Tag: TV Writing

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

Writers, Michael Gans & Richard Register: All Things Creative

Brooks and Reiner

Abbott and Costello

Martin and Lewis

Rosencrantz and Guildenstern

Troy and Abed

And then there’s…

|Gans&Register|

Rolls perfectly off the tongue, doesn’t it?

I know what you might be thinking, “Wow. High bar for two people I’ve never heard of before.”

I know. I’m comparing them to some pretty epic legends because with all of these examples, there is a yin to their yang. For me, they share a space and energy that lies within these greats. They’re passionate about what they do and when you’re in a room with G&R, that passion is contagious. Many a writer rooms and development execs would agree with me that there is something magical about them.

I first met this dynamic duo when I did a friend a favor and took them out to dinner when they came to L.A. (from NY) for a tour of general meetings. The dinner turned out to be the meal of all meals. My Dinner with Andre comes to mind. Several hours later it was solidified: We were headed toward a long lasting friendship.

CUT TO:  two + decades later.

During dinner, they expressed an interest in segueing into live action. I told them about a film I had seen and how I wanted to develop a version of it as a TV show. Not long after, they came back to me with a take I absolutely fell in love with… We pitched it to UPN (now known as the CW) and ended up selling it. That’s how special they are… their FIRST TIME out of the gate, a sale was made. And that was just the beginning of our working relationship.

Between their experience in various mediums… stage, animation, tv… I thought G&R would feed us a colorful, engaging picture into all things creative and I was not disappointed.

RS: What made you both think you’d make good writing partners? 

MG: Who knows what makes us good writing partners? We have similar esthetics, but we bring different things to the table.

On Partnership:

We will beat each other to death in the quest for the most truthful version of the story. And the truth is apparent to both of us once it rears its head.

We are willing to really argue until we find the truth and over the course of our years together, neither one of us has actually ended up taking offense to anything that happened during that fight – and that’s what makes us good partners. We will beat each other to death in the quest for the most truthful version of the story.

RR: Right. And the truth is apparent to both of us once it rears its head.

RS: Who approached who?

MG: I approached Richard three times. He doesn’t remember but it was three different times. I even left Broadway and took a job at an all-night, East Village greasy spoon that he worked at to make sure we worked together.

RS: Do you remember where you were when you had that first conversation? To be partners? 

MG: We were in Orlando…

RR: On the Fruitopia Tour…

MG: A cross-country tour paid for by a big soft drink company. The soft drink was disgusting – the money was excellent.

RR: We were at a place called THE PARLIAMENT HOUSE, a gay hotel in Orlando, on a comedy tour, but performing on and off together, not performing as a team all the time.

MG: They were blowing up buildings for LETHAL WEAPON 3 or something, nearby, in downtown Orlando, old buildings were being blown up and we could hear explosions in the distance and we were making up a comedy bit on the terraces of this weird gay motel, just for fun, and we said, “Oh, we’re having more fun and making more money on this tour than we’ve ever made before, we’ll probably make more money doing this together than apart. Let’s do that.”

RR: Right.

MG: We were wrong. They split a writing team’s salary in television and ever since then we’ve had to split a salary.

RS: How does your process work? Did you have to set up any rules with each other — to stave off any unnecessary conflicts?

MG: We probably should’ve, but no we did not set up any rules.

RR: No, we don’t have any rules, we just argue about everything.

Helpful, Pragmatic Rule:

The only rule we have, to dispel confusion with our other partners, is that one of us is the primary communicator for all calls and notes. That way we never send conflicting messages.

MG: The only rule we have, to dispel confusion with our other partners, is that one of us is the primary communicator for all calls and communications and notes. One person sends the emails and that is Richard. So, we talk it out, we decide what the communication will be, we compose it together but all responses and communication go through Richard’s email unless a unique situation arises. That way we never send conflicting messages.

RS: What was the hardest part to master — writing as a team?

MG: You have to respect the other person’s thoughts and you have to know that your brain is only as big as your partnership with other brains. Let’s say you’re Einstein smart, you’re only as smart as you are as Einstein. You have to take in other people’s theories to have a really big brain. Our ideas and our thoughts will be better by having other thoughts engage with ours. Not eschewing the other person’s point of view.

RR: So, the hardest part to master is realizing that.

RS: Who has the final say when it looks like you’re both adamant about a turn in story or have a strong POV when it comes to character or a world your building?

MG: The world has the final say. The truth of the material and the quality of the story or the joke has the final say.

RR: And we both know when we hit that.

MG: And there’s never a question. The question of how you become a good partner is you’re lucky.

RR: You’re very lucky.

MG: Because you don’t disagree on the truth. 

RR: Because the best thing always wins.

MG: We both agree on the thing by the end of the conversation and it’s surprisingly impossible to escape that.

RR: No one has final say.

RS: What’s the biggest conflict you’ve endured as a team and how did you work through it?

RR: That is on a need-to-know basis.

MG: Sorry… That’s in OUR book.

On keeping each other motivated:

Food is the thing. And the fear of becoming obsolete and no one knowing your name.

RS: How do you keep each other motivated?

MG: Food. Mostly food. Buying lunches, fancy dinners, expensive food… and well-cooked food.

RR: If we get together for food, then we’ll do it.

MG: Food is the thing. And the quality of work. And the fear of becoming obsolete and no one knowing your name.   

RS: Has there ever been a time when you’ve wanted to do solo projects — not break up as a team, but rather go solo on a thing or two you’re individually passionate about?

MG: All the time, but we work too much on Gans & Register stuff to ever have the opportunity to do anything else.

RS: Do you have a favorite genre? If so, what about it makes it your favorite?

MG: Shakespeare is probably both of our favorite.

RR: Oh yes. We adore Shakespeare.

MG: We both have a natural affinity for Shakespeare’s work and every incarnation of it is interesting to us. The diversity of the material is just fascinating, the variation in plot and storytelling, the humanity of the characters, the quality of work as regards to motivation and emotional reality is unparalleled… we both talk about it a lot.

RR: It always feeds us.

MG: Otherwise, Coen Brother’s, maybe? John Waters?

RR: Hitchcock? We don’t have a favorite anything…

MG: Tina Fey, Phoebe Waller-Bridge.

RR: We love everything. If it’s good it’s good. Whatever genre it is.

RS: If you had to choose a medium for eternity, what would you choose? Theatre? TV? Film?

MG: We would choose not to choose. I hate that question because I think the misery of my life is that I did choose and I hate it. Honest. That’s the honest answer. I don’t hate television but I hate that I’m only doing television.

RR: Yes. We hate that we’re only doing television.

MG: I don’t believe in choosing a medium.

RR: Personally, if I had nothing else, I would rather do theatre for the rest of my life.

MG: I would like to do theatre, I just hate that I don’t do all of it.

RR: Yes. We love all of it.

RS: What’s a show you wish you’d created?

RR: VEEP. 30 ROCK.

MG: I definitely wish that I’d created FLEABAG. Um… SATURDAY NIGHT LIVE, honestly…

RR: Drama… as far as hour long… I don’t know…

MG: Well, GAME OF THRONES. And SOPRANOS is remarkable television. And I would have loved to have created that because I’m from Jersey so that has a lot of meaning to me. I wish that I had created all the brilliant television shows that we have created but were never made. I wish that someone would just wake up to the fact that the best television is in our computers.

RR: We have several pilots that are the best television ever made.

RS: What did you learn when on a writing staff that in turn then helped you when it was your time to run a room?

MG: Uh, so much it’s nearly impossible to talk about, but mostly consciousness of the final story. How to marry storylines together into one episode. How to think of them individually and then marry them together. There’s a very particular pattern where you find the A, B and C story, the runner, then take the A story as your lead.

Most important lesson(s) in a writer’s room:

How to marry storylines together into one episode, how to be generous to other writers and how to perpetually feed creativity.

How many days does it take for the A story to happen in the course of your episode? If it’s a two-day story then everything else has to be submissive to that. The rest of the stories have to fit into that period of time. If it’s one night A-story, all of it has to fit into one night and if it doesn’t you have to sacrifice it. Everything is submissive to the most powerful storyline and that is the A storyline. And that’s what I learned in rooms.

RR: Yes. That’s very true.

MG: And how to be generous to the other writers. How to open people up and get them talking. Most importantly how to make people not be afraid but to feel excited.

RR: How to perpetually feed creativity.

RS: If you didn’t write, what would you do? And would you do it as a team or go your own way?

MG: That question is impossible to answer. If I thought about it I would just be sad and crying about it for hours and hours. 

RR: We would be actors.

MG: We would be poor.

RS: Have you had mentors and if so, what was your favorite piece of advice? 

MG: Greer Shephard was a great mentor of ours and the great piece of advice she had for us was the element of zeitgeist – to be conscious of how to take your story from the world and then be conscious of its meaning in the context of the zeitgeist. Listen to the world and be conscious of the world while you’re telling your story.

On Favorite Pieces of Advice:

Trust your instincts. Be conscious of the zeitgiest. Be efficient and practical in the writing, but also emotionally connected. Listen.

If I said that to her she’d say, “What are you talking about? I never said that.” But while working with her, we found that. While working with her and with you, Rebecca Stay.

RR: Yes. It was Greer and Rebecca.

MG: And also, Alana Sanko, while we were working on SPY GROOVE, the first show we created, Alana said a lot of wise things to us, among them was this, “Trust yourselves. Trust your instincts. You’re good.” And “Don’t show your hand in the early drafts.”

Also, Emily Whitesell, on SIREN. She was very efficient and practical about the story building process, but you also felt she was emotionally connected to the show, the characters and their stories. So, there was this perfect, passionate connection to the show and an ability to be critical and pick on stories without it being personal. And that’s very important.

Actually, we have had nothing but mentors. There are DPs that have been mentors to us, showrunners, directors, other writers, actors who educated us on things. The entire business has been a mentor to us.

RR: That’s one thing I really love about television in particular is that there is a tradition of mentoring.

MG: Also, you really just need to listen. Listen to the people you work with from the grip to the makeup trailer, to actor to movie star to DP to director – you will learn a lot from all of them. You need to constantly listen forever and ever.

RS: What piece of advice would you tell those just starting out? (Especially those that work with a partner). 

MG: Recognize that you are very lucky to have found a partner to work with.

RR: Yes. If you’ve found a partner, that’s lightning in a bottle.

MG: And if it doesn’t work? Do not waste any time.

RR: Yeah. Don’t do it.

MG: If you’re having to make it work or you’re dishonest to that other person… if the meeting of the minds is not entirely honest when it comes to the writing then there’s no reason to do it. You should maintain perfect honesty if you’re working with a partner – not just someone you’re doing a script with – but someone you’re going to partner up with, you have to be honest about the art. You don’t have to agree, but you have to be honest.

RS: We’re working in a very over-saturated market, which makes it much harder to break through and sell. Do you feel optimistic as far as where we’re headed in the industry or frustratingly challenged or inspired by the challenge? 

MG: Uh… all the above.

RR: There’s so much more content in the industry currently so there seems like there’s so much more opportunity, which there is to a degree, and that’s very inspiring in some ways, but it seems like it’s trickier to sell a show these days.

MG: I think it’s scarier for executives to make a choice because of the great behemoth amount of content which is so varied. There are tiny successes, huge successes, niche successes, all genres happening on all platforms in all seasons. I think it’s harder for them to really stick with what they want personally because they are told to buy a different trend of thing every five weeks. So, that’s a bit daunting.

RR: The type of content that is out there today, the diversity, that’s amazing. Better than it’s ever been in television.

RS: If you could have an honest conversation with a TV executive, what questions are you dying to ask? 

RR: Why are you doing this? How do you find purpose?

MG: Can’t you just find some money and say yes? The question is: Are you compelled to lie or are you telling the truth with regard to projects you pass on?

RR: Just kidding, we would ask, “What do you need?”

MG: Every executive is different so there is no burning question that we would ask them all. We don’t look at executives as mysterious figures that we struggle to understand.

RR: We look at them as partners.

RS: One of my favorite things you’ve created, was taking Kevin Williamson’s cult fave film (or is it “iconic”?), SCREAM, and making it into an unauthorized musical, which then led to the two of you becoming showrunners on the actual tv show. What inspired the two of you to do this? 

MG: The two projects are not connected. One was not responsible for the other. But we have a passion and a great knowledge of the original movie which benefitted us in both projects. MTV and The Weinstein Company didn’t even know that we had done the musical version of SCREAM when they called us in to do the TV series. They called us in off of our television credits. We told them we had created a musical version and they thought we were crazy people.

But our engagement with the property of SCREAM began when we were working as a comedy duo in NYC. Someone said we should see this movie because it seemed like something we would write. We loved scary movies, so we went to see it and realized that the characters and the structure were laid out just like in the classic musical, OKLAHOMA. The characters fit into a musical paradigm and the movie itself was well scored and it lent itself to platforms for musical numbers.

There was an ability to place a number where it belonged in the classic structure of a musical and you could look at it and say Sidney is Laurie, Billy is Curley, Tatum is Ado Annie and she fits the character of Ado Annie. They all fit their counterparts in OKLAHOMA. Stu is Will and Randy is Alley Hackim, Gale Weathers is Aunt Eller and Dewey is Ike Skidmore. And then there’s a chorus because it takes place at a high school town.

RR: The emotional stakes are big – big enough to sing about.

MG: The structure of the plot supports song placement. Song placement is what makes a good musical. Looking at that movie we saw that it had the perfect emotional structure for becoming a musical. We had approached the Weinstein Company to do a musical version of it on Broadway many years ago but then the company flew into pieces and changed names… but that was years before we did SCREAM: The Unauthorized Musical Parody. So, by the time (we were) approached to do something we already had SCREAM all worked out.

RR: There was actually a time when we were working on SCREAM the TV show during the day and performing SCREAM the musical at night.

RS: Do you ever think of creating a podcast? If so, would it be fiction or non-fiction? What would it be about? 

MG: We constantly think of creating a podcast and in the fiction category. We’d probably do a murder show. Or an artificial history show where you tell the history of something but it’s a complete lie. It would sound like the real history of President Truman but it’s not at all true.

RR: There’s a couple pilots that we think we should just turn into radio play/podcasts.

RS: Where would the ideal place be for a writer’s retreat?

RR: La Quinta resort in La Quinta, CA.

MG: It’s where Frank Capra used to go to write. It’s been a great retreat for Hollywood people to go and write. It’s a very weird and old school, Palm Springs kind of place with private pools and the rooms are like you are at your grandmother’s house but it has FANTASTIC restaurants.  

RS: If you could choose to live anywhere in the world, where would it be and why?

MG: New Jersey, because it has many beautiful houses and a beach. 

RR: I have a fantasy of retiring to Puerto Vallarta, but I’ve never even been there. I mean I’d love to live in Paris. I’d love to live in a lot of places.

RS: Share your favorite quote. 

RR: Well, there are so many quotes…

Michael’s Favorite Quote:

Illegitimi non carborundum: “Don’t let the bastards grind you down.”

MG: “Illegitimi non carborundum.” It means, “Don’t let the bastards grind you down.” My husband was in a play called DIRTY BLONDE, written by Claudia Shear and I loved this line. It’s mock Latin, but it hits the mark and I always quote it to myself.

RR: I mean I’ve always loved, “Sometimes there’s god… so quickly” from A STREETCAR NAMED DESIRE.”

MG: You are such an interesting person because that is the ramblings of an insane person.

RR: It’s an amazing quote.

MG: It’s an amazing quote but she’s out of her mind …

Richard’s Favorite Quote:

Shakespeare’s Ophelia: “Oh, woe is me to have seen what I have seen… see what I see.”

RR: Yeah, she’s out of her mind. There’s 8,000 Shakespeare quotes but one that always comes to mind as one of my favorites – because it’s so fucking simple – is when Ophelia says, “Oh, woe is me to have seen what I have seen… see what I see.”

MG: And, this two-character exchange, but from MACBETH; Macbeth asks, “And if we fail?” and Lady Macbeth responds, “We fail…” The simpler shit is what we love the most.

RS: Favorite foreign film and why?

MG: MY MOTHER’S CASTLE, a Marcel Pagnol story… because it’s nostalgic and it’s a long beautiful story about love and respect. Also, because it’s a movie I went to see with my husband when we first got together. It’s very important to me.

RR: Again. So many. I mean we love the 80s, French film MENAGE. I also love an old Almodovar film, MATADOR because when I saw it, it was so insane that it blew my brain apart. I adored it to no end.

RS: If someone asked you to do a TikTok video, what would you be tempted to do?

MG: An old simultaneous talking bit we used to do as comedians. Our act falls apart before your eyes and we begin a huge argument and before you know it we are yelling at each other and saying exactly the same thing at the top of our lungs in perfect unison.

RR: Yeah, we can’t get out of talking simultaneously.  

RS: The motto you live by is…?

MG: Yeah… we need mottos. (to RR) I mean you kind of have a “I don’t give a shit what you think” thing that you live by.

RR: I kind of do… to degrees. Your motto is… you always look for the real part of somebody.

MG: Yes. I want the truth. That’s my motto. My motto is “I want the truth of any given circumstance.” I don’t want a lie and I don’t want a fancy story. I don’t care how pretty you make a story, I want to know the truth. In life. I want the honest circumstance from an honest person. So, I would say… “Give me the truth or shut up.”

RS: If/When it’s time to retire, do you think you’d continue to talk every day? What would you miss about the other?

MG: We’d definitely talk every day.

RR: If we’re not writing, we’ll still be hanging out and…

MG: Yeah… it’s not going to end.  

RS: What’s next for Gans & Register? 

MG: We’re in the middle of developing several projects. We’d like to do a stage show again.

RR: We’d love to do a stage show again. But we have three TV things in development.

MG: There’s a really cool murder-mystery-musical thing we developed with Mila Kunis and Adam Shankman, a crime story told out of sequence that we really love and we’d really love to do that particular show. That’s really cool.

And there you have it. The grand and rambunctious duo, Gans and Register. I’m hoping to work with them again one day in the not too distant future. Maybe a remake of the film, Withnail and I or their version of Rosencrantz and Guildenstern.

I’ve planted two seeds, G&R — now off you go to mull away.

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

Bio: 

MICHAEL GANS and RICHARD REGISTER are Creator/EP Showrunners in TV and Writer, Director, Performers in theater. They started their career as a comedy duo act during the NYC alternative comedy wave in the late 90s. They are best known for their EP/Showrunning stint on SCREAM: THE TV SERIES, Season 2 (MTV), as EPs on SIREN (HULU/FREEFORM) and Writers on MAKE IT OR BREAK IT and RECOVERY ROAD (ABC Family). Their television careers started at MTV Animation as creators and many voices of SPY GROOVE and as writers for CELEBRITY DEATHMATCH. Their first live-action, hour long drama was as Creators on SEX, LOVE AND SECRETS (UPN). They have sold over 17 television pilots all to major studios.

 

ADVICE, Interview, People1 Comment

TV Showrunner, Sheryl J. Anderson

|Sheryl J. Anderson|

Sheryl J. Anderson is the Showrunner on the Netflix series, Sweet Magnolias. The streamer categorizes the beloved show as “Heartfelt, emotional, and feel good.” It’s a type of show we all seem to be craving these days.

Sheryl is one classy dame. I’ve had the good fortune to develop with her and she’s all the things you hope for: Collaborative, smart, creative, respectful and more than delightful.

And now with three seasons under her Netflix belt, she teased us with new development, how to pitch and where she’s headed on her next vacation.

RS: When was the moment you knew you could write for a living? 

SA: I felt that way briefly last week. I hope to feel that way again in another week or two.

RS: Did you come into the industry with any connections or did you initially fly blind?

SA: A friend of mine from college had come out here a couple of years before I did. She was my guide, but we were both learning as we went.

RS: Do you have a favorite mentor? If so, who and why are they (amongst) your favorite?

SA: I didn’t have a writing mentor (which is why I mentor now), but my first bosses in television were Rob Kaplan and Grant Tinker. They led by example, and taught me that being good to people encourages them to do their best work. And Grant said, “Hire the best people, then get out of their way,” which I try to do to this day.

Hire the best people, then get out of their way.

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

SA: The best advice: See Grant Tinker, above. The worst advice: “It won’t bump them.” It always does.

RS: Describe some writer-y pet peeves you have.

SA: I insist on good grammar, proofreading, and the Oxford comma. I also believe “that” should be used only when absolutely necessary.

RS: When first working on a project, how do you begin your process? 

SA: It varies, but most of the time, it’s some variation on “What if…?” “What if I were in this situation?” “What if this character and this character were in conflict?” I like to identify the central conflict and the core characters as soon as possible, though I know there’s an excellent chance all of that will shift as I dig more deeply.

RS: What would you consider your strengths as a writer? What do you struggle with?

SA: I believe characters and dialogue are my strengths. My producing director recently complimented me on the musicality of my writing, and I cherish that. My biggest struggle is with the opening scene of a new script; with apologies to William Carlos Williams, so much depends on that first line from that first character in that first scene.

RS: On your show, how have you moved the needle when it comes to diversity – in front of and behind the camera?

SA: In my first discussions with my fellow executive producers on Sweet Magnolias, I told them I was committed to a diverse cast; they agreed. So when we were hiring behind the camera, I again emphasized seeking out diverse candidates and, in particular, advocated for female department heads.

RS: More times than not, do you feel the pressure to take studio or network notes literally or are you at a place in your career where you feel trusted to hear the spirit of the note?

SA: I am at a place in my career where experience has taught me there is often “a note behind the note,” and I’ll ask more questions until I’m clear on the true meaning of the note.

On Executive’s Notes: There is often a note behind the note.

Then I’m better positioned to offer the options I have to address it. One of the things I love most about working with our executives at Netflix is their willingness to discuss notes and to listen meaningfully to my concerns in return.

RS: What’s the hardest note to receive from an executive? 

SA: “This doesn’t work for me.” Specific feedback leads to quicker, better resolutions of the places where we aren’t in sync.

RS: We’ve all had bad experiences at one time or another. What is one that you were able to spin into a positive? 

SA: I’ve been on toxic shows where I met remarkable people and learned a lot about how not to run a show.

RS: What did DAY ONE in the writer’s room of Sweet Magnolias look like? How different do these days look – from the start of production on S1 to S2.

SA: I think we got more goodies on Day One of Season One. Otherwise, the beginning of both seasons was a week or so of talking through stories we’d like to tell in the course of the season and how those stories might arc out. Lots of blue skies and broad strokes before we dove into specific breaks.

RS: For staffing, are you looking at the writer as a whole, or are you looking to assemble a room where the writers complement each other’s strengths?  I.E. One is great with story, one with character, one with dialogue?

SA: I look at the writer as a whole, because they are going to be responsible for an entire draft. Sure, some people have noticeable strengths, but I’m looking for well-rounded people whose samples feature memorable characters in emotionally dynamic stories.

On Staffing: I look at the writer as a whole, because they are going to be responsible for an entire draft.

RS: Are all of the writers the original staff or did you have to make adjustments?

SA: Two writers from Season 1 moved to other projects between seasons, so I hired two new writers for Season 2 (for a room of four writers plus me).

RS: When do you know a writer isn’t a good fit on a show you’re running? What are the signs? 

SA: I don’t like naysayers: I tell my writers they can’t say “no” to someone else’s pitch unless they have a fix for the problem. I don’t like lecturers – the writers who feel they must stop the momentum to “teach” everyone something. And, obviously, missing deadlines is a huge problem.

RS: Communication is key when in production, but more times than not, people struggle with it. Have there been instances where you’ve struggled?

SA: If you never answer in the heat of the moment, communication tends to be clearer and more productive. It’s amazing what taking a deep breath and a short walk can do to temper an answer.

On communication: It’s amazing what taking a deep breath and a short walk can do to temper an answer.

It’s also important to let the other individual express the entirety of their concern before you jump in, cut them off, and try to “solve” a problem you may not fully understand yet.

RS: What do you enjoy more… being in a writer’s room or being on set? 

SA: You’re asking me whether I like being in the kitchen or in the dining room, when what I really like to do is eat. I love the room because of the thrill of creating something with people I adore and respect. I love the set because of the thrill of seeing that something be brought to life by people I adore and respect.

In either place, I am there to make sure people feel supported, inspired, and appreciated. My biggest responsibility is that everyone feel safe, heard, and respected, and to help fix the problem if they don’t (the mantra I share, in the room and on the set, the first day of every season).

RS: What are some hard lessons you learned early on in your career?

SA: I thought “the work will speak for itself.” It doesn’t. You have to stand up for your work – and for yourself.

I have also learned, less early on, a certain personality type will take politeness as a sign of weakness. So, again: You have to stand up for your work and for yourself.

“The work will speak for itself.” It doesn’t. You have to stand up for your work — and for yourself.

RS: You’ve written some mystery novels. Do you think you’ll ever adapt them for the screen? 

SA: I think about it from time to time. We’ll see.

RS: On Instagram, your “tag” is, “Showrunner, SWEET MAGNOLIAS (Netflix). Author of the Molly Forrester Mysteries. And some other stuff you haven’t heard about… yet.” So… what is “some other stuff” we haven’t heard yet? 

SA: I have a couple of projects in development, plus a swirl of spec ideas. I look forward to sharing them when it’s appropriate.

RS: If you had a vision board, what would be on it? 

SA: Costume and production sketches for my next show.

RS: Do you have a favorite spot to write (when in development mode)?

SA: My living room couch. (I sit at my desk when I’m in work mode, because I daydream less there: The chair is less comfortable than the couch.)

RS: When you are pitching/selling, do you have an instinct in regard to how much to include in a pitch? From too little to too much?

SA: I find that balance varies from producer to producer. I think I have good instincts, but I’m always ready to revise. The goal is to have the buyer lean in because their appetite is whetted, not push back from the table because they’re full and don’t want anymore.

On Pitching: The goal is to have the buyer lean in because their appetite is whetted, not push back from the table because they’re full and don’t want anymore.

RS: What’s your favorite genre to write in? 

Family drama – whether it’s framed in a procedural, the supernatural, or “everyday” life.

RS: Most embarrassing moment(s)… while pitching, on set, in writer’s room?

SA: I’ve either been extremely lucky or I’ve blocked them all out.

RS: What’s a favorite book that you wish you could or could have adapt(ed)?

SA: Now you’re asking me to reveal my development slate!

RS: Your ideal vacation?

SA: Traveling with my kids and my brother. We have a wish list ready for when the world opens back up; it ranges from the Bourbon Trail to our ancestral castle in Scotland, with loads of marvelous places in between.

There you  have it… tidbits and wisdom from the incredibly special Sheryl J. Anderson.

Look out for Season Two of Sweet Magnolias… coming in 2022.

For more like this one, go to: https://rebecca-stay.com/qa-with-tv-veteran-donald-todd-showrunner-and-creator-of-the-upcoming-netflix-show-florida-man

Bio: 

Sheryl J. Anderson is the showrunner of Sweet Magnolias, a romantic drama for Netflix that just wrapped production on Season Two, and has a variety of projects in development. She began her writing journey as a playwriting major at The College of William & Mary. Lured to Los Angeles by the intrigue of television and the promise of 300 sunny days a year, she worked as a television studio executive, screenwriter, and half-hour series writer (Parker Lewis Can’t Lose, Dave’s World). She then moved to writing and producing hour-long series, working on a wide range of series (Charmed, Flash Gordon, When Calls the Heart). She has sold pilots to Disney, SyFy, NBC, and Lifetime, and written movies for Hallmark, UPtv, and Lifetime.  Sheryl also teaches and mentors through a variety of universities and organizations.

 

 

 

 

ADVICE, Interview, People

The Casting Call: A One On One With Casting Director, Lisa Miller Katz

|lisa.miller.katz|

Pilot season is not for the faint of heart and if you’re a casting director, you’re right smack in the middle of the chaos. The pressure to deliver the best of the best in the midst of everyone battling for the same high caliber talent? Don’t get me started. You may have an idea as to what actors you have in mind for the role(s) in your show, but you have to be able to roll (pun intended) with the punches. Rarely do you get your first choice, sometimes not even your fourth, but take comfort in knowing that more times than not, you get who was meant for the part.

For as long as Lisa has been doing this job, you’d think she’d be cynical. Some CD’s have a reputation for turning a tad bitter, but not Lisa. She’s the opposite. She’s not only warm, calm, patient and professional, but she also has a genuine enthusiasm and passion for what she does.

Writers who are lucky enough to see their shows move forward have a grace period before the first table read — to see what’s working and what isn’t — just by going through the casting process. When actors come in to audition you’re hearing the scenes come to life. It’s helpful to hear what jokes are landing (or more importantly, what’s not landing). Are the emotional stakes present? Is there subtext in the scene? Are the character’s motivations clear? Lots of food for thought…

RS: How have you changed as a casting director from when you first began? What’s easier and what’s more difficult?  

LMK: The business has changed & evolved so many times since I started! Casting during Covid is easier because you can see more people than I ever could if we were able to have in-person auditions. A normal pre-read session day for me would cap out at probably 40, 50, 60 actors, but now we can ask more actors to self-tape, which allows us to consider a wider talent pool to put forth. Taping all pre-reads and producer sessions has helped streamline the casting process from top to bottom. Also, we can easily access prior auditions when we’re considering actors for other roles beyond what they initially read for, which is so rewarding to be able to remind a producer about someone who maybe wasn’t right for something they initially read for, but now considers them for this new role. Those are the aspects where the technology informs and impacts our job on a daily basis.

During Covid we’ve only been able to watch table reads/run thru’s via Zoom – the collective experience, with the entire cast & crew on the set, that’s what we’re missing terribly. I do miss being in the room and working with actors in person, to help with direction; give an actor multiple takes to find collectively our favorite take on the scene. I hope we’re back to that norm soon, it’s what I miss the most.

RS: When deciding on taking a casting job, what are you looking for in a script, in a project? 

LMK: As someone who primarily casts TV comedy, I really hope that the premise feels fresh, and that I find myself laughing out loud several times within the first ten pages or so. If there aren’t funny moments where I know talented actors can make us laugh during auditions, then I know that the casting process will become more challenging. If comedy for the character exists on the page initially, it’s then super fun to watch dozens of actors land the jokes; then the process becomes about finding the most interesting, fresh, unlikely, surprising talent.

If there’s not jokes for actors to land, that audition process becomes much more difficult

If there’s not jokes for actors to land, that audition process becomes much more difficult, and therefore much less fun for everyone involved. It’s also critical to know where this pilot is heading, especially if it’s for broadcast TV. Is it on brand with other similar shows or is there a time slot that seems to be a good match for the project? You want to know you’re working on a project that threads the needle in the right way.

RS: Before you begin every job, do you start with a strategy?

LMK: Yes: work with wonderful people who will be fun to sit with on a shitty couch for ten weeks looking for the funniest people we can find. Strategy isn’t always something that you can control during pilot season. Often it’s more triage than anything else. I do love the moment where the 100th actor comes through the door, (who comes in to read sides we all now know by heart), and reads a line in the freshest, funniest of ways – that’s gold. When that actor, within that moment, teaches me how the joke should have been read all along? That’s just my favorite moment ever.

RS: When casting, what is your definition of thinking outside of the box? 

LMK: I think it’s about surprise. A writer often writes a description of the character, but often it’s about what more can be learned when we’re chatting about the role. I like to ask who the writer had in mind when writing the script – their prototype – because it’s often a good starting point and can help open up the process for both of us. When I cast the pilot of EVERYBODY LOVES RAYMOND, Phil Rosenthal had written the Robert character to be modeled on Ray Romano’s real life brother, who was shy and on the shorter side, possibly rounder… and so we started the process heading in this direction, until I thought about Brad Garrett. I knew he wasn’t what Phil had in mind, but I knew Brad would be super funny, and happily he was.

Think outside of the box

That’s got to be the best example of outside the box really succeeding and also informing who that character was for nine seasons.

RS: What do the best crafted sides include? What do they need to entail? 

(Side Note: If you don’t know what “sides” are, they are scenes pulled from the script in order to use during auditions — the various roles — for the pilot and in series)

LMK: Together the writer and I can whittle down which scenes will make the strongest audition scenes. You want to be able to understand the character, learn about who they are within the story, and laugh while doing it. Hopefully, those pages exist within the script, so they’re easily pulled for actors to use. Scenes that are written only for audition purposes, which don’t come from the existing script, can sometimes feel less organic and natural in auditions. Everyone who is working on this pilot knows the script top to bottom, so a new scene (contextually) can be an added challenge.

RS: Dialogue notes are the hardest to give to a writer. Have you ever had to tell EP’s or Showrunners that the dialogue isn’t working? If so, how do you let them know?  

LMK: On my end it’s about comedy not hitting where it needs to. I’m happy to mention this if needed, but usually it’s evident to everyone in the room who is sitting through the same auditions together. If we’ve had several days sitting through casting sessions that were laugh free, it’s likely the other producers on the show will be the person to share this with the writer. And honestly, the writer probably knows this as well. It’s a group process, so there are lots of hands together stirring the same pot, and with the same goal.

RS: What does specificity look like for you?

LMK: Actors who bring their own unique qualities to the role. Someone who looks like a real person. Someone who is interesting and makes us all lean in and want to learn more about them. I love to open my door and see a waiting room filled with wonderfully varied actors. They’re going to all read the same scene – but I come away with loving a handful of auditions that surprised us. They found comedy where we didn’t think it existed before or showed us an “aha!” moment that was a lovely, unexpected button to the scene. Those are the moments of specificity that still give me chills.

Worth Repeating: Specificity IS key

RS: We tell writers to listen to their gut. Has yours ever betrayed you?

LMK: Sure. I’ve read a few pilot scripts that didn’t feel like the right choice or project for me at the time, that went on to be big hits. It’s all subjective, and you need to connect with the project as well as the writer and producers… on every level. What can you do, other than hope you’re in it for the long game. But you also have to listen to your gut for many other reasons as well, whether for good or for bad.

RS: Ok. Last question. What is your proudest moment as a Casting Director?

LMK: The pilot of Everybody Loves Raymond was 25 years ago at this point, and that show still makes me laugh like it did then. Same with King of Queens, which was now 23 years ago. The fact that these shows still air and so many people know and love them to this day is very rewarding. And I’ll always stop flipping when I run into Easy A. It’s wonderful that these projects remain so beloved by audiences and that makes me the happiest.

and there you have it. Sage words from the lovely Lisa Miller Katz.

If you enjoyed this post, you might like: https://rebecca-stay.com/the-importance-of-voice-from-writer-aadip-desais-perspective

LISA MILLER KATZ CREDITS:

TV: THE NEIGHBORHOOD, CAROL’S SECOND ACT, DUNCANVILLE, 24: LEGACY,
EVERYBODY LOVES RAYMOND, KING OF QUEENS, DON’T TRUST THE B**** IN APT. 23, THE LOOP

FILMS: EASY A, FRIENDS WITH BENEFITS, FIRED UP