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ADVICE, Interview, People

Script Consultant: Rebecca Stay

|Rebecca.Stay|

Rebecca Stay. What can I say? We have a complicated relationship. Maybe because we’re forced to be together 24/7. Or maybe because we’ve known each other since (literally) the “Womb.” Who knows. It’s complex.

Is this weird? Absolutely… but I thought it might be amusing (or a much needed distraction) to turn the tables on myself rather than make an ask of someone who is rightfully pre-occupied with life’s pressures — trying to stay afloat during this incredibly difficult time in our industry’s history. 

I’ve been blessed with working in TV for decades — some great years, some confusing ones. What I know for sure (as Oprah would say) is that I’ve been able to do what I love to do, which is to play in the sandbox with some of the most gifted talent and creatives in the industry, for a very long time. And for that I will be forever grateful. 

RS: Describe yourself in a logline.

ME: Script consultant who secretly wants to add “professional pickle ball player” to her resume. 

RS: How did you get your first job?

ME: A childhood bestie got me an interview with her boss at ABC network when she was promoted to another department. I should start with the fact that I probably had no business getting the job. At the time, the only three tools I possessed were: I was a trusting soul, a sense of humor and a handful of street smarts. 

I will say, serendipity has been my lucky charm, my constant as far as my career is concerned.

RS: You’ve worked with some crazy talented people. What was it like working with Salma Hayek?

ME: She was amazing. Driven, creative, passionate. I don’t know why, but one of my favorite memories of her was when we were leaving a meeting at Disney and she turned to me and asked (off the cuff) if I would ever consider being on Dancing with the Stars and without hesitation I said, “Dear God, no. That would be a nightmare. No one needs to see me dance.” And when my response made her laugh out loud hard, it made my day. It’s not that I provided comedy gold, I just think it was in my delivery and how horrified I looked at the prospect. 

I’ve worked with legendary women: Patricia Heaton (along with partner, David Hunt), Salma Hayek (along with partner, Jose Tamez), and Lisa Kudrow (along with partner, Dan Bucatinsky). They all taught me invaluable lessons; I learned the importance of knowing your brand, lessons in confidence and pragmatism, and how to persevere. 

RS: Most of the last half of your career was heading production companies, working with talent. Are those deals challenging? 

ME: For awhile I thought I was getting the reputation for heading talent deals… which isn’t necessarily a bad thing, but yes, these types of TV overall deals are extremely challenging. Among certain circles, they had the reputation for being called “vanity deals.” A way for the studios to reward their talent for making them loads of money. It made it hard to convince executives at outlets to take the projects seriously. It’s already like winning the lottery to get something on the air as a producer so when you put in the mix an actor trying to set something up who has never produced before, it just makes convincing outlets to take a leap of faith that much more difficult. I worked with incredible talent who had incredible taste. Smart, Savvy, Capable… but most of the time it was like working in a Catch 22 black hole. I do think that things have shifted and talent is proving they have what it takes to produce and create. 

RS: What was your most embarrassing moment as an executive? 

ME: It was near the end of my stint at UPN (before it became The CW). We were in a big meeting – the president, my boss (head of drama development), myself and a colleague. The meeting was with a huge producer and a writing team. They were all debating or trying to defend their character choices in the project we were developing with them and I tried several times to chime in because the example they were attempting to use was from a show I previously worked on and knew first hand as to why they might be wrong. I could not get a word in and suddenly I felt so frustrated that I slammed my hands down on the conference table and yelled something out. I don’t recall what I said… I blacked out, which in hindsight was the proper response given I was properly mortified post meeting. 

As we were walking out of the conference room, I turned to my colleague and asked, “Did that just happen?” and she looked at me with a huge grin on her face and said, “That was brilliant.” The funny thing is I’m 100% certain that no one in that room remembers the meeting or me (well, except my co-worker) let alone who was in the room… and yet here it sits… now seared into my memory bank.

It was a clear sign I needed to get out of the job and I did… I left the company shortly thereafter. To be clear, I was not fired! In fact, when my contract was up, they wanted me to stay, but I left because I wanted more time with my newborn and I missed being on the other side of the creative process. 

RS: Best life/career advice you’ve received.

ME: Oh, I have some good ones!

My first boss, Shu Mukai said in my interview with him… “What we do is not brain surgery.” For him, it was about trust. He dealt with confidential budgets, salaries, etc. He needed someone who he could trust and someone who felt comfortable with confidential materials. Pffff. Easy. If I had a middle name (which I don’t), it would be “One who carries secrets well.” But I mean that in a good way… Not a creepy, unlawful way… which should go without saying, but in today’s world, it’s better to be safe than sorry.

Another great one: It’s all about relationships.

An acting teacher at CSULB once told a room of us (striving actors), “It’s all about relationships.” It was during an advanced acting class that you had to audition to get into. (Btw — not easy to get chosen.) He told us to look around the room. He explained quite bluntly that very few of us would go on to make it as a working actor, let alone a successful one. And he was not wrong.

He continued and said for us to look at one another — all around us there may be future writers, producers, casting directors and even executives — so be kind to each other. Be respectful of one another because you never know when we’ll all meet again. Maybe someone in the room has your future in their hands. (He was speaking to how caddy, gossipy, competitive the department could get so the advice also acted as a cautionary tale.) It’s all about relationships, but you have to nurture and nourish those relationships. 

I also try to live by the Four Agreements by Don Ruiz: Always do your best, Don’t take it personally, Be impeccable with your word, and Don’t make assumptions.

Some other good advice seedlings I’ve gotten along the way: Be a good listener. Be a good advocate for writers. And for goodness sake — be yourself! There’s only one you so take advantage of that fact. (I’m still working on that last one.)

RS: Script Consulting can get a bad rap. What should people know about it?

ME: Script consulting has been and continues to be a hot (ok… Maybe not “hot” — Luke warm?) filled topic and debate. 

You’re either seen as someone who cheats writers out of their hard earned money or as someone a writer can’t live without. I’ve read and heard extreme opinions. Someone once told me that we pay money for hobbies, money for vacations, money for daily coffees… If you love writing and you want to get better, why not invest in someone who will support and guide you in your endeavor? 

On the one hand, yes, there is so much free content out there — to help writers deepen their craft. But rarely will you receive detailed notes and care you’ll get from the right consultant. Script consultant, Jen Grisanti has made a cottage industry out of the job. Incredibly impressive. I believe she was one of the pioneers. She seems to do it all — Speaker, classes, books, podcasts, panels. 

I do believe people should know that when you hire a consultant, that doesn’t mean all your problems with your script disappears. You may have ten more future drafts to look forward to. I think a writer should absolutely use their inner circle for early drafts. But you have to pick and choose those favors and know that your friends are not going to give you an endless well of reads and notes. You can’t take advantage of them. And they are not going to get in the weeds with you as far as feedback and support. 

I think consultants should be sought out when you’ve hit your wall and you’ve used up all of your free read cards with your inner circle. I also recommend seeking people who wear different hats to read your material — that will offer up different perspectives. A director, a writer, and if you have the relationships, you should absolutely get the perspective of development/creative executive (buyer/seller or both). 

And as far as the cost? It can feel pricey, but you know what? I’ve spent decades in the business and have a lot to offer. My time is valuable and it holds worth.

RS: How does one choose a script consultant?

ME: If you Google “script consultant” thousands come up. You could scroll for days. How do you choose?! Word of mouth, looking at various websites… When you zero in on a few, what is their mission statement? What’s their call to action? Talk to them – tell them what you’re looking for… You may have to look around some before you land on the right fit. It’s not a one size fits all scenario. I’m very detail oriented. That might not be for everyone. 

RS: What do you love about consulting?

ME: Plain and simple, I love helping writers… it’s my happy place. I spend way more time on material than my “hourly rate” because I enjoy the process… I love mulling and absorbing the material… contemplating. Nothing brings me more joy than after I’ve delivered my notes and seeing the glee on my writer’s face, hearing they’ve been inspired to dive back in. When they tell me that my notes helped them see the direction they need to now head into… and still be excited? Nothing better.

RS: Do you have a special talent that would surprise people?

ME: Yes, I have two quirky talents: 1) I can wiggle my ears. Let me tell you, NOT an easy task. I inherited this gift from my dad… not sure you can teach it, but one day, I was able to just do it. And 2) I can yelp like a puppy’s paw is being stepped on. Don’t ask me how that came to be… though it’s a really good impersonation and no — no puppies were harmed in the sharpening of this talent.

RS: Do you have a favorite word?

ME: At the moment, my favorite word is, “Adjacent.” Ask me tomorrow and I’m sure it will be different.

RS: Proudest Moment(s).

ME: When I finally got my first EP credit on the CBS half hour series, Carol’s Second Act starring Patricia Heaton. As “they” say, there were a lot of cooks in that kitchen. Many talented people, but when there are too many, it starts to muddy what the show has the potential to be… I learned a few things about myself during that run. It was an education for sure.

I’m also proud of being responsible for giving some writers their first gigs and then watching as they rose through the ranks and found much success. It’s also not a bad feeling to be heard and respected by writers you love and admire. 

RS: What are your best and worst attributes? 

ME: My best: I’m patient, a good listener, I advocate for those who need it, and I think I have good instincts when it comes to material and writers.

My worst? It sounds schmaltzy, but probably my passion. I’m like a dog with a bone and have a hard time letting go when it comes to projects that are not going to work out. What’s the definition of insanity? Doing the same thing over and over and expecting a different result? Yeah, that might be me. 

RS: How would you describe your personality? 

ME: Besides having a dual personality doing this q&a? I’d say Creative, Enthusiastic, Organized, Playful, and Positive.

RS: Words to describe how you work with others:

ME: Collaborative, Supportive, Respectful, Honest, Empathetic.

RS: Do you have a favorite tchotchke?

ME: My “Belle Maison” cup filled with No 2 pencils from all over the US and world. I love collecting them. Pencils represent writing which represents creativity which represents my love of putting thoughts down on paper. 

RS: Do you have any regrets?

ME: I’d like to think that all regrets lead you to where you’re meant to be at any given time. That is a comforting notion. If I had to pick a career regret as an executive… I might say I regret not going down the current executive road. I think I would have been good at it.

RS: Any pet peeves?

ME: When someone talks over you. I don’t like it because I used to be guilty of doing the same (and may still fall back into that habit now and again). It just speaks to how un-self aware you are when you do that – you’re not truly paying attention to the conversation if you’re only waiting for the person to stop talking. It becomes all about your own voice and you lose out on a potentially wonderful conversation — or learning something from someone by truly listening and having an equal back and forth dialogue.

RS: What is not on your resume?

ME: I ran a Half Marathon and so far it seems I’ve conquered my muscle disease (Myasthenia Gravis). At the very least I’m enjoying a very long remission. So I suppose that makes me both determined and resilient. I’m definitely a fighter.

RS: What’s a question you wish I asked and one you’re glad I didn’t?

ME: Given I’m in control of this q&a, this q feels unfair. That said…

I wish you (I) would have asked, “Have you ever won a contest before?” And I’d say, Yes! My friend and I came in first place in a talent contest in Elementary school and I also placed second in a high school drama festival – in individual pantomime. 

I’m glad you didn’t ask, “What’s your favorite Color?” because the podcast, Smartless makes fun of Sean Hayes for asking q’s like that… Plus, I have too many favorites, it would be difficult to zero in on just one.

And there you have it. The resilient Rebecca Stay enduring the oddest Q&A she’s done thus far! 

For more q&a’s go to:  www.rebecca-stay.com/blog

Bio: 

Go to: https://rebecca-stay.com/about

 

 

ADVICE, Interview, People

Script Supervisor: Jennifer Carriere

|Jennifer.Carriere|

Me and Jennifer met over social media, which if you knew me isn’t my place of comfort. The whole social aspect of this job is not my forte. But I reached out to her because she has one of those jobs that has always mystified me… How one gets it, how it technically works and how one trains to do what she does. She also seems to be doing something others are not, which is training those in her field and giving the job (in her opinion) a much needed make-over. Jennifer was incredibly gracious in sharing… To demystifying the job for me.

If you google “Script Supervisor” you’ll get (via wikipedia):

“The script supervisor is the editor’s and writer’s representative on set, as well as being the right hand aide to the director and the director of photography. It is the script supervisor’s job to make sure that the film can be cut together after shooting has concluded. In that sense, they back up every department, monitor the script during shooting and make sure that errors in continuity do not occur that would prevent the film from being able to be compiled smoothly in the editing room.”

Seems clear enough, but I wanted Jennifer’s take and to learn more about the nuances of the job. 

RS: Tell me who Jennifer Carriere is in a logline? 

JC: Former Civil Engineer from small town Louisiana walks away from “predictable” and goes on wild ride to become high-volume TV Script Supervisor & Producer.

RS: So many don’t understand the job of a Script Supervisor. How do you explain it to a layperson?

JC: The term “Script Supervisor” is old-timey and outdated! (And that’s probably one of the reasons why no one knows what the hell it actually is.) The Script Supervisor is a mini-director/mini-producer/screenwriter representative/actor wingman/editor advocate all rolled into one amazing film job. 

RS: Who gave you your first break?

JC: I got my first break from a TV Script Supervisor who would go on to become my mentor (I repaid him handsomely by letting him live in my house in New Orleans rent-free for years.)

RS: How does one train for this particular job?

JC: I actually created a program to answer this question – the program fast-tracks (those) straight into the industry as Script Supervisors in record time (16 hours of training with me). I launch them into the work using my unique method for getting them early opportunities. I have an awesome, highly disruptive method for fast tracking Hollywood careers via the impactful Script Supervisor role.

RS: When you say you’ve got a “highly disruptive method,” what does that mean?

JC: I love this question! We truly don’t have enough qualified Script Supervisors. This is the case in every film market… the saying is, “There either isn’t anybody or there isn’t anybody qualified.” A few years ago, while working back-to-back shows, the pressure was on to crew up constantly for new projects or double up days.

Every time my UPM would tell me to find a Script Supervisor for a week of second unit shooting, or we were cramming another show onto the schedule and I needed someone for several weeks, I’d be in a panic and pulling my hair out. So I asked myself… If I had to pull a friend in and tell them, “I need you to do exactly this on set (only what matters) and get these results and ignore everything else… and I need you to be ready in two days… What would that fast-track and results-driven training look like? I brainstormed it, then immediately put it into practice.

RS: Ok, so when you say to your friend, “I need you to do exactly this on set (only what matters) and get these results, and ignore everything else…” It’s such a mystery! What is the “this” on set and the “only matters” and “these results”? I’m looking for specificity.

JC: “I need you to do exactly this on set (only what matters)” MEANS Make sure we shoot everything correctly, and the director and actors know where we are in the story and matching the correct energy, and we’re telling the full story of the scene with sufficient camera angles and we’re keeping the departments informed to stay ahead of any mismatches and we’re keeping the producer updated on what we’ve got and what we still owe.

“Get these results” MEANS The work cuts together seamlessly and appears to have been shot sequentially, we’re not missing any shots, we have no distracting film flubs, we have no costly reshoots, we’re not wasting time on set, and the piece is neither way too long nor way too short in post.

And “Ignore everything else” MEANS: (Side Bar/RS: Well, ok. She didn’t need to explain that last line — it was pretty self explanatory.) 

RS: Are you an introvert or extrovert?

JC: I’m absolutely an introvert. The great thing about being an introvert AND being a Script Supervisor is that we spend a lot of time on set in our own heads. We’re constantly thinking, anticipating problems, solving existing problems, heading off mistakes and miscommunications, and reading Actor and Director energy, as we advise and support them all day long.

We must have enormous courage as Script Supervisors. When we spot an issue (especially when a shoot is two hours behind and everyone is eager to move on and rush through the day) we must not shy away from stopping everything and saying, “No, this is not right. We need to go again for XX reason.” And you’d better believe we need to make our case quickly and succinctly, when all those forces are pushing to move on.

RS: What do you think are the most important traits you need as a Script Supervisor?

“Commitment, Courage, Compassion, Communication skills,

Problem-solving abilities, Positive Attitude,

Empathy, Love of people, Love of Storytelling.”

RS: Is being a Script Supervisor commonly a jumping off place — to move onto other jobs or is this a job some aspire to or are comfortable with doing their whole career? 

JC: Becoming a Script Supervisor is the best kept secret in the industry for jumping off into even bigger opportunities. It’s a direct line to the Director’s trusted inner circle which includes: the Director, the Producer, the Screenwriter, the Actors, the Editor, and the Script Supervisor. It’s truly awesome and almost NO ONE thinks to skip the line via the Script Supervisor role!

RS: What department hires you?

JC: The Production department hires us – usually the Unit Production Manager or Production Supervisor. We connect with the Production Coordinator to get updated scripts, crew lists, cast lists, schedules, etc.

RS: Do you have a favorite director? If so, what was it about them that made/ makes them so good?

JC: I’ve worked with so many whom I dearly love, but I have to choose the amazing Nicole Kassell (who won Emmys for both Producing & Directing, Watchmen, and one of the series I worked on with her). What I loved about her: 1) She’s a savage – easily the smartest person in any room she’s in, but she’s super quiet/humble about it. 2) She’s hilarious, kind, warm, strong, honest, direct, and tons of fun. 3) She’s unbelievably prepared, committed to, and meticulous about everything she does as a filmmaker. I’ve never seen another Director match her focus and consistency to the tedious, but absolutely necessary, slog of tiny details involved in directing a series day-to-day.

RS: Favorite card game and why? 

JC: Gin Rummy. Mainly because that’s my huge Louisiana family’s go-to card game when we’re passing the hours while visiting or vacationing. It’s low-key strategic but not hard, there’s not a lot of fuss, and I can play it with any family member from my nine year old nephew to my 75 year old aunt. We can casually play while shooting the breeze at the dinner table. It brings us together.

(Our favorite board game is “Loaded Questions.” I know you didn’t ask, but Rebecca, if you want to make your family members laugh ’til they cry, I encourage you to check it out. 

RS: From your perspective, what are some common misfires made on set?

JC: Bad attitudes on set are the worst. Yes, making movies and tv can be exhausting, but complaining about it and bringing everyone down is the worst thing anyone can do. (For this reason, I’m super selective about the companies I work for now. I’ve learned from experience to return to those studios and production companies that value a positive and uplifting vibe on set.) Other misfires: poor communication, poor preparation, poor attention to detail, and egos. As filmmakers we have to practice complete commitment to excellence in our individual jobs, and have empathy and understanding towards others on set, all day long, every day. This is the way to create a happy, effective, and productive culture on set.

RS: Are you a competitive person? If so, what are you most competitive about?

JC: I’m competitive with myself. If I have one overly competitive quality, it’s not giving myself enough grace and kindness. I’m ruthless with myself if I make a mistake. I struggle with the “perfectionism” thing and am working on it! As far as competition with others, I don’t feel that as much as I did say, in my twenties. All the success I’ve had on set over the years has given me a healthy sense of security.

RS: What is the most important aspect of your job?

JC: Foresight. As the Script Supervisor I am seeing the final cut in my mind as we shoot it daily in micro bits, totally out of order and out of context. I am responsible for the final product all cutting together with no mistakes. (And NO reshoots!)

RS: Do you have a mantra?

“Yes, thank you, forward”.

My backup mantra is “I do hard things.”

RS: What’s an App you have on your phone that you can’t live without? What’s one you have that might surprise people about you?

JC: Apple Maps for sure! I can’t drive myself out of a paper bag. I’m disoriented when driving everywhere, including in the tiny city where I grew up. This is a genetic thing. I am a carbon copy of my dad, and he has this problem too – complete lack of navigational skills (though he’s a brilliant eyeball surgeon). Runner up favorite App: I can’t live without my Apple Books App.

As a Script Supervisor, people may be surprised to know that I have the Tony Robbins, “Time Management” App on my phone. I say to all my trainees, Script Supervisors must have strong organizational skills in their work, but that doesn’t always translate to their private lives. Personally, I’m a “dreamer” type who barely knows what month it is. Yet on set, people ask me all the time if I have a photographic memory. I always tell them, “It’s just my watertight system, not me!”

RS: If you could shadow one writer, one director, and one actor on a show or film, who would they be and why?

JC: I’d shadow writer Guy Ritchie, because both Snatch and The Gentleman made such an impression on me, that I think in Snatch-isms and Gentleman-isms. (Like my own inside jokes.) Those films are dark, exciting, inventive, and hilarious, and I just want to know how those scripts came to be. Director-wise, I’d go back in time and shadow Billy Wilder, because Some Like It Hot and The Apartment have brought me more laughter than probably my next ten favorite comedies combined. Actor-wise, I’d shadow Rain Wilson, because, how on earth does an actor create a character like Dwight Schrute???

RS: What is the best part of your job, the hardest, and the biggest misconception?

JC: The best part is sharing a brain with the Director and working very closely with the Actors throughout the day. (Most of my best friends these days are TV actors).

The hardest part of my job is having to tease out cooperation on continuity details (with a combination of psychology and charm) from unwilling departments who’d rather not be bothered with close attention to detail, and doing the work of getting up between takes to reset continuity details for the sake of the cut.

The biggest misconception is that we have to have a good memory to be a Script Supervisor – this is absolutely false. I have the world’s worst memory and the world’s best system for tracking thousands of continuity details and having them at my fingertips at all times. 

RS: Do you have a go-to book you rely on about the industry? If so, why is it important to you?

JC: I’m very fond of my old, worn out copy of Pat Miller’s “Script Supervising & Film Continuity.” Though I’ve developed my own method over the years, that book is important to me because it was instrumental in my making one of the best decisions of my life. It’s so meaningful to me, I should probably frame the cover!

RS: What’s something that scares you?

JC: Negative news headlines.

RS: Of the mistakes you’ve made on set, was there one you didn’t have to learn twice?

JC:I learned not to rely on the other departments (who are understandably stretched thin with lots of day players stepping in with no knowledge of our show or continuity day-to-day) to get all the matching right. No one cares about matching details more than me, because I’m the person who’d be embarrassed (and I’d hold myself responsible) if we shot something wrong or needed a reshoot.

RS: If you could go back in time and be on one particular set, which one would it be and why?

JC: The answer may surprise you! I would choose a teeny tiny feature you may never have heard of… Ariel Vromen’s, The Iceman starring Michael Shannon and Chris Evans. It was a perfect movie-making experience. I credit the Director and Producers for creating a magical, happy, fun and respectful vibe on set. I was working on location with HUGE and equally delightful stars, and a killer production team and crew as well.

I was housing with an amazing, old-school still photographer from L.A., and we got ourselves into so much trouble every weekend. It felt like summer camp for grownups. Every day on set, and every night and weekend outside of work – it was all just sooo fun. So I’d have to say, when it comes to making movies and TV, the people you work with make ALL the difference!

RS: What movie could you watch over and over again on a rainy day?

JC:Some Like It Hot.

RS: Do you have a favorite place you like to visit?

JC: Martha’s Vineyard.

RS: Any pet peeves?

JC: Dishonesty.

RS: How do you de-stress? 

JC: Jogging, reading, watching Fawlty Towers reruns.

RS: Proudest career moment thus far?

JC: When Director Michael Uppendahl told me I’m not a Script Supervisor, I’m an Executive Producer posing as a Script Supervisor.

RS: If you were forced to trade places with a crew member on set, whose job scares you the most and which one would you love to try?

JC: Props scares me. All the time they’re asked to create props that aren’t even in the script, on the fly! Create PROPS with no warning?! It’s crazy!

I’d love to try focus pulling. Focus pullers have to be present on another level – truly dialed into the scene and reacting with their body and their tools in the moment. It’s a remarkable thing they’re doing – they deserve so much credit for their work.

RS: At any point was there advice you received that you thought was questionable at the time, but turned out to actually be helpful? 

JC: I had my choice of (either) moving to L.A. for a series produced by a huge Showrunner who I adored (from a previous experience with her) or (work on) a show in New England that would extend into the dead of the bitter New England winter, with a team of completely new-to-me producers.

My mentor encouraged me to take the New England show and pass on moving to L.A. This turned out to be one of the best moves of my career. The relationships I created on the NE show (that turned into MUCH more work) and the love I discovered for that part of the country (including many amazing Cape Cod adventures every weekend) I wouldn’t trade for anything.

RS: What’s simply the worst advice you’ve ever received?

JC: The worst advice I ever received was to work from video village when it was far away from set and the Director. I must be a foot away from the Director sharing a brain with them, at all times. The advice to stay in video village (unless the Director is next to you there) is preposterous and a literal job killer for Script Supervisors.

RS: Have you ever created a vision board for yourself?

JC: This is a great question, and will be the thing that prompts me to create a vision board! Thank you for this question! I have printed out inspiriting quotes and images and hung them around my office, but I’ve never created a vision board. That changes now. 

RS: Do you have a favorite tree?

JC: The oak tree, obviously!! I am from south Louisiana and have homes in Louisiana, Mississippi, and Georgia. There’s nothing in nature more beautiful to me than mossy oak trees.

RS: What do you wish someone would have taught you (early on) about the job? 

JC: That it’s a direct path to Producing, Directing and Screenwriting. I had to learn that on my own. I’m trying to shout this from the treetops so that others don’t overlook this amazing opportunity to bypass gatekeepers, get their own creative work seen by powerful industry people, and be a creative and authoritative force on set.

RS: When people say, “pick and choose your battles” — what does that look like in your job? What’s a battle you would choose to pick and not to pick? 

JC: This comes up rarely, since 99% of the time departments are totally on board to collaborate on matching, but a battle I would pick is with any department choosing not to cooperate when it comes to matching. I owe it to the project, the Director, the Actors, the Producer, the Screenwriter and on and on, to ensure that we maintain continuity while shooting, so that there are no distractions pulling viewers out of the story in the final cut. Sometimes (rarely) it’s a battle I have to have.

A battle I would NEVER pick (I’d just laugh at it instead) is an ego clash. I’m completely secure in my role on set and am unmoved by bravado and shows of ego.

RS: What is a question you wish I would have asked you? What’s one you’re glad I didn’t? 

JC:I wish you would have asked how quickly I get my Script Supervisor Trainees working on set and getting promotions to Producer / Director / Screenwriter! I’m struggling to find a question I wish you wouldn’t have asked!! I’ll have to get back to you on that 🙂

There you have it. Here’s to the joyful Jennifer Carriere. I’m always thrilled to come across people who love what they do and are finding ways to  help those trying to find their way in.

(And because nothing brings me more joy than laughing with friends and family, I’m now off to order Jennifer’s recommended game, “Loaded Questions” to have ready when the holidays descend upon us – which will be here before we know it, people!)

For more about Jennifer and her Script Supervisor program, see below. 

For more q&a’s go to: www.rebecca-stay.com

Bio:

Jennifer Carriere has made hundreds of episodes of network television and dozens of films as a Script Supervisor and Producer. Becoming an excellent Script Supervisor led her directly to becoming a high-volume TV Producer. A former engineer with a love of systems and solving problems, Jennifer created a highly disruptive and efficient method for breaking aspiring filmmakers into Hollywood in record-setting time, via the powerful and overlooked Script Supervisor role – a position for which the film job market is fiery hot.  

Website & Socials 

Website: ScriptSupervisorCEO.com

IG: https://www.instagram.com/scriptsupervisorceo/

Facebook: https://www.facebook.com/scriptsupervisorceo

ADVICE, Interview, People

Universal TV Studio Executive, Adam Giagni

|Adam.Giagni|

“So… That happened” is a hilarious line (IMO) from the film, State and Main. The quote comes in handy any time something bizarre or funny occurs… which is/was often, especially during my time at UPN. (Presently known as The CW.)

Adam Giagni. For the last six years, he’s been planted at Universal Television. He is currently Sr. Vice President, Drama Development — and along with that fancy title, he holds another one entitled, “Special Place in my Heart.” Addy (as I like(d) to call him), is not just my co-conspirator who made using the above quote so very entertaining, but when I was an executive at UPN — too many years ago to count — he was only the second assistant I ever had.

“They say” you’re only as good as your assistant. FADE IN: Adam’s arrival. He was our true North. I say, “our” because I shared him with a colleague. We knew right away we had a gem in him, so you can imagine my joy (as I’ve been given a front row seat) to watch as he continues his rise through the executive ranks.

Adam shares his favorite quotes, what makes for a great zoom pitch, and why you need to hear the question behind the note… and so much more.

RS: Describe yourself in a logline.

AG: Rising from the ashes of UPN, one man (don’t you dare say middle-aged) battles the forces of evil – mostly poor executive, unimaginative buyers and Netflix, in the vague hope of one day helping to make a series that leaves a mark on the TV industry.

RS: What’s an adjective you would not use to describe yourself? 

AG: Passive.

RS: Favorite boss you’ve had in the past or present (Besides me). What made them a great manager?

AG: (Obviously you). I’ve been fortunate to work for some great people who all loved what they do and are good at it. It’s hard to narrow it down to one person. I would just say the best folks have been those who are passionate about this job, don’t take it too seriously and instinctively teach by doing.

RS: I know every day is different, but describe a semi-typical day in development at a big studio? 

AG: Typical pre-strike day can be a range of notes meetings (internal and then external) where we break down the latest piece of material on a project (story doc, outline draft, revision or cut), followed by general meetings with writers, directors and producers. Additionally, we are prepping pitches to take out at all times. Once a pitch is ready to go out we will clear and set zoom pitches, so any day can include one to two external or internal pitches.

Lastly, would be any internal meetings – development report review, weekend read, development meetings with management and/or our in-house networks.

RS: Name your biggest pet peeve.

Adam:

People who don’t try.

AG: That includes taking forever to respond on material etc. We should all want to do what we do. Otherwise don’t do it!

RS: How is selling different today than it was pre-pandemic?

AG: Budgets have been slashed – particularly in broadcast. Because of this they are buying a lot less and no longer operating on the same basic schedule. Where a network may have bought 60 scripts pre-pandemic, they’re doing 30-35 now. Additionally they may pick pilots up at all times or order things straight to series.

On the streaming side, they are just taking longer to make decisions. They don’t need content as fast, which has given rise to asking for back up scripts and formats before making (an) order or just hemming and hawing more.

In short, selling has gotten harder. You have to prove why they MUST buy this.

RS: Describe your most memorable meeting with a writer. 

AG: One younger writer spilled their entire coffee on me and then kinda played it off like it didn’t happen or whatever. (Weirdly we have worked together.)

RS: On average – how many overall deals with producers/writers are you assigned to?

AG: I cover about twenty five deals.

RS: What’s the secret to good communication with your creatives and your team?

AG: Being straight forward and honest. I’m a terrible liar and not good at playing games. My deals, producers and co-workers should always expect that I’m giving them the real so we can all find solutions together. Naturally there’s information that I may not be able to share at times, but that doesn’t mean I need to hide things or lie. We’re all adults and we should all have the same motivation to win together.

RS: How many fires a week are you having to put out? Is there a common theme among them? 

AG: Depends on the week. Typically that can be based on networks making unrealistic demands based on time or their wants. OR creatives just wanting what they want without listening to reason.

RS: What’s something you learned in this job that surprised you?

AG: That it’s not about selling one show. It’s about a larger global strategy for success. Should we sell that one show to that buyer or is there a better path for the project and studio.

RS: Writers struggle to stand out. Beyond a great script, what can they do to make a bigger splash… to get noticed? 

Adam:

Be collaborative. Be someone people like working with, not because you compromise to their demands but because you can take feedback and use it to improve on your vision.

AG: And be innovative. Write what is exciting to you, but also listen to your partners to tailor that passion to what is commercial. Doesn’t mean make basic crap. But make something you’re excited to write and others will want to buy.

RS: Do you have any opinions or advice on zoom pitches? What can writers do better? What are things to avoid?

AG: Personally I think zoom pitches are great! Rather than awkward conference rooms we have execs facing us directly on screen in a setting that allows for a real visual component as the writer tells their story – and they can read it without feeling any sense of misplaced shame for not being off book!

In this setting, the visual deck accompanying your pitch is KEY. Think of this as a visual flip book that sets the tone of the show, the look and feel of the world, the character template and then walks us through the moves of the pilot and beyond. Not putting time into this visual is a big flaw for a zoom pitch and will most likely turn folks off in the zoom.

The pitfalls of this style of pitching that are unavoidable and just means the writer and producers (and us) have to work harder in the room (and make the pitches that much stronger) is the loss of connection to the buyers that came from being in the room.

Also, sadly some execs are not great listeners. They may try to “slyly” look at their phones, text, order take out, whatever. Some may even fall asleep. Don’t let them throw you. You can make execs better in that pitch. Just present the best show you can!

RS: After doing this job for so long, what’s become like second nature and what do you still struggle with? 

AG: Evaluating material has become second nature in that this is just how I read now. Crafting pitches continues to be an ongoing work in progress. More so in that we have to keep designing projects that meet the interest and needs of buyers who keep changing.

RS: When taking on new projects, what are you drawn to and what types of writers do you look for?

Adam:

I’m looking for projects with compelling characters and a strong emotional core. If you take all the stuff away – what is this show really about and what does it really want to say? Have a point of view! Doesn’t have to be so heavy of a concept – but there should be a concept.

AG: Working for a studio I get to play in a lot of sandboxes and try to look for projects that go beyond my personal viewing habits. We’re not programing for Adam.

RS: Do you like to get in the weeds with writers as far as note giving or do you try to give bigger picture notes?

AG: Depends on the project and the writer. My job is to help them deliver on their vision. I don’t like to just give notes for notes sake, but rather work to improve projects. If I am helpful digging in, then let’s do it. If it’s really just top line help — to get us there, cool.

RS: For those starting out today, any advice to those who want to join the executive ranks? 

AG: You need to find a way in and slowly work your way up. It’s a marathon not a sprint and if you do it right, you will learn a lot of great skills along the way – even from bad bosses.

RS: Describe the perfect vacation.

AG: A beach, a drink, some waves.

RS: What are some missteps writers make in regards to the development process or in the writing itself?

Adam:

Not being able to hear the question behind the note.

AG: Rather than digging in your heals or being all EXECS be dumb; what is the note really asking? What is the element that you intended that the reader is not getting – hence the dumb note of raising the stakes.

RS: What’s the last book you read solely for the love of reading?

AG: NONA THE NINTH – Lock Tomb Series.

RS: I seem to recall years ago you took a stab at writing. Are you still interested in going down that road someday?

AG: I did write a middle grade fiction book. It’s on a hard drive! I would love to one day be an author but my TV writing dreams are over. I’ve discovered that I love working with great writers to develop shows. But I don’t have that type of brain and I’m good with that.

RS: Do you have an opinion on what the industry is doing right regarding diversity. Moreover, what areas do you feel still need nurturing?

Adam:

We’re finally taking things seriously on many fronts which is good. I hate quotas for quota sake.

AG: We should be championing emerging voices to bring audiences stories that are not their own. I love this initiative – it’s what we tried with AS WE SEE IT. More of this please and more of casting out the scumbags!

RS: Name one of your idiosyncrasies.

AG: I LOVE COFFEE. Work better with a black cup in front of me.

RS: Broadcast, streaming and cable folks always have a yearly mandate of what they’d like you to bring them. If you find something unique that is clearly not within the mandate, (in today’s climate) — do you still give it a go?

AG: YES, because that’s what we should do. BUT it’s a business so you have to manage those big swings and try to make them commercial enough to sell.

RS: What inspires you? 

AG: People who have good ideas and want to turn them into shows. People who like TV and want to make more of it!

RS: Is there a line from a movie or TV show that you often quote?

AG: (He had a few)

Adam:

“I love this plan and I’m very excited to be a part of it!” (Ghostbusters)

“So that happened!” (State and Main, of course)

“Why does Brian get to get up. If he get’s up, then we’ll all get up, it will be anarchy.” (Breakfast Club)

“Wrong sir, Wrong, you stole fizzy lifting drinks…” That one is more for my kids.

(RS Side Note: For those who don’t know that last quote? For shame!)

RS: Do you remember what your first sale was when becoming a studio executive? How did you celebrate?

AG: Sadly no. My first meaningful sale is when I resold a busted project from my boss’s old slate and made it better. Then I went into her office and said “na na na na.” Weirdly I don’t work there anymore.

RS: Your father, Peter Giagni, has been a long time agent/manager. Are there pieces of advice he gave you early on that still rings true?

AG: Always be ready to grab your rolodex and run out the door. Not sure that one still works given we don’t have those old things. His advice was always work hard at the thing you’re doing. If it’s making copies, those need to be the best damn copies.

RS: What showrunner is on your wish list to work with? Why?

AG: TOP SECRET – and it continues to change. One right now rhymes with Moe Martin. Also would love to work with Graham (Yost) again. SILO is great.

RS: Is there a character on television that you relate to? That mirrors your own personality?

AG: Hard question. Changes. Maybe Leo on The West Wing?

RS: What’s the biggest compliment you’ve ever received? On the flip side, is there a piece of criticism you’ve received that was eventually helpful?

AG: Hearing from creative people I respect that they really valued my feedback and that it made the show better. I received good criticism as to how to step up into my job more. Really helped me take on the role.

RS: What hobbies do you partake in – in order to destress?

AG: Hockey, Movies, Bourbon.

RS: What’s the last thing you watched — that you loved? Why was it great?

Adam:

PERRY MASON – great reinvention of an old character.

AG: (I) like SILO right now. Loved the book series and they’ve done a good job. Loved LAST KINGDOM as a way to do a practical swords and sandal soap. LAST OF US – great character work.

RS: What question do you wish I would have asked? What question are you glad I didn’t?

AG: NO MORE QUESTIONS. (I guess my thoughts on the state of the industry.)

Annnnnnnd soooooo…. That happened. The always Affable Adam. And for what it’s worth… I’d agree with him; He is indeed a lot like LEO from The West Wing. Not a bad choice given he is one of the most memorable characters from one of my favorite tv dramas of all time. Pragmatic, empathetic, creative, and poised. And has my all time favorite sense of humor: delivered with a side of Dry.

Bonus: Link to the scene that cemented our friendship: https://www.youtube.com/watch?v=tUXpYMV17fw

For more q&a’s go to: www.rebecca-stay.com/blog

Bio: 

Adam Giagni, SR VICE PRESIDENT, DRAMA DEVELOPMENT, UNIVERSAL TELEVISION. 

Adam Giagni joined Universal Television in 2017. He most recently oversaw development and production for the pilots and first seasons of the propulsive thriller THE ENDGAME and epic adventure series LA BREA; both for NBC. His other recent pilot/series include the epic Netflix series AWAY starring Hillary Swank, the Amazon neurodiverse dramedy AS WE SEE IT, MAGNUM, P.I. at CBS, the NBC series QUANTUM LEAP, and the Peacock series THE CALLING created by David E. Kelly. Prior to joining UTV, he served as Director of Development at ABC Signature, the cable arm of ABC Studios, where his development credits include the Freeform horror dramedy DEAD OF SUMMER from executive producers Eddy Kitsis & Adam Horowitz and Ian Goldberg and the ABC series BLOOD & OIL starring Don Johnson. Before becoming a studio executive, Giagni rose through the ranks at Timberman/ Beverly Productions. Eventually serving as Director of Development, he helped develop a diverse slate of projects that included the critically acclaimed series JUSTIFIED for FX, MASTERS OF SEX for Showtime and HINDSIGHT for VH+1, as well as dramas ELEMENTARY and UNFORGETTABLE and the remake of the hit comedy THE ODD COUPLE all for CBS.

ADVICE, Interview, People

Showrunner & Writer: Lizzy Weiss

|Lizzy.Weiss|

June 6, 2011.

It is 12 years ago today when the long running, Peabody award-winning Freeform series, Switched at Birth premiered. I wish I could say I had planned to post this q&a exactly on this prestigious day. Alas, I am not that clever. But boy, who doesn’t love some good old-fashioned serendipity at play?

Lizzy Weiss is the extraordinary creator and showrunner behind Switched. She’s one of my favorite writers around, but I have to confess… I’m slightly biased.

We met years ago working on a passion project called Life and Deaf. It was based on a true story brought to us (FourBoys Ent. — the pod I was working with at the time) by Marlee Matlin and Jack Jason, Marlee’s interpreter and producing partner. It was actually based on Jack’s wonderful life story — one of which you could visualize immediately as a series. It had everything I love in a show. Humor, emotion, texture — along with unique & surprising characters that populated the world. Unfortunately, it didn’t get past the finish line, but it was a joy to work on. And if that wasn’t enough…

And what a powerful female team at the forefront: Patricia Heaton. Marlee Matlin. And Lizzy… A writer with integrity, strength, and vision.

RS: Describe yourself in a logline. 

LW: Hmm. I’ll just spew a bunch of the first words that come to mind. Feminist, writer, mom, small, strong, fast talker, fast walker, Jewish, married, well-parented, A.D.D., lucky. 

RS: As a writer, what has become like second nature and what do you still struggle with? 

LW: I love a good writers’ room; there is truly nothing better. On the flip side, there’s nothing worse than being stuck with someone toxic or entitled or rude. I’ve run three rooms that I adore, which I define by saying I never once came home from those rooms without having laughed hard – usually at some insane pitch that we are pretty sure we can make work.

The strike is dealing with very real issues of compensation and respect – and I am 100% for creators being given our fair share as everything starts on the page – EVERYTHING. That all being said, what is also true is that I think I have the best job in the world. To sit around with a bunch of creative folks shaping stories? THE BEST.

RS: How did Switched at Birth come to you? 

LW: I heard a podcast about two women who discovered that they were switched at birth and how that turned their lives upside down even though they were in their 50s. At the time, I was five months pregnant with my second kid – so babies in hospitals were very much on my mind – and it just grabbed me. “What if someone told me right now that my 18-month-old son in the next room wasn’t actually mine and someone could take him away? Wait, but that would mean that my biological son was out there somewhere being raised by someone else?”

Then I thought, “How would I feel if I were fifteen and already questioning everything?” I was doing yoga listening to the podcast – and it was so pressing, so “lightning bolt” that I stopped my practice, got out my laptop, and started to type.

RS: The deaf angle added such depth and texture to the story. Was that always baked into the character? Did someone pitch that to you?

LW: The deaf addition to Daphne’s character came after I sold the pilot. Brooke Bowman (the executive at ABC Family) suggested it might be interesting if the girl who was raised by the working-class single parent had some kind of difference that made the wealthier parents feel like if they had raised their own daughter, she might have turned out differently. I had taken a class in college called “Theater of the Deaf” in which we had to perform monologues and poems in sign language, so instantly I responded, “What if she is deaf?” And we were off and running.

RS: Describe your most memorable meeting – either with a studio exec, network exec, or talent. What made it memorable? 

LW: Well, the truth is that I’ve had some rough ones – oof – but I think I’ll skip those because they involve famous folks and I’m not an idiot. 🙂 On the positive side, I guess I’d say my pitch to Brooke at ABC Family for Switched in 2009.

I was eight months pregnant, I remember the exact black wrap dress I was wearing, it was just me and her — no studio, no producing pod, no stars, no other execs on her end — and a poster board that cost me eight dollars.

I cut out a couple photos – Daphne Zuniga for Regina, Julie Bowen for Kathryn, Selena Gomez for Bay, and I can’t remember who for Daphne – but the whole thing cost me eight dollars at the printing shop. It was the first time I had ever used visuals and it was only because pitching that show is a little confusing with two moms, two daughters, all inter-related in different ways so I needed to point.

I did my whole pitch – about 20-25 minutes – and then I asked if she had any questions and she just smiled and said, “Nope. Thanks so much!” And I was like – uggghhh. Bad sign.

My agent had already told me no other network would hear it (as the leads were young women and it was not based on IP), so I tossed the poster board in the trash on the way out. When she called to ask how it went, I said, “Terrible – she hated it. No questions.” My agent said, “Well, she just bought it.” I was flabbergasted.

So you just never know.

RS: How did that show change you? 

LW: The show changed my life in so many incredible ways, but I’ll talk specifically about one aspect which is that I was opened up to an entire world of disability issues – accessibility, rights, concepts like “deaf gain” (which refers to all of the things you gain from being deaf – like a community, a culture, a language, an identity, plus four heightened senses) – instead of focusing on loss. I found all of that totally fascinating and in turn, see the world totally differently myself. I am friends with lots of deaf people and I feel privileged to be part of that community.

RS: Name your biggest pet peeve both in life and as a writer. 

Lizzy: 

I hate cliches.

LW: I used to tell my Switched writers no jokes about girls being “on the rag” or about women eating ice cream in bed while depressed after a break-up. Another one that people might be surprised at is I had a strict “no hugs” policy on Switched unless someone from set called me to approve it. That meant I did not want people hugging unless it was earned. Don’t throw those moments around! You gotta earn your emotion and then it’s gold.

RS: How do you decompress? 

LW: I do a lot of walking in my neighborhood listening to podcasts and books on tape and music. Biking, but I don’t do it in LA, because y’know, I value my life, but I do so love biking. Finally, playing with our Boxer Dolly, and watching great TV.

RS: What’s the first thing you think of when your eyes open in the morning? 

LW: Coffee. Dog. Kids. Wordle.

RS: In what ways do you continue to redefine yourself as a writer?

LW: I will always primarily be a character-driven family drama writer – and “family” can mean anything, not necessarily parents and kids but all of the kinds of families we create at different phases of our lives. But I have expanded into half-hour dramedies. I love that genre as both a viewer and a creator.

I’ll mention Reservation Dogs, One Mississippi, Catastrophe, Feel Good, This Way Up, Heartstopper, Better Things. Such a great combination of genres and the ones that are done well pretty much always make me cry.

RS: What’s an adjective you would not use to describe yourself? 

LW: Toxic, political, ego-driven. I say those three words because I hear them the most when writers complain about showrunners and one of the things I am most proud of is creating a happy work environment for six years for over a hundred people – leadership that let people know, “We aren’t going to yell here, we aren’t going to belittle people, we aren’t going to panic and stress out and give people hives. “It’s just a TV show, let’s have some fun.”

RS: How do you go about writing? Do you have a set routine? 

LW: I can be hyper-focused in the early morning if there’s total quiet but for the rest of the day, I like a little bit of chaos around me – i.e., busy cafes or a puppy running around me chasing a squeezy ball. As a showrunner, I thrive on a bunch of things happening at once – I can spin plates, in fact, I’d say spinning plates is somewhat energizing for me.

RS: What was your most enjoyable experience in a writer’s room and why? 

LW: I absolutely adored Switched – our room shifted a bit over time but it was always a delight – happiest years of my life. I also ran a mini room a couple years ago for MTV for a sex dramedy called, “Undressed” and I am so proud to say that we put together the most diverse room I have ever seen. We had a trans woman writer, three Black writers (one African), two queer writers, a Muslim writer, and one straight white man – and together, we came up with the greatest stories about sex and sexuality and had so much fun.

And most recently, I ran a room for a family drama about rodeo and I loved that room too – we were all totally respectful of each other (three Canadians, so y’know, that’s built in) – I think we just genuinely liked each other.

RS: On Twitter, you describe yourself as a, “Lover of lockets, toast, and jumpsuits.” Why did you choose those specific adjectives to describe yourself?

LW: Those are things that make me happy. Crisp, buttery, salty toast is the perfect comfort food. Lockets are old-fashioned but timeless and I love carrying photos of my kids as little guys around my neck. Jumpsuits make me happy to be a woman.

RS: You describe yourself as a sign language student. What do you feel you’ve yet to learn? 

LW: I have this strange situation where I know hundreds of words, so I can pretty much express anything I want to say but I have a super hard time understanding other people’s signs quickly enough – I cannot figure out why my brain works in one direction when it comes to ASL but it does.

I love it so much – I just want to give a shout out to sign language – everyone in the world should learn it – not just for accessibility for deaf and HOH folks, but also for (hearing) people to communicate across crowded rooms, at a loud concert, underwater, when you or your parents grow old and lose hearing – it would be incredible! 

RS: When taking on new projects, what are you drawn to? 

Lizzy: 

I tend to be drawn to issues of class and gender and adolescence and parenthood and nature vs. nurture. 

LW: I have to be passionate about it or I can’t sell it. I truly can’t fake it. So I have to find something in it that makes me super excited to dive in and I have to believe I am the only one who can do it right.

RS: Are there certain projects you’ll always say no to? 

LW: People often think of me for YA and there is a whole genre of “rich kid” (Gossip Girl) but I don’t excel in that universe.

RS: What’s something you are good at that might surprise people? 

LW: Oh man, I wish I had a super cool answer for this! But I do not do origami or miniatures or skateboarding. Let’s see, I am extremely flexible? I’ve been stretching since I was 11 and doing yoga since I was 28 and I can still do handstands and cartwheels and such.

RS: Describe your perfect getaway. 

LW: I know this one! A bike trip through any country that I’ve never been to with gorgeous, safe roads, and evenings spent meeting interesting folks from all over the world. When the kids go to college, I have my eye on Croatia, Japan, and South Africa.  

RS: When on set, is there a job that intimidates you?

LW: I wouldn’t say it intimidates me but I’m always so incredibly impressed with both the ADs and the line producers – so many balls to juggle, so many personalities and rules and things to keep in mind – whew, it’s a lot. In addition, I’m impressed by anyone on the crew who takes their job very seriously.

On Switched, we had a prop master named Scott Buckwald who just absolutely loved props and enjoyed every part of the process, and I find that delightful. I also have a ton of respect for TV directors who change worlds week after week and have to lead but also be a collaborator – and the ones who do it effortlessly are a joy.  

RS: If you could give an emerging writer one piece of advice, what would it be? 

Lizzy:

Take Notes Well. 

LW: Recently, a young writer took a set of somewhat big notes extremely well – she was professional, she dived back in without attitude or pushback, she was eager to learn – and I really respect that. On the other hand, I was in a room once where someone got big notes on their outline and they quit.

Same deal with everyone on the crew, actually – one of my favorite things about my costume designer on Switched – Courtney Stern – is that she could take notes with a great attitude, a collaborative spirit, and just joy in the job – and that makes me want to work with those people again and again.

RS: What’s your opinion in regard to LookBooks? Do you think visuals help writers with development? 

LW: I think they can be helpful but aren’t always necessary and I wouldn’t get too bogged down in them. They can be a time suck and execs are smart enough to ignore the fancy deck and focus on the story, characters, and package, so I find all those hours pulling the perfect photo can be a waste.  

RS: What inspires you?

LW: Shows like Heartstopper or Reservation Dogs where they try something different, they commit, and it’s authentic and perfect. Who cares if it is a hit? Not everything can be. What a disaster if that’s all we cared about (that’s pretty much what happened to studio movies). The most moving experiences I have had watching a show or a film have usually been stories that are not massively popular but felt completely honest.

RS: What question do you wish I would have asked? What question are you glad I didn’t? 

Lizzy: 

About Motherhood! I love telling young women that yes, you absolutely can be a showrunner and a mom. 

LW: My show was green lit when my kids were three years old and one year old, and we made it work. Sure, it involves having great partners at home and at work but it is absolutely possible and I am so lucky and grateful that I was able to birth and nurture kids and a show that I hope lives on after me. 

I’m glad you didn’t ask whose career I wish I had or anything like that. I try not to compete with anyone and the longer I do this, the more I believe that working with people you respect on material you enjoy is the #1 priority. Sure, we’d all love to go to the Emmys and be on “fancy” shows but honestly, that often comes at a price I am not sure I am willing to pay. My family wants to have me around – not miserable or tense but proud and content – so running a show that allows that is key. 

And there you have it! The illuminating and light-filled, Lizzy Weiss.

Happy 12th Anniversary, Switched at Birth! The number 12 might not be as sexy as the other well known anniversary years such as the spritely 10th or solid 20th or stealthy 50th or the elusive 100th! That said, there are many lovely things the number 12 represents. 12 signs in the zodiac, a beautiful dozen of your favorite flowers. And hello? Two favorites in my household: The 12-days of Christmas as well as the occasional Saturday morning treat; a dozen delicious donuts that I may or may not partake in.

I’ll leave that to your imagination to figure it out.

For more q&a’s, go to: www.rebecca-stay.com/blog

Bio: 

Lizzy Weiss created and executive produced Switched at Birth, which ran on Freeform for over 100 episodes and won the Peabody. She also wrote the surf girl flick Blue Crush, and ran Sorry For Your Loss on Facebook. Currently, she is running a show on Hallmark, which is awaiting a season two pick-up, so she isn’t technically supposed to mention it but she has faith in it so she is! She lives in Los Angeles with her husband, two kids, and her Boxer, Dolly. 

 

ADVICE, Interview, People

Mission: Impossible: Cracking Down on Erik Jendresen’s Fundamentals of Writing

|Erik.Jendresen|

Erik is probably best known for his extraordinary stewardship on HBO’s critically acclaimed and award-winning miniseries, Band of Brothers, but most recently he was brought on board to help co-write the much anticipated Mission: Impossible 7 & 8 films.  How exhilarating to get that call?  You have a mission if you choose to except… and no spoiler alert here.  He accepted.

There are not many people in this life that I’m charmed by, especially when I’m called “Fucking Rebecca!” right out of the gate.  I received this strange little nickname from Erik a lifetime ago while I was head of TV development for Ventanarosa, Salma Hayek’s company.  She and her producing partner, Jose (Pepe) Tamez  had an overall deal at ABC and we worked together on a TV project called WICKED, based on the book by Gregory Maguire — mostly known for the wildly successful stage production of the same name.  I quickly realized F.R. was a term of endearment and well, it’s been my favorite ever since.

Erik is one of those writers that you rarely question.  He has an unwavering confidence and authority when you’re speaking to him about things he has a passion for.  His intuitive discernment and humor have served him well and I could not be more thrilled to share his thoughts on writing, his creative road and incredible knowledge on the fundamentals of writing.

RS: Using a logline, tell me who Erik Jendresen is…

EJ: A youth determined to be a marine biologist finds inspiration in a high school English class and chooses to follow his heart, instead of his head because it is only with the heart that one can see rightly; what is essential is invisible to the eye, and the only thing better than lives well-and-boldly-lived, are the stories that we tell about them.

RS: What screenplay did you read where you thought, “I need to write in this form”?

EJ: I never read a screenplay before I wrote one.  Screenplays are frequently painful to read – and through no fault of the screenwriter.  A screenplay is the most clumsy of literary forms, because the screenwriter is representing something on paper that is intended to be experienced on celluloid – an entirely different medium.

A screenplay is a description of the experience of a story that is meant to be seen and heard and felt – not read.  I’ve spent decades trying to refine the document that is a screenplay into some semblance of a persuasive and honest form.

Watching Casablanca, To Have and Have Not, The Maltese Falcon, Treasure of the Sierra Madre and The Man Who Would Be King, however, made me need to write screenplays.

RS: Do you remember the very first thing you ever wrote?

EJ: Yes.  I wrote it when I was twenty and it’s about to made into a motion picture.  I’m 63.

RS: I’m thrilled that you’re a part of the next two Mission: Impossible films.  I’m sure you’re sworn to secrecy, so I’ll just ask you this: Which character do you most relate to and why?

EJ: The Mission: Impossible franchise presents the most meta experience imaginable for a writer: The writing of a “next” M:I film is, essentially, and by definition, a mission impossible.  How to transcend the previous films?  How to deliver a story that will thrill and move an audience – and satisfy the expectant spectacle in a manner that is honest and serves the characters – while knowing that the stakes are pitched on the summit of Everest – they can’t get any higher. 

As a writer, you must be Ethan Hunt – able to make the instinctive, spur-of-the-moment choices critical to ensuring the safety and satisfaction of the world (the audience). 

The thing that I believe distinguishes this franchise from many other action/thriller franchises is its heart.  We care about the IMF team and we care about their caring for each other – while willing to risk their lives for the greater good. 

As a writer, my mission, and I chose to accept it, was to work with a dear friend (Christopher McQuarrie) to try to tell a story that is terrifyingly relevant, in a manner that will wildly entertain, provoke people to think about the now and the next, and push the limits of performance and cinema itself to a new place.  I hope that we have succeeded.

It’s always and only about serving the characters and their apotheosis.

RS: Do you prefer adapting material or working on a seedling that comes from your core?  Why?

EJ: I love adapting material.  The harder it is properly to serve a story on film, the better.  To take an author’s vision – or a true story – and deliver it in an unforgettable way – with pure purpose and impeccable intent – is a challenge that I truly relish.  Translating another storyteller’s work into another medium is also an enormous responsibility that I gladly and gratefully assume.

RS: I know from experience working with you that you do a ton of research when adapting material.  How do extract the best bits from the research and how do you keep yourself from being swallowed up by it all?  Are there any tricks of the trade you can share that would benefit emerging writers that are about to go down the research rabbit hole?

EJ: In 1897 Mark Twain released Following the Equator: A Journey Around the World and in it lies his assertion that, “Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn’t.”

And that’s the crux of it.  The most gifted writer cannot possibly conceive anything as wondrous and terrible as the truths that humankind has wrought.  Truth is a treasure trove.

And here’s the thing.  Two people go down a rabbit hole: One is an historian, one is a dramatist.  They uncover the same facts, but the historian is constrained by academic strictures, and may only make conservative conclusions regarding what is true and what is conjecture.  The dramatist is unleashed and able to see and to feel and to make connections and inferences based on human behavior and feelings.  I firmly believe that a dramatist is able to recreate history more reliably than an historian, on account of this freedom and grounding in a familiarity with human behavior.

Go face-first down the rabbit hole.  Savor the strange.  And if the truth is inconvenient to your narrative, make that a good thing. Embrace the inconvenience.  It will individuate your story from the conventional and elevate your film from the rest.

RS: What makes a scene great?

EJ: It surprises the audience with emotion.  It causes them to feel.

RS: How do you help writers navigate a scene or get under the character’s intentions and motivations — to help them elevate dialogue?

EJ: This is a sensitive subject, and I’m not sure about it.  I suspect that I believe that one has an ear for dialogue, or one doesn’t.  It’s like having an ear for music (and I don’t).  In any event, dialogue must be specific to character.

Real people are rarely expository, and less is generally more.  Let’s leave it at that.

RS: Who was your best friend growing up and what did you love about their friendship?

EJ: In general, I was my own best friend growing up.  I spent most of my time in the woods with my dog, and on a sailboat.  For three years of elementary school and two of middle school, Fred Dekker (Night of the Creeps, Monster Squad) and I were best pals. 

Then we went to different high schools.  Fred was a year older, a grade above, and one of the most genetically creative people I’ve ever met.  He introduced me to classic horror films (Universal) and Ray Harryhausen (an American-British animator and special effects creator).  His passion for cinema was infectious.  We made 8mm movies in his back yard and in an old rock quarry in the woods and made midnight expeditions to a cemetery a couple of miles from his house.  We’re still in touch.

And I would add that Sherlock Holmes and Dr. Watson; D’Artagnan, Athos, Aramis and Porthos; and Professor Challenger were best friends. In my teens, Philip Marlowe and I spent a lot of time together.

RS: What are the benefits of working with a star of any project? (Besides the obvious.) 

EJ: It depends on the star.  Among those in my personal planetarium, I’ve been fortunate to work with Hanks, Redford, and Cruise – all on multiple projects.  Those gentlemen share a strength of character and integrity – an idealism and a work ethic – that is hard to match.  Their decades of experience are shared freely and without conceit, and their ability to get films made and protect the creative vision of their projects is extraordinary.  They are true collaborators.

RS: Marathoners hit walls around the 20 mile mark of a race.  As a writer, do you ever experience blocks and if so, how do you get yourself out of them?

EJ: Writer’s block is a crock of shit.  It’s nothing more than the spirit-that-moves-through-all things telling you that you’ve fucked up somewhere – that you might be forcing something on your characters that you want, but they don’t, or that you might be forcing on your story something that the story is rejecting.  That said…

Hemingway wrote that you never walk away from your work when it’s going poorly, because you’ll just be coming back to a problem.  I’ve taken that to heart, and it’s helped me enormously. 

If ever I find myself stuck or stopped in a scene or a sequence, I simply leave it alone and start to work on another scene that I know for certain will be in the film. 

In other words, I might find myself stymied by something in the first act.  Rather than call it a day and leave the problem for tomorrow, I’ll look ahead and commence to write a scene that might be in the second act – or even the third – but is critical to the story. 

I make sure that whenever I end my writing day, I’m on fire.  Sometimes, I’ll intentionally walk away when I’m doing my best work, just to ensure that when I come back to it, it’s already working.

And, frequently… when I revisit that stuck place in the first act… holy smokes!  By virtue of the scene I jumped ahead to, the problem scene is solved.

Never stop writing when you’re stuck.  Always end your writing day with a scene that’s working, no matter where it might come in your story.

RS: I know you live on a boat (or at least live on one part of the time).  What’s soothing about living on the water?  How does it feed your soul?

EJ: The surface of the sea is quite literally the space between two worlds – the world we inhabit and with which we are familiar, and the world that lies beneath.  One can only experience the wonders beneath if one goes there intentionally.  Choosing to live in the space between things is a powerful notion – between the conscious and the unconscious, between waking and dreaming.

When you sail, you move with the wind, with one wing in the air and one wing (the keel) in that other world.  It’s magical.  When you live on a boat you are floating on a metaphor that flows and fluxes with the phases of the moon.  That, and the subtle – barely perceptible – movement of the floor on which you stand (when in harbor) just makes me happy. 

Nothing in nature is truly stable, and I relish not being grounded.

RS: As an advisor at the Sundance Screenwriter’s Lab, what’s the hardest aspect of advising?  What’s the most joyful part of it?

EJ: The final breakfast is hard.  Everything else about the Lab is unabashedly joyful.  The Lab is a singularity.  It’s going to Asgard for five days to commune with the creative principle.

RS: How do you help writers get out of their own way, shake up their process?

EJ: I like to shame them first, then show them everything that’s amazing about the potential that they’ve already created and then denied by trying to force their characters to behave in ways they wouldn’t. 

Less experienced writers (and some real veterans) tend to write toward an end rather than create a promise-filled beginning and let their characters guide the way.

RS: What makes a character great?

EJ: Honesty.  And by that, I mean they behave in a manner that is true to who they are and whence they came.  That’s why villains and heroes both can be great characters.

RS: Do you consider yourself a risk taker?  What is the scariest thing (in your life) that you’ve tackled?

EJ: Definitely.  If there’s no risk, there’s no point.  As for the scariest thing… I’m still looking for it.

RS: Is there a genre you’re dying to immerse yourself in?

EJ: No.  I’ve been fortunate to have submerged myself in all of the genres that invigorate me, and my sock drawer – like the sock drawers of most of my pals – is filled with camera-ready scripts that are unproduced solely on account of studio regime change.

RS: What would you consider your strength as a writer?  What is your Achille’s Heel?

EJ: My greatest strength is that I genuinely love writing itself.  My Achilles Heel is that I genuinely love writing itself.

RS: You began as a playwright.  Was it a hard transition from writing plays to the screen?  What was both easy and difficult for you to master?

EJ: Plays and screenplays are simply completely different media.  They are barely related.  One is kinetic and live and utterly organic and suffers no short-cuts and allows the audience to look wherever they care to and recreates itself with every performance.  The other is kinetic and photographed and consciously manipulated – a guided experience through the lens of a camera placed where the filmmaker chooses – and preserved forever.

That said, playwriting is a crucible for truth-in-character and scene structure and there can be nothing phony about the interaction between characters on stage (unless that’s what the scene is about).  So, playwriting is the ultimate tutorial for scene craft in screenplays.

RS: Worst and Best advice you ever received?

EJ: The worst was when I once advised myself to help a friend who had been an agent and then started a production company and wanted to be a director.  I rewrote a couple of other people’s horror scripts for him, then handed him an original neo-noir of mine.  The first two intentionally direct-to-video films were meh.  The third film – the original one – turned into an unwatchable abomination. 

It turned out he wasn’t trying to make films for the right reason, and our friendship was negotiable.  He was just using me to reinvent himself.

The best was when I advised myself never to let that happen again.

RS: Advice you wish you were given first starting out?

EJ: The bar at Musso & Frank is the best place to enjoy a martini and a steak by yourself.

RS: Are you superstitious when it comes to your writing process?  Is there anything you do or don’t do before you get started?

EJ: I never write the title page until I’ve typed, “The End.”

RS: Are you a sunrise or sunset kind of guy?

EJ: Sunrise.  When you’re fresh from unconsciousness it’s easier not to let the mundane get in the way.

RS: What’s one of the best lessons your daughter has taught you?

EJ: When she was three years-old we were driving down the road and she was staring out the passenger side window and just… murmuring.  I asked her, “What are you doing?” And she snapped her head around and said:

“Don’t interrupt me when I’m talking to myself!”

RS: What’s a phrase you tend to overuse?

EJ: “No. I won’t do a free producer’s pass.”

RS: Is there a conversation we need to be having in our industry that you don’t think we’ve yet approached?

EJ: We’re having it right now.  It’s being shouted from the picket lines.

RS: Do you think it’s harder to get anything sold with an oversaturated market and with so many outlets?  Or is it just different?

EJ: It’s not harder.  Astonishingly original, compelling work always sells.  Whether or not it gets made is a matter for the algorithm of the day and the perverse Darwinism of Hollywood.

RS: If writers (especially emerging writers) are not good at pitching, what advice can you give them?

EJ: Don’t pitch.  There’s nothing that you can do with someone who isn’t good at it.  Attach a non-writing producer to the project who can deliver the vim and vigor and passion that every pitch needs.

RS: How do you reset when feeling overwhelmed?

EJ: Why would you want to? 

Overwhelm is rocket fuel.

RS: Best gift you ever received?

EJ: When I was six years old, my father – who was a scientist – told me that whatever I ended up doing with my life, I should wake up every morning and feel as though I was getting away with something – that going to work meant that there was no place I’d rather be.

RS: Describe your most rewarding writing experience and what made it so?

EJ: I can’t.  I can’t rank them.  Every one of them has a special place in my heart.

That said, Band of Brothers stands apart on account of the fact that it aired just in time for many gentlemen of the Greatest Generation to use it as a frame of reference to be able to tell their families – for the first and only time – what they did in World War Two.  For that, I am eternally grateful.

RS: What was the last film or TV series you watched that you would recommend to emerging writers – as an example of great writing?

EJ: I’m just now getting around to Barry, which I think is wonderful. Breaking Bad and Better Call Saul are impeccable.  I think Slow Horses is a real contender.  And it’s hard to beat The Dick Van Dyke Show and Fawlty Towers.

RS: If you could only bring one book, one piece of music, one movie or TV show to a deserted island, what would they be?

EJ: Moby Dick, “Samba de Orfeu” by Luiz Bonfa, Planet Earth.

RS: What question do you wish I would have asked:

EJ: “Two spaces, or one, after a period?”

(Answer: Two.)

RS: What is one you’re glad I didn’t?

EJ: “Who are you wearing?”

There you have it.  Gems from the Extraordinary Erik J.

For more Q&A’s:  https://rebecca-stay.com/blog

Bio: 

As co-creator, lead writer, and supervising producer of Band of Brothers for HBO in 2001, Erik Jendresen was one of the recipients of that year’s Golden Globe and Emmy Award for Outstanding Miniseries.  As a writer, producer, and showrunner for television, his current and favorite former projects include a Dashiell Hammett series for WBTV; a series based on the Francis Ford Coppola film, The Conversation; The Pony Express (with Robert Duvall); The 43, a limited series about WWII British ex-servicemen fighting fascism on their home soil; A Slave in the White House, a limited series about James Madison’s relationship with Paul Jennings; Castner’s Cutthroats, a limited series about the Battle of the Aleutians; No Man’s Land, a limited series about the war to end all war; Shot All to Hell, a limited series about the James-Younger Gang; Wicked, a limited series adaptation of the novel by Gregory Maguire; and Killing Lincoln for the National Geographic Channel.

As a writer/producer for film, his current projects include Mission: Impossible 7 & 8 (with Christopher McQuarrie); Sicario 3; Broadsword (the story of an S.O.E. operation in WWII); The Mariner (directed by Christopher McQuarrie); Saint-Ex (the story of Antoine de Saint-Exupéry); Aloft (based on the book, On the Wing by Alan Tennant), La Légion – a film about the French Foreign Legion in 1954; The Windsor Knot, a mystery thriller about the son of Sherlock Holmes; and The Tracker (based on the book by Tom Brown, Jr.).

He lives on a 118-year-old Dutch former-naval vessel (a veteran of Dunkirk) in Sausalito, California and on the Catawba River, North Carolina with his wife, psychotherapist Venus Bobis.

He is an advisor for the Sundance Screenwriters Lab.

 

 

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