Peter asks:
I also noticed that you and David are listed as uncredited writers on Mother, Juggs and Speed. Is that another internet error or did you really work on that film?
We did not work on the film, but ABC commissioned a pilot and David and I did an extensive rewrite on that. The pilot was filmed and aired once (back when networks would show unsold pilots in the summer as “Failure Theatre”).
We did our draft, turned it in, and for some reason didn’t get a chance to see it when it aired. So I have no idea how good or bad it was or how much of our script they ultimately used.
Also, this was before the show was cast so we just went by the characters in the movie.
Bill Cosby was not in the pilot. He was in the movie.
So why would we do extensive rewrites for no credit? The money of course.
YEKIMI has a two-part question.
As a director, it seems that you do all your directing on sitcoms. Has no one come to you to direct any crime dramas [CSI, Law & Order, etc.] or other non-sitcom directing jobs or is that just something you wouldn't be comfortable doing or just not in your wheelhouse? And are there any directors that can handle anything that is thrown their way?
I would like to direct a single-camera show. I’ve shot numerous single-camera scenes but they were within multi-camera episodes. The trouble is you get put in the “multi-camera” category and without a friend as a showrunner of a single-camera show to give you a shot it’s hard to cross over.
And it’s not just me. I read where a current network pilot was originally designed to be a multi-camera show. King of all multi-camera shows, James Burrows, was slated to direct. The network then decided to convert it into a single-camera pilot and a different director was assigned. (Personally, I would have kept James Burrows no matter how many cameras there were.)
Ironically, it’s much harder to direct a multi-camera show. Knowing how to block and shoot with four cameras going simultaneously in front of a live audience is the ultimate Rubik’s Cube.
As for directing dramas, I would need to have a feature film or at least a short that could demonstrate I could handle this subject matter. Although I would certainly enjoy the challenge of directing something way “out of my lane,” I have no burning desire to direct procedurals.
All that said there are some veteran directors who hop back and forth between comedy and drama. Michael Zinberg is one who jumps to mind.
Hmmmm, I wonder if I could get an assignment on GAME OF THRONES based on an EVERYBODY LOVES RAYMOND episode I directed. I’ll put a call in to my agent.
From VincentS:
Several writers - including yourself - have complained about civilians throwing story ideas and in some cases scripts at them and some professional writers remedy that by simply lying about what they do for a living.
One writer not only told people he was in the livestock business, he took the precaution of learning everything he could about the livestock business in case he was tested by a would-be writer!
Have you ever lied about your profession to avoid the aforementioned situations?
Yes. In those situations I tell people I’m a writer of tech manuals. Rarely are there follow-up questions.
And finally, Michael queries:
Friday question in honor of spring training: For many years, the Mets had 3 announcers, Ralph Kiner, Bob Murphy, and Lindsey Nelson, who each broadcast 6 innings on TV as part of 2 man booth and 3 innings on radio solo each game. How hard is it switching back and forth from TV to radio within same game and did you have a preference on which to broadcast games on?
I enjoyed switching back and forth. In TV your role is more to provide captions and set up your analyst partner. But I enjoy the whole production aspect of it. You have a whole crew involved, from the guys in the truck, to the stage managers in the booth, to the cameramen throughout the stadium. I feel like Captain Kirk.
But my favorite is radio, hands down. As the great Ernie Harwell once said about calling games on the radio: “Nothing happens until I say it happens.” I love the freedom of radio and the ability to go wherever I want, not where the director steers me. And to me, baseball on the radio is more of an art form.
So best case scenario is when I start a game on TV and then go to radio. It feels like the handcuffs have been removed. It’s just me and you the listener. Can you believe opening day is just around the corner? Play ball!
from By Ken Levine
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