Box Watch – “The Sarah Connor Chronicles”

The Sarah Connor Chronicles premiere on New Zild televisions tonight. No pressure or anything, Mr Friedman but those long gaps between posts had better be worth it.(I’ll have to record it as I’ll be explaining to Mr Tripuraneni the cultural subleties of using paper-scissors-rock to make critical editing decisions.)

(Failing that, thanks to my Writer’s Toolkit (which I’ll post about at some point), I’ll be strapped.)

UPDATE: with many, many apologies to Mr Reid, this Box Watch post is a week premature. (According to the wiki, the television series side-steps Terminator 3: Rise of the Machines, with Mr Friedman referring to its events happening in an alternate timeline. Whatevs, dude: that last film just sucked ass.)

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Chop-Chop

As post-production winds down on To’ona’i, Lucy Vee‘s excellent series on genre (the thriller article is a must for such geeks) has been a nice kinda welcome as I catch up on blogs before I settle down to the next project.

Which is… hrm.

Last night, whilst tearing my nose-hairs out over an imminent deadline, I rashly responded to Mr Woodspost on the Jules, Ben and Dave Forum guild forum.

Apparently, I’ve got plans.

Chop-chop.

… Once I’ve devoured Aaron Sorkin‘s Sports Night: The Complete Series (thanks TradeMe!).

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“To’ona’i” Pre-prod Day -3

Today’s magic word is work-flow.

As in “post work-flow”.

As in, up until three days ago, I had no post work-flow.  We had a camera, but I hadn’t an inkling what to do with it.  (Which is the DOP’s job, of course, but… oh you know what I mean.)  Well, I knew that it was one of those flash new jobbies that, instead of recording to magnetic tape, recorded onto solid state memory or some such malarkey.  (For those techies out there:  we’re shooting on a Sony PMW EX-1.)

Had it been tape, I would only have needed to worry about storing the days’ tapes In A Very Safe Place until I got them to a post-production house to convert into something for me to play with.

But with the solid-state stuff, I need a laptop on-set.  And an external hard-drive.  And someone who knows what they’re doing.

That’s right:  another bleeding mouth to feed.  And pay.

Hm.  Time to consult with my friendly neighbourhood post-production consultant.

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Box Watch: “The Wire”

Over in the States, David Simon‘s The Wire has come to an end.

With reactions ranging from TeeVee‘s conscious avoidance (understandable – when someone tells me I must see, I absolutely shall not) to the WGGB‘s solemn last call, I can’t wait for it to get here.  Once I’ve seen Season 3 onwards, of course.

(I think Season 3 just started screening here. At 1225am on Mondays.) (And broadcasters wonder why people use Bittorrent.)

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DateNight – The Morning After

After a week of jitters, it is done.

In the end, I pitched to six out of eleven producers and commissioners. Of the five that I didn’t sit down with, two were no-shows to begin with, two left before I started working my way around them (there were two rounds, as it were, and I was in the second round), and one left thinking she’d finished (or survived – understandable considering she’d just sat through twenty-plus two-minute* pitches without a break).

For me, the best thing was experiencing firsthand most of what I’d read or heard. It’s one thing to know in a theoretical sense, Don’t take it personally if they’re sitting there poker-faced, but it’s another to sit opposite someone and fight the urge to babble about your project just because they’re not leaping out of their seat, kissing you on both cheeks, and declaring the beginning of a beautiful relationship.

The most useful sit-downs were where a conversation took place. Once the logline, plot description and themes were out of the way – what else did they want to know? The remaining ninety seconds were filled up by a Q & A where I showed off the depth of my knowledge**. Whether they could do anything with the project or not was almost beside the point. It was pretty cool to talk about a project as if it had real possibilities, rather than as just An idea I’ve got for a show….

Did I like it? Yes – I rather enjoyed it actually. Even if you get an ignorant and short-sighted producer, it’s good to realise in the rush of blood to the head, I disagree with your noises of disrespect – my mistake for pitching a drama to a reality-programme maker.

Would I do it again? Yes. I have survived the gauntlet that is DateNight. Bring it on.

Short two producers, Mr Gannaway tried to ease the load by cutting the pitching time down from three to two minutes.
**  Except for when I was asked what target audience I had in mind. No matter how often you’re told and read that you need only write for yourself and don’t worry about the market – that’s what the producer worries about, you will be asked what target audience you have in mind for your project.

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Point & Click

Prrretty busy this week.

  • After several months of having just eight members and a total of nine posts (four of them by my own hand), the New Zealand Writers Guild forums is getting some traction with sixteen members and forty-two posts as of today. Go ask a question or something.
  • Over at the Beeb‘s Writers Room is a rather informative Q&A with Casualty writer Mark Catley. The Writers Room seems to be a great resource for television writing. (Ooh! It’s got Q&A’s with Bourne Supremacy and Ultimatum director Paul Greengrass, and Hu$tle and Life on Mars co-creator Tony Jordan.) (Fedora-tip: WGGB Blog.)
  • And Break cinematographer, Matt Meikle, recently won the 2007 Australian Cinematography Society Gold Award for Cinematography on Hawaikii. Congratulatoriations!
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100

Gosh.

Hundredth post.

I may not have written as much as I wanted to since 1 January 2007 but I’ve –

  • run a total of 558kms (97kms of that sans mongrel);
  • picked up 170 books, comics and scripts, and read 137 right through;
  • and sat down to watch 128 films, DVDs and TV series, and watched 105 right to the (sometimes bitter) end.

‘S not bad. And because it’s that time of the year, I give you a list of notable and recommended reading and viewing experiences (in strict alphabetical order):

As for the running, I do it only so that I fit my clothes.

Happy new year.

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Box Watch Postscript

Despite the promise of The Street‘s pilot, subsequent eps have disappointed. I thought their About Schmidt-ep with Jim Broadbent was a blip but when it was followed by The Crucible-ep with Neil Dudgeon, and Timothy Spall’s Guess Who’s Coming to Dinner?-ep, we cried uncle. Four episodes into the season might be overly generous and forgiving of us but I think it shows how much the acting talent elevated the scripts. Tch.

Last man standing is Burn Notice which, though light and disposable like a LAW, remains breezy and entertaining with no soapy aftertaste. Man cannot get by on one show alone – sure, I’ve a backlog of DVDs to watch study but I need my fix of regular programming and the current free-to-air schedule is, in a word, desolate.

And thanks to the very connected Motorbike Steve, The Goddess and I’ve enjoyed the pilots for Bionic Woman and Dirty Sexy Money, and look forward to more. Arriving soon is the much anticipated Pushing Daisies and the rather intriguing Dexter.

Also – miracle of miracles – we’ve just embarked on a seven season retrospective of Homicide: Life on the Street. That series nails everything so well, it’s only things like the ubiquitous smoking and the box-shaped cars that date it. Damn, it’s good.

Summer’s not looking so shabby after all.

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Pitch Engine

Last week, the mailboxes of New Zealand Writers Guild members, associates and supporters were crossed with the Guild’s revived and renamed quarterly magazine, Pitch Engine. A successor to the quarterly WriteUp that shifted online for a couple of years, PE intends to Get Out There and Build Awareness. Props galore to executive director Steve Gannaway and editor supremo Dara McNaught for getting the mag up and running in a mere few months.

Issue One includes interviews and articles from the likes of Outrageous Fortune creators James Griffin and Rachel Lang, The Ferryman and Stickmen scribe Nick Ward, and Facelift and Futile Attraction writer Benedict Reid.

Available at a Whitcoulls or Paper Plus near you.

(Disclosure:  Yes, I have a couple of articles in there – one I’d impulsively pitched on the spot to them (and then had to deliver), and the other an amalgam of these two posts.)

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Fight the Power

My take on the WGA strike? The thing is, obviously, –

(a) I’m not a WGA member, and
(b) I live a quarter of the world away.

There’s a lot of stuff on the web about it, and the screenwriting blogs have a screed of information to choose from. I’ve found Shawn Ryan‘s guest post on why he’s joining the strike despite being a multi-hyphenate, Josh Friedman‘s succinct report on standing for what’s right, and John Rogersoverview all particularly enlightening.

As a card-carrying screenwriter, I wholeheartedly exhort the strikers onward to victory.

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