Kendall Rivers starts us off:
Seems like the art of the opening credits\theme song is truly lost. I get that networks like the two second title card thing because it allows more commercials, but don't they realize that part of what can make a show super successful and overall memorable far after its off the air is a catchy and iconic opening credits? Look at Sanford and Son for example: there's not a person in the world who wouldn't instantly recognize that tune by Quincy Jones if they heard it even if they had never actually seen the show.
It’s short-sighted on the networks’ part. They talk about wanting to “enhance the viewer’s experience,” which is fine, but a good opening title will do just that. Who skips past the MASH opening titles? Or GOLDEN GIRLS or CHEERS? Or THE SIMPSONS that you’ve seen a billion times?
A good opening title sequence and theme is like hearing your favorite song. You know you’re going to settle in for a good time. Doesn’t that enhance the viewer’s experience?
But let’s be real. One of the main reasons networks’ discourage opening titles is that they’ve already cut so much program time by adding extra commercials and promos that producers need those extra seconds to try to tell their story.
How do extra commercials and promo clutter enhance the viewing experience I wonder?
You’ve hit on a sore subject.
Brian Phillips asks:
Have you or David Isaacs ever written for an advertising firm? Do you know of any writers that have come from the world of advertising?
I don’t think David ever did, but I tried. During my flailing days as a Top 40 disc jockey I applied at the J. Walter Thompson Agency. I was given some copy to write as a test. Obviously, I failed it because I never heard from them again.
The fact that I was relieved, even then, told me I was not meant to become a Mad Man. So thank you JWT for not hiring me.
Janet queries:
My FQ involves streaming. Specifically, so many streamers -- particularly the free ones -- pick up classic series for streaming, which I very much enjoy.
My question, however, is do the actors, directors, writers, etc., ever see royalties from this given that streaming didn't even exist when they signed their original contracts?
If they’re older vintage series before 1977 then no. Nothing. After ’77 a number of Guilds established residuals in perpetuity. And then there was the WGA strike a number of years ago to (presumably) guarantee that writers would share in the revenue from streamers. Other Guilds followed suit. There were all these fancy formulas in place.
But here’s the truth: it’s a joke. We don’t get shit — certainly not what we’re entitled to considering the number of plays these shows get. Between writing and directing, I have close to 200 episodes running on various streaming channels. I make practically nothing. Like I said, it’s a joke.
Another sore spot.
And finally, from Darwin's Ghost:
Friday question. I'm sure you've heard the old saying about never meet your heroes. Have you ever met someone you admired and he or she turned out to be a piece of shit? Obviously I know you can't name names, but I'd like to know if that's happened to you.
Wow. We’re hitting all my sore spots in one post.
The answer is yes. I won’t reveal the name. But the good news is it has only been that one.
Happily, 99% of the people I’ve looked up to — be it writers, actors, directors, baseball announcers, disc jockeys, musicians, comedians, whatever — have been lovely people. They’ve served as my mentors and inspiration and I feel blessed that I got to meet, and in some cases, work with some of my idols. You can't ask for much more than that.
My play, THE FARCE DAY OF CHRISTMAS is playing this weekend at the Best Medicine Rep in Gaithersburg, MD. It’s the closing weekend. Come see it!
from By Ken Levine
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