DougG. gets us rolling.
Have you ever directed an episode of a tv show that you (or you and David Isaacs) also wrote? If not, was that just luck (good or bad?) or did you want someone other than you to direct your work? Or did the showrunners that you worked with not want writers directing their own episodes or episodes they co-wrote?
As you can see from the above screen shot, I have directed shows I’ve written (that one was from BECKER). I’ve also directed shows I’ve written with David Isaacs along with shows I’ve written with David Isaacs & Robin Schiff.
A bigger thrill was directing two shows that my daughter, Annie Levine wrote with her partner, Jonathan Emerson.
I love directing my own stuff. But I always have to tell the actors beforehand to think of me as your director so if something in the script bothers you you’re as welcome to tell me as if someone else had written it. And as it happens, that was never a problem for them.
Daniel asks:
My favorite TV series is Frasier. Do you think the series would have worked if it had been a single-camera show with no studio audience (and no laughter on the soundtrack) and maybe more cinematic lighting and camera placement? Same scripts, same interstitial title cards between scenes, same cast, same basic sets (except with the addition of the fourth wall). I guess my question is: How important was the studio audience and the three-camera style/aesthetic to the creative success of the series? Would it have played the same way without the audience's presence?
Interesting question I had never thought about.
I think FRASIER would lose a lot not being done as a multi-camera show. FRASIER was a weekly one-act play that could’ve played Broadway. The stories, dialogue, tone all lean towards a theatrical production.
FRASIER is enhanced by a studio audience. I also think the actors feed off the energy of the audience, which elevates their performances.
And bear in mind, the audience laughter you hear on FRASIER is real. I don’t see any way the series could have been enhanced by not shooting it multi-camera.
From Philly Cinephile:
Any thoughts on the "We're going to Las Vegas!" episodes that so many sitcoms do? Are they mandated by the networks? I find that they tend to be among the weaker episodes of a series -- contrived and usually lacking the overall flavor of the series. I've often imagined them as a rite of passage for the writing staff of a show -- the dreaded "send them to Vegas" memo from the network.
Well, the simple answer is they run out of ideas.
But Vegas does provide you with lots of new stories your series wouldn’t have otherwise. Characters impulsively off to get married, characters having gambling problems, characters just going wild, etc.
There’s so much gaudiness in Las Vegas, so many things to poke fun at, that it’s somewhat of an easy target. How else are you going to work in Elvis impersonators?
And finally, from Paul:
One of the things I have been doing to keep sane in this insane world is to watch all 11 seasons of Cheers. I am now on Season 9 and last week saw episodes 8 and 9, the 200th anniversary episodes. My first question is this: how is that John McLaughlin ended up the host of the show? It seems an…unlikely choice. Second, was it difficult to get Shelley Long to return for this show? Is there a story behind that?
At some point, long-running series are asked to do a clip show (highlights of their many seasons). Let me tell you from personal experience, those are a giant pain in the ass.
The trick is to find a novel way to do it. CHEERS thought a panel discussion would be interesting. I loved the idea because it meant the Charles Brothers and Jim Burrows would finally get some screen time.
Not sure who came up with the idea of John McLaughlin, but he did lend a certain gravitas to the show. And he certainly was not someone you’d expect.
As for Shelley’s return, there was no difficulty at all. Remember, Shelley left the show on good terms. They were happy to invite her and she was happy to accept.
Shelley also did the final episode and two episodes of FRASIER — one (that David Issacs and I wrote) was just a ten second cameo and she still agreed to do it. And may I say, thank you, Shelley. That was a great joke thanks to you.
What’s your Friday Question?
from By Ken Levine
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