Not So Small Screen: TV Stands On Its Own

by

tvTelevision was once the newest medium on the block. Decades after other forms of entertainment like radio and film, TV gained its prominence in the mid 20th Century, as alternative and oft-times complement to radio. Soon after, as sets became more affordable and more technologically advanced, one could find a television, and people in front of it, in nearly every home in America. Responding to such demand and popularity, studios and networks began producing programming to match the promise of entertainment for these talking boxes, expanding the platform from its original few hours of content to hundreds of channels and endless media, in our present time.

Since then, television as the sort of new and personal form of entertainment, became a respected institution in its own right, but one noticeably separate from the glamour of film. In fact, television was seen as the stepping stone for film, a sort of audition in which actors would prove their worth and transition to film as a result of their merit and/or popularity. Similarly, those who had achieved success on the silver screen and then transitioned to television were perceived as struggling and/or unsuccessful. Movie stars simply did not do television–the media were separate and exclusive, with the former considered better than the the latter. That is not so much the case anymore.

Today, television is holding its own, carving a space that will be remembered with awe and excitement. With more daring, creative scripts, large budgets, diverse talents, highly skilled directors and new ways of presenting (such as Netflix and Amazon Prime) television is in vogue, with some arguing that its relevance has eclipsed that of the traditional movies we pay top dollar to see in theaters. While I think the theory is too far of a reach, I think those who postulate such mean that television is in no way inferior to film–the small screen isn’t so small anymore, particularly in our flatter, increasingly global world, where anything and everything can easily be accessed online.

Kyle Buchanan writing for Vulture had this to a couple years ago about the topic: “Why would you worry about a film career when TV can now offer greater acclaim and bigger audiences?” It certainly seems that way for some of the industry’s best talents. Consider Orange Is The New Black’s Uzo Aduba, who plays the character Suzanne “Crazy Eyes” Warren in the award-winning Netflix series. I doubt anyone would argue that she has not become a massive star, alongside the likes of some of the biggest names one can recall from the big screen, despite having never acted in a film.

Similarly, a gamut of stars have turned to television from movies to find their stars shine even brighter, rather being dimmed. Take Oscar winner Matthew McConaughey for example, whom Kyle also mentions in the article, who transitioned to a role of even greater acclaim in the HBO series, True Detective, which he also produced. Or Oscar nominated star, Viola Davis, whom I mentioned last month but at the height of her career, following a nomination for The Help, made a break into television and began seeing more success than anytime in her career.

Of course, these two stars can and have returned to film at any time, just like Uzo Aduba will be making her debut this coming year, but it’s not a necessity, it’s an option. Movies are no longer the culmination of an acting career but another texture, rather another shade of the same color, for many of today’s stars. And that’s a good thing.

10 Things To Consider Before Submitting A Script

by

Gino scala's favorite picture of writers at work

1. Open strong
Start with a bang. Decision makers read tons of scripts daily (and nightly) make sure yours gives them a reason to continue; time is literally money in Hollywood. While tradition has suggested it’s important to hook the reader in the first 10 pages, experts have suggested that scriptwriters cut that time in half to make it interesting. To do that, create conflict quickly and make it interesting. You only get one chance.

2. Keep description short and sweet
As a writer, you know how every detail about the story and how it should be carried. Thus, it’s hard not to exact every bit of intricate detail to put into the script to ensure that reader sees what you see. Boil the info down to the basics and allow the reader to fill in the blanks.

3. Mix it up
Yes, it’s been nearly a century since the silent movie; no one’s suggesting that. However, it’s very important to keep a balance between dialogue and action. Consider what you would want to see on the screen. A show or movie with people just talking at each would be boring to viewers. The same goes for the readers of your script.

4. Think outside the box
If you’ve seen it before, chances are everyone’s seen it before and nobody wants to see it again. Creating an entirely original piece is difficult but rewarding if you’re looking to make progress. Start with the absurd and boil it down to something worthwhile once you’ve allowed your creativity to flow. The same old, same old is just that.

5. Employ the Goldilocks Method
No script should be too short or too lengthy. Give yourself enough space to tell a good story, in full, and nothing more. Flesh out any details that are necessary to the plot or character; likewise, remove any extraneous moments and ideas. Make it “just right”.

6. Proofread, Proofread, Proofread Again
Any grammatical errors, misspellings or improper punctuation is the wrong first impression and could automatically become trashed, even if the content is good. Proofread everything, but not just once. Let the script sit for a while then go back with a fresh set of eyes, or even find a trusted friend or partner that can take a look at it for you.

7. Less is more
As a creative, it’s natural to have so many ideas as well as urges to get them out. When it comes to characters. Less is more. Spend your energy developing individual characters instead introducing 20 different ones. Readers won’t always be able to make the connections between new characters and those previously introduced. A confused reader is an uninterested reader, and as stated before, the goal is to make everything as clear as possible.

8. Make it interesting
Another way to keep things interesting but simple is including conflict in your storyline. As often as possible, create a need, a desire, or an actual conflict/fight for your characters.

9. Pace yourself
One thing to remember however, is to not use all of your good conflicts in one place. It’s important to make sure that every part of your story, from beginning to middle to end is interesting and relevant. One of the biggest problems for screenwriters is inability to maintain interest throughout the entire script. Remember, balance is the most important thing for this work.

10. Finish well
The way the story ends is just as important as the beginning. Some even suggest writing the ending before the beginning, that way you have a map for how to get there. Otherwise, you’ve done everything else right from above, then you get to the end, and you’ve lost your way, or don’t resolve the conflict. Always have a good, clear goal. Think of it as an opportunity to seal the deal. If someone’s made it to the end of your script, they’re interested. Make it worth their while.

Three Survival Tips For Entering The Entertainment Industry

by

Image of Filming CameraThe business and politics of film industry can be a murky, intimidating world to enter, even for the most passionate and committed artists and potential filmmakers. As in most professional realms, mentorship is absolutely crucial in regards to finding your footing and making the most of every opportunity you are lucky enough to enjoy. The Script Mentor exists to provide support to aspiring and rising screenwriters for just this reason. However, some broader knowledge is widely available online that applies to more than just writers, but to people interesting in filling just about every role in the entertainment industry. Barbara Freedman Doyle, who – in addition to establishing herself as a successful coordinator and production supervisor in television and film – has served in leadership roles of various film departments at the University level, curated a list of things you need to know to make it in the film industry. Although Geno Scala and his presence in the world of arts and entertainment have been most heavily centered around scriptwriting, these general insights serve him (and everyone) well as gentle reminders about the reality of breaking into the film industry and finding success therein.

Reputation Is Everything

In every business where people are wheeling and dealing with any level of frequency, your reputation will make or break you. This is especially true in a relatively close-knit, small, and exclusive industry like film and television. It is an intimate enough industry that many (if not most) negotiating happens verbally. Any established presence can contact just about any other party with just a phone call. Everyone, especially the kinds of people who make the most important sorts of decisions behind the camera, talk all of the time. What all this constant communications means is that there are no secrets. It is one thing for information like your typical job title and pay rate to be public knowledge. In the entertainment business, however, people can and will discuss so much more. This can include how hard you work, if you are honest, and how you treat people.

Therefore, if you nurture a reputation for yourself as reliable, capable, and an overall positive workplace presence, more and more doors will swing open. Again, this may hold true in most industries, but in entertainment this reality is magnified and multiplied many times over. On the other hand, if someone has a negative experience working with you, then your reputation as difficult, high-strung, irrational, or just plain unpleasant will intensify your troubles finding work to an extreme extent relative to what you might experience working in a different field. It is important to realize that this is your employment and nobody is interesting in cutting you slack because you had a long day or were simply in a bad mood for whatever reason. Without a proven track record, your talent simply does not count for much. You have to deliver, and be prepared to follow through and execute every single time. It just takes one slip-up or one bad experience with one person to potentially sink your entire reputation (and career). Rationalizations for why you came up short once or twice just do not count and extenuating circumstances do not matter. Recognize that every decision you make and action you take is feeding into your reputation and take ownership of how people will describe you when, eventually, your name comes up on future projects.

History Trumps Friendship Every Time

An incredibly dangerous combination is for a word to be both overused and misused, which is exactly the case when it comes to the term, “relationship.” That is especially true in film and television. One of the most common anecdotes you will hear is that some person in a position of authority gave a lesser known individual a shot because they had “a relationship.” Another frequent scenario people in the entertainment business often quote is two people who always work together because they “have a relationship.” Sometimes producers won’t interfere or otherwise decline to argue with a director’s first choice for talent (behind or in front of the camera) because, although the producer might have a different preference, the director and the person in question “have a relationship.”

When it comes to the working world, relationships have little to absolutely nothing to do with friendship. If you are serious about breaking into film or television in any capacity, you need to be able to sever and separate your understanding of relationships in your personal sphere and what they are in the professional one. Working relationships are all about history. In the entertainment industry, turnover is incredibly high. Everyone is ambitious and has a dream, yet people who are here today will undoubtedly be gone tomorrow. This extreme degree of volatility is very deeply rooted into the very soul of the industry. As such, history – having worked or even just studied together in the past – can be a protection against the certainty that every production or project will be battling uncertainty at some point in the future. Shared goals, loyalty, and the all-around comfort of a “known quantity,” so to speak, can be an enormous source of strength in what is a very challenging and demanding line of work. Successful working relationships can sometimes involved a genuine friendship, but they are built and exist for so much more. Frankly, people will almost always choose working with someone who was unpleasant in a partnership that has previously produced success over someone who they sincerely like but with whom they have no working history at all.

The Decision Makers Play The Odds

Think about the view from the top of the proverbial food chain. The individuals who call the shots in film and television very much interact with projects that come across their desks as educated gamblers would. There is certainly a large amount of anxiety involved, given the amount of financial resource which can be on the line. Major decisions are nearly never spontaneous. In truth, even the smallest of details is often a carefully considered choice. This extends from the inception (which script they choose and who they choose to re-work any aspect of it) through production (every single tiny aspect of the filming and editing process) to its conclusion (marketing can be the difference between a box office bomb and blockbuster hit). As someone looking to break into the industry, this means everything you do needs to be crafted towards the purpose of minimizing risk. When considering who to hire, you want the person making the call to look at you and see that not only are you more talented, positive, and passionate – the most important thing you can be as a candidate is the safest choice. If these movers and shakers in the entertainment business are looking to stack the deck in their favor so that the project at hand is most likely to be a success, be sure you are doing everything in your party to make yourself an obvious asset. This harkens back to history as the basis of every working relationship. Thriving as an intern can be a struggle, especially since starting at the lowest possible rung on the latter is not necessarily going to be compensated immediately with the most inspiring financial incentives. However, your motivation should be the knowledge that one great reference can have the power to get someone to roll the dice and choose you. Once you have a foot in the door, the opportunities to work your way up are much more immediate and real. You need to do more than just tell people you have potential – if they are going to bet on you via the hiring process, you need to be sure your experience shows them that potential beyond any shadow of a doubt.