RyderDA is up first.
You mention how much is riding on the pilot of a series to you personally in order to keep watching for the long haul. Can you think of examples of weak pilots that turned into killer shows? How about strong pilots that became even better in Episode 2 and beyond?
The one that leaps to mind is PARKS AND RECREATION. HAPPY DAYS is another show that really took off after its pilot.
When characters break out, shows then take on a life of their own. The Fonz, Michael Keaton, Urkel all were happy surprises and their shows benefited greatly.
I’m sure you guys could name a bunch of weak pilots that became hit series. Most shows need time to grow since it’s not uncommon.
From Brian Phillisp:
You've mentioned favorite writers, actors and directors. Who were/are some of the favorite people you've worked with that are not one of the above?
I could list almost everyone on crews I’ve worked with. These dedicated craftsmen are the absolute backbone of the industry and don’t get nearly the recognition they deserve. I salute each and every one of them.
I would like to single out writers assistants we have had, however. David Isaacs and I wrote in a very unusual way. We dictated scripts to an assistant who took down shorthand. That was quite a skill (probably an obsolete one today) and we had some great assistants. So in no particular order: eternal thanks to Sue Herring, Lana Lewis, Nancy Kopang, Ruth Horne, Sherry Falk, Linda Silverthorn, Ginny Olah, Barry Zajac, Donna Wheeler, Katy Penland, and Roz Jacob.
Mike Bloodworth wonders:
Do you have notebooks, old napkins and/or computer files with potential jokes, premises, situations, etc., that you saved because you felt that you could use them someday? Sort of the comedy version of hoarding.
Follow up. If yes, have you used any of that archived material in, for example, in any of your recent plays?
I keep a manila folder of ideas — either for plays, TV series, or movies. Sometimes they’re rather detailed, other times they’re just a scrap of paper with one sentence. Most of these notions will never see the light of day, but every so often I’ll come up with something and realize a notion I had stashed away would work well with this.
But I never keep a joke file. My jokes come from character and attitude and are customized to fit the situation.
Long ago there was a comedy writer who traveled with card catalogs. The room would be looking for a joke on used car salesmen and he would rifle through his files to find “used car salesmen” jokes.
One time he was hired to write on a variety show being taped in London. His card files was in luggage that got lost. For three days he was absolutely useless in the room until the luggage was recovered. He's maybe the last writer I would ever hire.
And finally, from Steve McLean:
Just as 'Cheers' was becoming a huge hit, Ted Danson took a role in the TV movie 'Something About Amelia' playing a father who has been sexually molesting his daughter. The movie did well in the ratings and Ted won a Golden Globe for his performance but do you remember if the producers or the network were initially worried about him taking such a controversial role and its potential impact on the show?
I believe he filmed that before CHEERS. He also did a guest appearance on a show called TUCKER’S WITCH, which ran opposite CHEERS one night. We gave him a lot of shit for that one.
What’s your question? And at the risk of pissing off people because I want you all to be safe and healthy — get vaccinated.
from By Ken Levine
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