Bigger Than Expected

Q. In a TV script, how would you introduce a character that only has a very small part in one episode (possibly with even no dialogue) yet you know that character will be returning later in the season in a big role? Should you drop a line into the script letting readers know that this will be someone important later on in the series? Or do you just treat that character like every other back ground character in the scene and instead remind the reader later on (in whichever script the character shows up again) that it is the same person as way back when?

If I'm on staff, I'd do it like this:

In walks JOE ROBERTS, 52, mournful cop eyes. (NOTE: HE'S ONSCREEN FOR ABOUT FIVE SECONDS HERE, BUT IN A COUPLE OF EPISODES WE'LL BE SEEING A LOT OF HIM.)

Because I want to make sure casting knows to put a great actor in this role.

A craftier way to do is to give the character some truly memorable lines of dialog, so that the reader (the network exec) and the audience wants to see more of her. Write the part for a star. Give a sense that there's more to that character's story; we're just not seeing it yet.

Of course on staff you don't always know that a bit part is going to become a great part. On CHARLIE JADE, we had problems with some parts where the guy who was cast earlier wasn't up to where the story needed to go with his character.

If you are not on staff -- well, then it doesn't really matter, because you can't control whether that character is coming back.

But what about when the character is coming back later in the script? You can do it one of two ways. You can make clear up front that this is a bigger character than you'd expect to see in a small part like that. You can even flag the character as I did up top.

Or, if you're Joss Whedon, you probably don't give us any warning at all, and the character reveals his true crunchiness in Act Three.

There is no canonical way to do it, because it depends on the effect you want to create. If you want the audience to guess that we'll be seeing more of the character, then hint to the reader. If you don't want them to, don't hint.

Then, when STRUNG-OUT COP shows up again later, and you give him a name, give him both names for a while: STRUNG OUT COP / SGT. FALCO.

Crafty Sheldon Turner Interview

THE DIALOGUE SERIES is a series of DVD interviews of famous screenwriters, focusing on their craft, instead of the usual war stories, hosted by New Line Cinema's former president, Mike de Luca. I checked out his interview with Sheldon Turner, recently nominated for the Oscar for UP IN THE AIR. Among the tidbits:

Sheldon Turner writes out every scene in prose before writing it in script format; that gives him a better feel for what's happening the scene.

He wrote a dozen screenplays before he sent any of them out.

He thinks you should never write more than two lines of action before skipping a line. Otherwise the eye just blips over the rest of the text.

He says directors often tell him they knew by page 12 they were going to do a project.

He finds that successful stars know how the audience wants to see them; if you can write to that, you're ahead of the game. In other words they generally do not want to play against type.

(I like to make a distinction between actors and stars. Actors play roles; stars play themselves in roles. Alec Guinness disappears into his roles. Marlon Brando could play a street thug or an upper class South African lawyer convincingly. Robert Redford plays Robert Redford really well. That said, even the greatest actors have their limitations. Robert De Niro can't play comedy. Dustin Hoffman can't play a leading man. And you generally play Robert De Niro to play threatening and Dustin Hoffman to play nervous.)

The Dialogue Series guys are offering you guys a 15% discount -- just use the discount code CRAFTY15.

THE DIALOGUE is a DVD series of 70-90 minute discussions in which more than two dozen top screenwriters share their work habits, methods and inspirations, secrets of the trade, business advice, and eye-opening stories from life in the trenches of the film industry. Each writer discusses his or her filmography in great detail and breaks down the mechanics of one favorite scene from their produced work.

Interview subjects include Oscar winners and industry veterans like Paul Haggis (Crash, Million Dollar Baby), Callie Khouri (Thelma and Louise), Paul Attanasio (Quiz Show, Donnie Brasco), Susannah Grant (Erin Brockovich), Peter & Bobby Farrelly (There's Something About Mary, Stuck on You) and David S. Goyer (Dark City, Blade, Batman Begins). The series is hosted by Michael De Luca, film fanatic and former President of Production at New Line Cinema. In a climate where "industry" talk shows are mostly fluff pieces, Mike De Luca's probing and savvy style elevates this series to a true exploration of the craft and its masters.

Costume Design 101

This is a little bit astray from this blog's territory, but since I'm hoping to direct another short in April, and hopefully a feature next year, I checked out Richard La Motte's COSTUME DESIGN 101, to get a handle on what costume designers do. It's a clear and (I believe) comprehensive book setting out what you, the costume designer, need to do on a show, from breaking down the script to creating characters through their clothes to dealing with budgets, and so on. If you're thinking of doing a short yourself, and you don't have an experience costume designer, check it out.

Networks Break Fresh Ground

According to The Hollywood Reporter, the networks are boldly going where no network has gone before, ordering primarily dramas about cops:

Among broadcast dramas in development, Big Four networks have ordered a whopping 22 pilots about law enforcement agencies and individuals including the CIA, FBI, Bureau of Alcohol, Tobacco and Firearms, U.S. Marshals Service, bounty hunters, police psychologists and rank-and-file cops.

In an exciting twist, "several of the pilots feature characters with special abilities. In ABC's "Body of Evidence," for example, the medical examiner protagonist is a former neurosurgeon, and an untitled CBS project spotlights a New York police detective who can remember everything she's ever learned."

There are also five legal dramas and two new medical dramas.

What's missing? Primarily serials. After all, who really wants to watch a show where not only the characters but the stories develop from episode to episode?

In a similar show of bravery, networks greenlit some half hours about cops and lawyers.

For the run down on all these shockingly original new shows, check out The Live Feed.

So... what does this mean for the shows you're developing? It's hard to say. A huge overbuy of cop shows could lead to a disastrous year for all the cop shows that get picked up, leading to a loss of appetite for cop shows.

A boy can dream, can't he?

More realistically, if you're trying to get a show on the air, and you can figure out a cop show that is slightly different in some way, mazel tov. If you're trying to sell a serial in this environment, on the other hand, good luck, buddy. Even if you are Joss Whedon. (That is why, I assume, DOLLHOUSE started so episodic, and only later got serial.)

$350 Million for an Online Penguin Game

Jesse Schell of Schell Games has a few things to say about some of the shocking successes of the past year, including Farmville, Mafia Wars, Webkin, Gamerscore points and the online Flash-based penguin game that made $350 million last year. He thinks what no one realized is that people want their fantasy game experiences to tie into reality.

Definitely worth your 28 minutes.

Xbox 360 Games - E3 2010 - Guitar Hero 5

And the Nominees Are....

Congratulations to all the nominees of the WGC awards!

Animation
Grossology "New Recruits." Written by Richard Clark
Total Drama Action "Crouching Courtney, Hidden Owen." Written by Alex Ganetakos
League of Super Evil “Glory Hog." Written by Philippe Ivanusic-Vallee and Davila LeBlanc
Total Drama Action "The Sand Witch Project." Written by Shelley Scarrow

Children & Preschool
Max and Ruby "Max Says Goodbye." Written by Kate Barris
Max and Ruby "Ruby's Good Neighbor Report." Written by Shelley Hoffman & Robert Pincombe
Zigby "Zigby's Collection." Written by Louise Moon

Documentary
Malls R Us (Feature Version). Written by Helene Klodawsky
The Royal Winnipeg Ballet - 40 Years of One Night Stands. Narration Written by Robert Lower
A Time There Was: Stories from the Last Days of Kenya Colony. Narration Written by Donald McWilliams

Episodic half-hour
Less Than Kind "The Daters." Written by Garry Campbell
Less Than Kind "Fun." Written by Jenn Engels
Less Than Kind "Happy Birthday Sheldon." Written by Marvin Kaye & Chris Sheasgreen
Less Than Kind "Careers Day." Written by Mark McKinney
Corner Gas "Shirt Disturber." Written by Kevin White & Norm Hiscock

MOW & Mini-Series

The Summit. Written by John Krizanc
Paradise City: Degrassi Goes Hollywood. Story by Vera Santamaria, Matt Huether, Sara Snow / Teleplay by Vera Santamaria, Matt Huether, Sarah Glinski, Sara Snow
Guns (part 1 and 2). Written by Sudz Sutherland & Jennifer Holness

Feature Film
High Life. Written by Lee MacDougall
A Shine of Rainbows. Written by Vic Sarin & Catherine Spear and Dennis Foon
The Trotsky. Written by Jacob Tierney
Love and Savagery. Written by Des Walsh
Crackie. Written by Sherry White

Episodic one hour
Stargate Universe "Time." Written by Robert C. Cooper
Flashpoint "One Wrong Move." Written by Mark Ellis & Stephanie Morgenstern & James Hurst
ZOS: Zone of Separation "Bred in the Bone." Written by John Krizanc
Cra$h & Burn "Trust." Written by Jackie May
Murdoch Mysteries "Mild Mild West." Written by Derek Schreyer
ZOS: Zone of Separation "Shallow Graves." Written by Jason Sherman

Radio Drama
Afghanada "Episode 65." Written by Alex Levine
Afghanada "Episode 61." Written by Barbara Samuels

Short Subject
Being Erica I "Webisodes." Written by Jessie Gabe
My Pal Satan "Cheaters Never Perspire." Written by Dennis Heaton
How People Got Fire. Written by Daniel Janke

Variety
This Hour Has 22 Minutes XVII “Episode 6.” Head Writer: Ed Macdonald / Written by Mark Critch, Gavin Crawford, Kyle Tingley, Albert Howell, Dean Jenkinson, Joanne O'Sullivan, Tara Doyle, Erik Van Wyck, Mike Allison, Joey Case
This Hour Has 22 Minutes XVII “Episode 8.” Head Writer: Ed Macdonald / Written by Mark Critch, Kyle Tingley, Albert Howell, Shaun Majumder, Dean Jenkinson, Geri Hall, Joanne O'Sullivan, Tara Doyle, Erik Van Wyck, Mike Allison, Stephen Patterson
The Ron James Show “Episode 7.” Written by Ron James, Garry Campbell, Brian Hartt, Mark De Angelis, Chris Finn, David MacKenzie, Paul Pogue, Gary Pearson, Jennifer Whalen
Rick Mercer Report VI “Episode 17.” Written by Rick Mercer, Irwin Barker, Greg Eckler, Chris Finn, Paul Mather, Tim Steeves

Youth
How to Be Indie "How to Be a Mehta." Written by Anita Kapila
The Latest Buzz "The Wonderful World of Buzz Issue." Written by Brent Piaskoski
Family Biz "Breakaway." Written by Sheila Prescott
The Latest Buzz "The Comeback Issue." Written by Darrin Rose
How to Be Indie "How to Strike a Balance." Written by Vera Santamaria

Winners of the WGC Screenwriting Awards will be announced at the Awards on Monday, April 19, 2010, at Maro in Toronto. See you there!

Crane Shot Generation

I'm working with a young woman who wants to direct, who admitted that when she plays GRAND THEFT AUTO, she spends a lot more time framing shots than mowing down pedestrians. Drive to the Hollywood sign! Do a 360 degree pan! Do a crane shot!

I wonder how many young directors are practicing their imaginations on their Xbox 360?

Real People

Q. I have an idea for a scripted TV show based on real life experiences I had. My characters are based on real people with some added characteristics, but I'm not using their real names. If the script made it to an actual tv show, would the 'real' people be able to sue me?

1. I am not a lawyer. I am especially not your lawyer. This is not legal advice.

2. As I understand it, it depends on how similar the characters are to the real people. If the characters are recognizably those people, then you could have a problem.

On the other hand, writers base characters on real people all the time. For example, Dr. Evil is based on SNL producer Lorne Michaels, complete with mannerisms and catchphrases. ("Throw me a bone, people.") Lots of people write thinly disguised autobiographies with negative portraits of the people they don't like. On the other hand, there have been lawsuits about just that, and even if you win a lawsuit, it can take a chunk of your life.

I think you can steal the essence of someone you know, so long as you don't steal the details of their lives. They probably don't see themselves the same way you do, so they may not recognize themselves, unless your character also went to Pomona College and majored in Archeology and had an unfortunate affair with the hot dog stand lady.