Are Streaming and Cable Now Two Separate Markets for Writers to Approach?

Are Streaming and Cable Now Two Separate Markets for Writers to Approach?



alright guys I love this question this is from Frank and Frank says as you know cinema and television viewing habits are changing and lines are now being blurred in filmmaking by the likes of Netflix etc the question is are they still separate markets for writers to approach or are they now just one I mean all these different executives you know you do have different any and it's interesting there's literally tomorrow there's an entire webinar on writing for movies for cable TV which is a perfect example of somebody who specializes in writing for a very specific market and genre format you know the thing that happened with television I think that's really interesting because of you know it wasn't because of Netflix that they certainly took it further you know the sort of prestige television show that came out of you know things like HBO and Showtime and whatnot um you have a lot more filmmakers crossing over so it can seem like the lines between film and television are blurred because the medium I mean television a lot of times looks just as good as a feature film obviously that's intentional um but what's really interesting is the executives are still very different in terms of who you're approaching for your pitching to now when you're talking about you know writing you know if you talk about writing a series the format itself is still very much there as opposed to writing a future film and you know it's not like you sit there and say I'm gonna write a feature film and then break it into ten episodes or ten Parsi they're actually 30 minutes lawyer right it doesn't work that way right it would never work that seemed nonsensical so um the idea that when you're writing for a medium right for that medium commit to that need um the filmmaking aspect of it as it goes down the road will ultimately make the lines a little bit blurred but you're off you it's – at the business level there are two very different audiences for that for that material even within the same studio so you'll have Disney right Walt Disney Company and then you'll have ABC and you'll have touchdown or you'll have um you know back then with Miramax you know you'll they're even so it's not as though others is like catch-all executive who's written both feature and television scripts at a studio level I'd be like this is TV this is feature this is Netflix right this doesn't work no and I and it's another reason why you want to cast this wide a net as possible and have this many champions as possible how many people read as possible you never know who's gonna look at something and see it differently than you see it you know a perfect example of this and it's revolutionized TV change TV was The Sopranos I mean David Chase wrote The Sopranos as a future yeah a lot of people don't know that he wrote it as a feature and somewhere along the way somebody said you know that might work better as a telegraph mm-hmm and in his mind at that time because you know HBO had not really gone into shows like this and he thought 24 episodes how am I gonna stretch this with my brothers over enemies we all get along and said you know what we're trying to create this new morality hey just took one person's vision to see it that way it wasn't David Jason said ah great idea for a television show where somebody else is sort of right you know so you never know at the point of the matter is is that you know I don't really agree with Jason right if you think it's TV right right it is TV if you think it's right right his future but make sure you be rated pivot ready and make sure you know you have a lot of people reading you never know you know there are people and also by the way the other thing about Sopranos fits perfectly into this answer is he wrote it as a feature and he wrote it as a comedy and the reason why nobody would buy it was because analyze this was coming out well he would have he wrote a comedy about a mobster going to it straight at reference in the show right you know he was a mobster going to ashtray and get them all so they were like oh make it a movie with crystal in DeNiro okay anyone you gotta be freaking kidding me and they wanted to make it a drama in March pick a TV and the rest is history that's cool so you know it's a matter again but if he didn't have those contacts to bring it so that doesn't happen it doesn't happen it's sitting in a truss you

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