer off the market for a full year. Count of Series By Number of Episodes Number of Episodes 2013-14 2015-16 Change 2 to 13 165 205 40 14+ 97 96 -1 Total 262 301 39 Percent of Total Number of Episodes 2013-14 2015-16 Change 2 to 13 63% 68% 5% 14+ 37% 32% -5% Total 100% 100% 0% To make this underpayment worse, these short season series take advantage of the looser calendar to do more writing before production starts, take more days to shoot each episode, and spend more time in post. -
JOHN M. VALERIO, ACE Editor
JOHN M. VALERIO, ACE Editor TELEVISION DIRECTORS PRODUCERS/STUDIOS JACK RYAN Carlton Cuse, Ra’uf Glasgow, Carlton Cuse Pilot & Seasons 1 & 2 Morten Tyldum, Skydance Productions / Platinum Dunes Patricia Riggen, Paramount TV / Amazon Dan Sackheim SHAMELESS Mimi Leder, Terri Murphy, Chris Chulack, Michael Hissrich Seasons 4, 6 & 7 David Nutter, John Wells / Warner Bros. / Showtime Mark Mylod, & Various Directors THE STRAIN Various Directors Ra’uf Glasgow, Guillermo del Toro Seasons 2 – 3 Carlton Cuse / FX BANSHEE Various Directors Alan Ball, Allen Marshall Palmer, Greg Yaitanes Seasons 2 – 4 Jonathan Tropper / HBO / Cinemax BACKSTROM Pilot Mark Mylod Steve Beers, Hart Hanson, Josh Levy / Fox REVENGE Season 2 Various Directors Mike Kelley, Ted Babcock, Melissa Loy / ABC ENLIGHTENED Todd Haynes, Mike White, Laura Dern, Dody Dorn Season 2 Mike White, Gianna Smart / HBO Nicole Holofcener, & Various Directors PARKS AND RECREATION Various Directors Greg Daniels, Michael Schur, Morgan Sackett Season 4 Dean Holland / NBC FREE AGENTS Todd Holland Kenton Allen, Karey Burke, John Enbom Pilot Jimmy Simons / NBC MEN OF A CERTAIN AGE Season 2 Various Directors Victor Hsu, Ray Romano, Mike Royce / TNT SINGLE LADIES Tamra Davis Shakim Compere, Queen Latifah 2 Hour Pilot Stacy A. Littlejohn, Shelby Stone / VH-1 MOST LIKELY TO SUCCEED Michael Patrick Jann David Nevins, David Walpert Pilot Brian Grazer / Fox SONS OF TUCSON Todd Holland, Matthew Carlson, Todd Holland Pilot & Series Reggie Hudlin, Harvey Myman, Justin Berfield Fred Savage Jason Felts/ Fox TRACEY -
WRITING for EPISODIC TV from Freelance to Showrunner
WRITING FOR EPISODIC TV From Freelance to Showrunner Written by: Al Jean Brad Kern Jeff Melvoin Pamela Pettler Dawn Prestwich Pam Veasey John Wirth Nicole Yorkin Additional Contributions by: Henry Bromell, Mitch Burgess, Carlton Cuse, Robin Green, Barbara Hall, Al Jean, Amy Lippman, Dan O’Shannon, Phil Rosenthal, Joel Surnow, John Wells, Lydia Woodward Edited by: John Wirth Jeff Melvoin i Introduction: Writing for Episodic Television – A User’s Guide In the not so distant past, episodic television writers worked their way up through the ranks, slowly in most cases, learning the ropes from their more-experienced colleagues. Those days are gone, and while their passing has ushered in a new age of unprecedented mobility and power for television writers, the transition has also spelled the end of both a traditional means of education and a certain culture in which that education was transmitted. The purpose of this booklet is twofold: first, to convey some of the culture of working on staff by providing informal job descrip- tions, a sense of general expectations, and practical working tips; second, to render relevant WGA rules into reader-friendly lan- guage for staff writers and executive producers. The material is organized into four chapters by job level: FREE- LANCER, STAFF WRITER/STORY EDITOR, WRITER-PRODUCER, EXECUTIVE PRODUCER. For our purposes, executive producer and showrunner are used interchangeably, although this is not always the case. Various appendices follow, including pertinent sections of the WGA Minimum Basic Agreement (MBA). As this is a booklet, not a book, it does not make many distinc- tions among the different genres found in episodic television (half- hour, animation, primetime, cable, first-run syndication, and so forth). -
The WGC Showrunner Code Found Its Origin in the Largest Gathering Ever of Canada’S Top Showrunners
SThheowWrGuC nner Code • From WGC members to WGC members • Insights into the craft and business of showrunning in Canada WGC SHOWRUNNER CODE The WGC Showrunner Code found its origin in the largest gathering ever of Canada’s top showrunners. In 2009, the WGC invited more than thirty member showrunners – those working on one-hour dramas, half-hour dramas and half-hour comedies, for kids and adults, in both extended run and limited run – to share their experiences of and insights into the craft and business behind the role of the showrunner. A common thread emerged: to create a good show, a production needs the formative hand of a practiced showrunner, and that writer needs to see the process through from story- breaking in the writers’ room to fine cut in the edit suite. The showrunner’s world is fraught with challenges – not the least of which is the resistance some producers bring to even acknowledging that “showrunner” is a position that exists, let alone one that should be occupied first and foremost by a writer. Writers and agents came to the WGC seeking some assistance in establishing a standard set of terms for showrunners to negotiate. The WGC Showrunner Code establishes guidelines for individual negotiations. (Note: The WGC Showrunner Code was updated in January 2013 to reflect the showrunners’ increasing involvement in the creation of convergent digital content – see page 11.) The WGC Showrunner Code sets out the conditions under which the showrunner is best positioned to ensure he or she can realize their vision and deliver the best show possible.