Walter starts us off:
I read that Gary Burghoff was a nightmare on the set of M*A*S*H -- "Love Radar, hate Burghoff" some of the cast have been rumored to say. Is there any truth to that?
I’m glad to get these questions because they give me a chance to set the record straight.
No, he was not a nightmare. And take that from a guy who was there. There were times he might have disagreed with a director or questioned something in a script, but most actors do that. And he did it very infrequently.
But I found Gary to be always pleasant on the set and always prepared. Trust me, I’ve worked with monsters. Gary was farrrrr from one of them.
Liz asks:
Have you written a script for a movie or TV series with Hollywood and the people living there as the basis?
You can find it here.
Thanks for asking. I always love excuses to shamelessly plug my stuff.
From Phil:
You have worked on Simpsons.
How was it working with voice actors? I mean it would be really fascinating to work with Hank Azaria - Duffman, Chief Wiggum, Skinner, Chamlers, Moe, Disco Stu.... The way they go about their work of changing voices. Please share your experience.
It was great fun, especially the episode where I did a voice as well. They all have great concentration and can slip in and out of various voices with relative ease. And remember, it’s not just the voices – they all have great comic timing and are good actors.
Besides Hank, I should also mention Harry Shearer and Maggie Roswell.
And finally, Sheila wonders:
I have been reading articles on how writers write a script and send it to all studios and have a bidding war for it by the end of the day or week.
Have you and your partner ever done that? Set a deadline for the executives to give an answer or have them bid against one another?
Yes. To try to pump up interest in the project – since perception is everything in Hollywood – agents will essentially do a roll-out campaign for your script. They’ll alert studios and producers that it’s coming and they only have 48 hours to read it, etc. And that can generate buzz and lead to a bidding war – IF the screenplay delivers. All the hype disappears if the reader doesn’t like the script.
I’ve been relatively lucky. I’ve sold two spec screenplays. Neither resulted in bidding wars but I was well compensated. And there have been other specs that didn’t sell. Unless you’re the super hot flavor-of-the-month you probably have three or four or fifteen unsold screenplays to go along with the ones you did sell.
When it doesn’t sell it’s a lot of time and work for nothing. But when it does, you’re an alchemist – spinning straw into gold. You take 100 blank pieces of paper and turn it into a lot of money.
What’s your Friday Question? Leave it in the comments section. Thanks!
from By Ken Levine
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