All language subtitles for Showrunners.The.Art.Of.Running.A.TV.Show.2014.720p.WEBRip.x264.AAC-[YTS.MX]

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(J.J. Abrams) THE SHOWRUNNER OF
A SERIES IS RESPONSIBLE

(J.J. Abrams) THE SHOWRUNNER OF
A SERIES IS RESPONSIBLE

FOR THE CREATIVE DIRECTION OF
THE SHOW,

FOR THE CREATIVE DIRECTION OF
THE SHOW,

KEEPING SCRIPTS AND EPISODES
COMING IN ON TIME,

KEEPING SCRIPTS AND EPISODES
COMING IN ON TIME,

DEALING WITH NOTES,

DEALING WITH NOTES,

TRYING TO KEEP THE WHOLE DAMN
THING AFLOAT.

TRYING TO KEEP THE WHOLE DAMN
THING AFLOAT.

(Joss Whedon) BEING A SHOWRUNNER
IS UTTERLY CONSUMING.

YOU'RE EDITING AND WRITING

YOU'RE EDITING AND WRITING

AND DOING A HUNDRED DIFFERENT
THINGS AT ONCE.

AND DOING A HUNDRED DIFFERENT
THINGS AT ONCE.

IT'S DRAINING, IT'S AWFUL-- I
MISS IT TERRIBLY.

IT'S DRAINING, IT'S AWFUL-- I
MISS IT TERRIBLY.

(Jeff Pinkner) SHOWRUNNER IS A
FAIRLY NEW TERM OF ART.

(Jeff Pinkner) SHOWRUNNER IS A
FAIRLY NEW TERM OF ART.

IN THE FORMER DAYS, IT WAS THE
HEAD WRITER,

THE EXECUTIVE PRODUCER.

THE EXECUTIVE PRODUCER.

BUT AS THE SHOWS HAVE BECOME
MUCH MORE CINEMATIC

BUT AS THE SHOWS HAVE BECOME
MUCH MORE CINEMATIC

IN THEIR SCOPE AND INTENTION,

IN THEIR SCOPE AND INTENTION,

THE JOB HAS BECOME MUCH MORE
COMPLICATED.

AND YET, WE'RE EXPECTED TO
DELIVER A SHOW EVERY SEVEN DAYS.

AND YET, WE'RE EXPECTED TO
DELIVER A SHOW EVERY SEVEN DAYS.

AND YET, WE'RE EXPECTED TO
DELIVER A SHOW EVERY SEVEN DAYS.

(woman) SHOWRUNNING IS
INCREDIBLY BRUTALLY HARD,

(woman) SHOWRUNNING IS
INCREDIBLY BRUTALLY HARD,

(woman) SHOWRUNNING IS
INCREDIBLY BRUTALLY HARD,

AND YOU CAN'T REALLY LEAN ON
ANYONE,

AND YOU CAN'T REALLY LEAN ON
ANYONE,

BECAUSE PART OF THE JOB

BECAUSE PART OF THE JOB

IS BEING THE BROAD SHOULDERS OF
THE SHOW.

THIS IS A CRAZY, CRAZY, FUCKING
JOB.

THIS IS A CRAZY, CRAZY, FUCKING
JOB.

IT'S A REALLY COOL ONE, BUT IT
DOESN'T MAKE ANY SENSE.

IT'S A REALLY COOL ONE, BUT IT
DOESN'T MAKE ANY SENSE.

IT'S LIKE A CONTROLLED PLANE
CRASH EVERY WEEK.

IT'S LIKE A CONTROLLED PLANE
CRASH EVERY WEEK.

IT'S A BILLION DECISIONS A DAY.

IT'S A BILLION DECISIONS A DAY.

IT'S A BILLION DECISIONS A DAY.

YOU'RE THE GUY THAT HAS TO
DECIDE WHAT WE'RE GOING TO DO.

YOU'RE THE GUY THAT HAS TO
DECIDE WHAT WE'RE GOING TO DO.

THEY ONLY BRING YOU QUESTIONS.

WHEN YOU'RE A SHOWRUNNER,

YOU'RE GETTING SQUISHED BY THE
NETWORK AND THE STUDIO.

YOU'RE FEELING PRESSURE FROM THE
CREW ON UP.

PEOPLE LOOK AT YOU AND YOU
THINK, "OH, YOU'RE THE BOSS--

YOU HAVE NOTHING TO WORRY
ABOUT."

YOU'RE WORRYING ABOUT ALL OF IT.

YOU'RE WORRYING ABOUT ALL OF IT.

(Ronald D. Moore) PART OF THE
JOB OF THE SHOWRUNNER

(Ronald D. Moore) PART OF THE
JOB OF THE SHOWRUNNER

IS TO SET THE TONE FOR WHAT
YOU'RE DOING.

IS TO SET THE TONE FOR WHAT
YOU'RE DOING.

MANY A TIME, I'VE BEEN STANDING
ON A SET

WHERE WE'RE AT SOME CRISIS, AND
IT'S LIKE,

"OKAY, WE GOTTA DO THIS AND THIS
AND THIS."

AND PEOPLE ARE LIKE THIS, AND
I'LL SAY, "BUT...

"WE'RE NOT CURING CANCER HERE,
GUYS.

THIS IS A TV SHOW."

IT IS, AT THE SAME TIME, THE
BEST AND THE WORST JOB.

IT IS, AT THE SAME TIME, THE
BEST AND THE WORST JOB.

IT IS, AT THE SAME TIME, THE
BEST AND THE WORST JOB.

YOU CAN'T IMAGINE QUITTING, AND
AT THE SAME TIME,

YOU CAN'T IMAGINE QUITTING, AND
AT THE SAME TIME,

IT'S A JOB THAT'S EXHAUSTING TO
THE CORE OF YOUR BEING.

IT'S A JOB THAT'S EXHAUSTING TO
THE CORE OF YOUR BEING.

IT'S A JOB THAT'S EXHAUSTING TO
THE CORE OF YOUR BEING.

AND I ALWAYS SAY IT GIVES YOU
THE THING

AND I ALWAYS SAY IT GIVES YOU
THE THING

OF WALKING AROUND AND SAYING, "I
HAVE SUCH A BAD BACK

OF WALKING AROUND AND SAYING, "I
HAVE SUCH A BAD BACK

OF WALKING AROUND AND SAYING, "I
HAVE SUCH A BAD BACK

FROM UNLOADING ALL THIS GOLD
BULLION."

FROM UNLOADING ALL THIS GOLD
BULLION."

(Jeff Melvoin) MOST SHOW AREN'T
SMASH HITS.

84% OF NEW SHOWS IN AMERICA
FAIL.

84% OF NEW SHOWS IN AMERICA
FAIL.

SO, YOU KNOW, HOPEFULLY, YOU
BEAT THE ODDS

BECAUSE IF YOU STAY IN THE RACE
LONG ENOUGH, YOU'RE GONNA WIN.

BECAUSE IF YOU STAY IN THE RACE
LONG ENOUGH, YOU'RE GONNA WIN.

AND IT'S JUST A QUESTION OF HOW
YOU CAN STAY IN THE RACE.

AND IT'S JUST A QUESTION OF HOW
YOU CAN STAY IN THE RACE.

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THE SHOWRUNNER IS THE LIFE BLOOD
OF A TELEVISION SHOW.

THE SHOWRUNNER IS THE LIFE BLOOD
OF A TELEVISION SHOW.

IT'S A COLLABORATIVE ART FORM.

BUT YOU STILL NEED THAT ONE
CENTRAL VOICE THROUGH WHICH

ALL THE MARVELOUS CREATIVE
CONTRIBUTIONS ARE PROCESSED.

ALL THE MARVELOUS CREATIVE
CONTRIBUTIONS ARE PROCESSED.

(Steven S. DeKnight) THE AGE OF
WRITERS AND SHOWRUNNERS

(Steven S. DeKnight) THE AGE OF
WRITERS AND SHOWRUNNERS

BEING ANONYMOUS IS-- IS OVER.

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(Hart Hanson) MY DAY HAS THE
SAME SHAPE.

(Hart Hanson) MY DAY HAS THE
SAME SHAPE.

THERE'S A CERTAIN RHYTHM TO IT
THAT CAN CHANGE DAY TO DAY.

THERE'S A CERTAIN RHYTHM TO IT
THAT CAN CHANGE DAY TO DAY.

IF I HAVE WRITING TO DO, I COME
IN EXTREMELY EARLY.

IF I HAVE WRITING TO DO, I COME
IN EXTREMELY EARLY.

MORNING.

BECAUSE AROUND ABOUT 9:00 OR
9:30,

I'M GOING TO BE TALKING TO
PEOPLE MORE THAN I'M WRITING.

I'M GOING TO BE TALKING TO
PEOPLE MORE THAN I'M WRITING.

I'M GOING TO BE TALKING TO
PEOPLE MORE THAN I'M WRITING.

OH, THAT WEIGHS A TON.

YOU ALWAYS HAVE, SAY, SIX
EPISODES

YOU ALWAYS HAVE, SAY, SIX
EPISODES

AT SOME STATION IN THE PROCESS,

AT SOME STATION IN THE PROCESS,

SO YOU'VE GOT ONE THAT YOU'RE
FINISHING THE FINAL MIX ON

SO YOU'VE GOT ONE THAT YOU'RE
FINISHING THE FINAL MIX ON

AND GOING TO LOCK AND HOPEFULLY
PUT ON THE AIR,

AND THEN YOU'VE GOT PEOPLE
PITCHING STORY IDEAS,

AND THEN YOU'VE GOT PEOPLE
PITCHING STORY IDEAS,

SO YOU'VE GOT SOMETHING TO TEND
TO ON EACH ONE OF THOSE THINGS.

SO YOU'VE GOT SOMETHING TO TEND
TO ON EACH ONE OF THOSE THINGS.

SO YOU'VE GOT SOMETHING TO TEND
TO ON EACH ONE OF THOSE THINGS.

ONE OF THE DOWNSIDES OF BEING A
SHOWRUNNER IS THAT

ONE OF THE DOWNSIDES OF BEING A
SHOWRUNNER IS THAT

IF YOU'RE DOING IT CORRECTLY,
EVERYONE THAT YOU'VE COME

IF YOU'RE DOING IT CORRECTLY,
EVERYONE THAT YOU'VE COME

INTO CONTACT WITH-- ACTORS, THE
OTHER WRITERS,

INTO CONTACT WITH-- ACTORS, THE
OTHER WRITERS,

THE OTHER PRODUCERS, THE
NETWORK, THE STUDIO--

THE OTHER PRODUCERS, THE
NETWORK, THE STUDIO--

THE OTHER PRODUCERS, THE
NETWORK, THE STUDIO--

YOU KNOW THAT THINGS ARE GOING
WELL ON YOUR SHOW,

YOU KNOW THAT THINGS ARE GOING
WELL ON YOUR SHOW,

IF EVERYBODY'S JUST A LITTLE
ANNOYED WITH YOU.

SHOWRUNNING, I THINK, IS LIKE
PAINTING A PAINTING

WHILE WRITING A NOVEL, WHILE
DOING YOUR TAXES.

WHILE WRITING A NOVEL, WHILE
DOING YOUR TAXES.

IT'S VERY, VERY, YOU KNOW, RIGHT
BRAIN, LEFT BRAIN, BOOM.

IT'S VERY, VERY, YOU KNOW, RIGHT
BRAIN, LEFT BRAIN, BOOM.

IT'S VERY, VERY, YOU KNOW, RIGHT
BRAIN, LEFT BRAIN, BOOM.

"HOUSE OF LIES" CAME FROM A BOOK
BY MARTIN KIHN

"HOUSE OF LIES" CAME FROM A BOOK
BY MARTIN KIHN

ABOUT MANAGEMENT CONSULTING AND
WHAT A SCAM IT IS.

ABOUT MANAGEMENT CONSULTING AND
WHAT A SCAM IT IS.

IT FELT VERY RELEVANT TO ME.

IT FELT VERY RELEVANT TO ME.

WELL, WHEN YOU GET TO THE POINT
OF MAKING A SHOW,

WELL, WHEN YOU GET TO THE POINT
OF MAKING A SHOW,

IT'S PRETTY SEXY IN ITS OWN WAY.

IT'S PRETTY SEXY IN ITS OWN WAY.

I GET TO MAKE A HALF-HOUR PILOT.

I GET TO MAKE A HALF-HOUR PILOT.

IF, GOD WILLING, THE-- THE SHOW
GETS PICKED UP,

IF, GOD WILLING, THE-- THE SHOW
GETS PICKED UP,

IF, GOD WILLING, THE-- THE SHOW
GETS PICKED UP,

IF, GOD WILLING, THE-- THE SHOW
GETS PICKED UP,

I DON'T KNOW EXACTLY HOW I'LL
WORK IT.

I DON'T KNOW EXACTLY HOW I'LL
WORK IT.

I WANNA WRITE AS MUCH AS I CAN
OF IT.

I WANNA WRITE AS MUCH AS I CAN
OF IT.

THE SHOWRUNNING PART, THE
ADMINISTRATIVE PART--

THE SHOWRUNNING PART, THE
ADMINISTRATIVE PART--

IT'S REALLY, UH, NOT FOR ME, IN
A WAY.

IT'S REALLY, UH, NOT FOR ME, IN
A WAY.

IT'S REALLY, UH, NOT FOR ME, IN
A WAY.

IT'S REALLY, UH, NOT FOR ME, IN
A WAY.

AS SOMEBODY WHO'S A WRITER AS
MUCH AS ANYTHING,

AS SOMEBODY WHO'S A WRITER AS
MUCH AS ANYTHING,

THAT'S THE REASONS THEY LET ME
DO ANY OF THE STUFF

THAT I DO, IS THAT I CAN WRITE
OKAY.

WHEN I MOVED TO NEW YORK, TRYING
TO WRITE PLAYS,

WHEN I MOVED TO NEW YORK, TRYING
TO WRITE PLAYS,

JOANNE WOODWARD AND PAUL NEWMAN
SAW MY FIRST PLAY

JOANNE WOODWARD AND PAUL NEWMAN
SAW MY FIRST PLAY

JOANNE WOODWARD AND PAUL NEWMAN
SAW MY FIRST PLAY

CALLED "DIARY FROM AVENUE B."

JOANNE FOUND SOMETHING IN IT
THAT SHE LIKED.

JOANNE FOUND SOMETHING IN IT
THAT SHE LIKED.

THEY WERE JUST DEAD SET AGAINST
ANY OF THEIR PROT■G■S

THEY WERE JUST DEAD SET AGAINST
ANY OF THEIR PROT■G■S

GOING TO HOLLYWOOD, MOVING TO
L.A., WRITING FOR FILM,

GOING TO HOLLYWOOD, MOVING TO
L.A., WRITING FOR FILM,

GOING TO HOLLYWOOD, MOVING TO
L.A., WRITING FOR FILM,

ACTING IN FILMS, UM, DOING
TELEVISION ESPECIALLY.

ACTING IN FILMS, UM, DOING
TELEVISION ESPECIALLY.

ACTING IN FILMS, UM, DOING
TELEVISION ESPECIALLY.

THEY WERE ABSOLUTELY AGAINST
IT-- OF COURSE, ALL OF US HAVE.

THEY WERE ABSOLUTELY AGAINST
IT-- OF COURSE, ALL OF US HAVE.

THEY WERE ABSOLUTELY AGAINST
IT-- OF COURSE, ALL OF US HAVE.

PART OF WHAT THE SHOWRUNNER HAS
TO DO

PART OF WHAT THE SHOWRUNNER HAS
TO DO

IS HEAD IN FOUR DIFFERENT PLACES
AT THE SAME TIME.

IS HEAD IN FOUR DIFFERENT PLACES
AT THE SAME TIME.

YOU'RE IN A CONSTANT SITUATION
OF FEELING

LIKE YOU'RE DOING, UH, NOT A
GOOD ENOUGH JOB.

LIKE YOU'RE DOING, UH, NOT A
GOOD ENOUGH JOB.

LIKE YOU'RE DOING, UH, NOT A
GOOD ENOUGH JOB.

THE IDEA FOR "MEN OF A CERTAIN
AGE" CAME FROM

THE IDEA FOR "MEN OF A CERTAIN
AGE" CAME FROM

WHEN RAY ROMANO AND I WERE BOTH
BETWEEN PROJECTS.

WHEN RAY ROMANO AND I WERE BOTH
BETWEEN PROJECTS.

AND HE, UH, HE WAS KIND OF STILL
IN THE WAKE

AND HE, UH, HE WAS KIND OF STILL
IN THE WAKE

AND HE, UH, HE WAS KIND OF STILL
IN THE WAKE

OF "EVERYBODY LOVES RAYMOND,"
TRYING TO FIGURE OUT

WHAT HE WAS SUPPOSED TO DO NEXT.

WHAT HE WAS SUPPOSED TO DO NEXT.

AND AS WE STARTED CONVERSING, IT
WAS ALL EXISTENTIAL

AND AS WE STARTED CONVERSING, IT
WAS ALL EXISTENTIAL

MID-LIFE CRISIS STUFF THAT WE
WERE BOTH GOING THROUGH.

MID-LIFE CRISIS STUFF THAT WE
WERE BOTH GOING THROUGH.

THE MORE WE TALKED, THE MORE
STORIES WE HAD

THE MORE WE TALKED, THE MORE
STORIES WE HAD

AND THE MORE IT FELT LIKE, WELL,
THIS IS WHAT WE SHOULD

BE WRITING ABOUT BECAUSE A LOT
OF PEOPLE CAN RELATE

TO THIS, AND IT WORKED OUT VERY
WELL.

TO THIS, AND IT WORKED OUT VERY
WELL.

WE WERE EXTREMELY HAPPY

WE WERE EXTREMELY HAPPY

WITH ALL OF OUR EPISODES IN THE
FIRST SEASON.

WITH ALL OF OUR EPISODES IN THE
FIRST SEASON.

WE FELT LIKE, YOU KNOW WHAT, WE
DID A GOOD SHOW

WE FELT LIKE, YOU KNOW WHAT, WE
DID A GOOD SHOW

SO LET'S JUST GET IT OUT THERE
AND SEE IF PEOPLE LIKE IT.

SO LET'S JUST GET IT OUT THERE
AND SEE IF PEOPLE LIKE IT.

AND PEOPLE LIKED IT.

WE FEEL THE SAME WAY ABOUT THIS
SEASON.

THIS SEASON, PEOPLE ARE STILL
TRYING TO FIND IT.

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IF YOU HAVE TO REMEMBER ONLY ONE
THING, IT'S FOUR WORDS.

IF YOU HAVE TO REMEMBER ONLY ONE
THING, IT'S FOUR WORDS.

IF YOU HAVE TO REMEMBER ONLY ONE
THING, IT'S FOUR WORDS.

QUALITY SCRIPTS ON TIME.

QUALITY SCRIPTS ON TIME.

IF YOU DON'T HAVE QUALITY
SCRIPTS,

THEN WHAT'S THE POINT OF DOING
ANY OF THIS?

BUT IF QUALITY SCRIPTS DON'T
COME ON TIME,

YOU'RE GONNA BE OFF THE AIR.

IF YOUR SCRIPT IS LATE, IT'S NOT
ENOUGH

TO SIMPLY SAY, WELL, IT'S GOOD.

TO SIMPLY SAY, WELL, IT'S GOOD.

I DON'T CARE OF IT'S THE FOURTH
DAY OF PREP.

I DON'T CARE OF IT'S THE FOURTH
DAY OF PREP.

YOU GOT 180 PEOPLE THAT ARE
TRYING TO DO THEIR JOB,

YOU GOT 180 PEOPLE THAT ARE
TRYING TO DO THEIR JOB,

AND YOU'VE JUST MADE THEIR JOB
SO MUCH MORE DIFFICULT.

AND YOU'VE JUST MADE THEIR JOB
SO MUCH MORE DIFFICULT.

YOU'VE MADE YOUR BUDGET SOAR AND
WHEN PUSH COMES TO SHOVE,

YOU'VE MADE YOUR BUDGET SOAR AND
WHEN PUSH COMES TO SHOVE,

ALL THINGS BEING EQUAL, WHEN THE
NETWORK AND THE STUDIO

LOOK AT THE HOT COSTS AND LOOK
AT WHAT THE SHOW HAS DONE,

THEY'LL SAY, EITHER WE WANNA BE

THEY'LL SAY, EITHER WE WANNA BE

IN BUSINESS WITH THAT PERSON
AGAIN OR WE DON'T.

NOTHING WILL GET YOU OUT OF IT
QUICKER THAN ARROGANCE,

IGNORANCE AND BEING, UH, OVER
BUDGET AND BEHIND SCHEDULE.

IGNORANCE AND BEING, UH, OVER
BUDGET AND BEHIND SCHEDULE.

IGNORANCE AND BEING, UH, OVER
BUDGET AND BEHIND SCHEDULE.

YOU KNOW, STUDIOS TEND NOT TO
LIKE THAT.

YOU KNOW, STUDIOS TEND NOT TO
LIKE THAT.

(Robert King) I THINK THERE IS A
RENAISSANCE GOING ON IN TV.

I THINK IT'S A COMBINATION OF SO
MUCH OF FEATURE WRITING

I THINK IT'S A COMBINATION OF SO
MUCH OF FEATURE WRITING

I THINK IT'S A COMBINATION OF SO
MUCH OF FEATURE WRITING

HAS GONE DOWNHILL,

HAS GONE DOWNHILL,

AND THE MIDDLE CLASS OF FEATURE
WRITING HAS DISAPPEARED.

SO, I THINK A LOT OF PEOPLE WHO
REALLY FELT FRUSTRATED,

SO, I THINK A LOT OF PEOPLE WHO
REALLY FELT FRUSTRATED,

SO, I THINK A LOT OF PEOPLE WHO
REALLY FELT FRUSTRATED,

COME TO TV AND GO, "OH, MY GOD,
WHO GAVE US ALL THIS FREEDOM?"

COME TO TV AND GO, "OH, MY GOD,
WHO GAVE US ALL THIS FREEDOM?"

IT MIGHT BE LESS MONEY BUT, WOW,
I HAVE STORIES I WANNA TELL.

IT MIGHT BE LESS MONEY BUT, WOW,
I HAVE STORIES I WANNA TELL.

I'M GONNA TELL THEM.

AS DIFFICULT AND AS TIME
CONSUMING AND AS STRESSFUL

AS DIFFICULT AND AS TIME
CONSUMING AND AS STRESSFUL

AS IT CAN BE, I MEAN, CREATIVELY
TO BE ABLE TO, YOU KNOW,

AS IT CAN BE, I MEAN, CREATIVELY
TO BE ABLE TO, YOU KNOW,

TELL THESE STORIES AND UH, HAVE
THE CONTROL OVER IT THAT I DO,

TELL THESE STORIES AND UH, HAVE
THE CONTROL OVER IT THAT I DO,

TELL THESE STORIES AND UH, HAVE
THE CONTROL OVER IT THAT I DO,

UH, IS, IS SUCH A RARE THING.

UH, IS, IS SUCH A RARE THING.

YOU KNOW, THERE ARE A LOT OF
PEOPLE WHO ARE GREAT WRITERS

YOU KNOW, THERE ARE A LOT OF
PEOPLE WHO ARE GREAT WRITERS

WHO REALLY DON'T NECESSARILY
ENJOY THE PROCESS.

AND I REALLY DO-- I LOVE THE
FIRST DRAFT

AS MUCH AS I LOVE THE REWRITES.

THE IDEA OF REALLY HAVING THOSE
CHARACTERS

COME ALIVE IN MY HEAD

AND HEARING THE WORDS IS JUST--
IT'S-- IT'S THE RUSH FOR ME.

AND HEARING THE WORDS IS JUST--
IT'S-- IT'S THE RUSH FOR ME.

YOUR AMBITION EVERY TIME YOU'RE
MAKING AN EPISODE

YOUR AMBITION EVERY TIME YOU'RE
MAKING AN EPISODE

IS FOR IT TO BE THE BEST EPISODE
THAT YOU'VE EVER MADE.

IS FOR IT TO BE THE BEST EPISODE
THAT YOU'VE EVER MADE.

BUT THE REALITY OF THE SITUATION
IS,

WE'RE WRITING A SCRIPT EVERY TEN
DAYS.

WE'RE WRITING A SCRIPT EVERY TEN
DAYS.

AND, YOU KNOW, WE BEGAN TO
REALIZE LIKE, EVERY EPISODE

AND, YOU KNOW, WE BEGAN TO
REALIZE LIKE, EVERY EPISODE

IS NOT GONNA BE A HOME RUN.

IS NOT GONNA BE A HOME RUN.

AND WE STARTED LOOKING AT THE
SEASONS AS A WHOLE,

AND WE STARTED LOOKING AT THE
SEASONS AS A WHOLE,

AS OPPOSED TO A SORT OF EPISODE
BY EPISODE ANALYSIS.

AS OPPOSED TO A SORT OF EPISODE
BY EPISODE ANALYSIS.

BUT AT THE END OF THE DAY, THE
LEGACY OF THE SHOW IS GONNA BE,

BUT AT THE END OF THE DAY, THE
LEGACY OF THE SHOW IS GONNA BE,

THERE'S SIX SEASONS UP ON A
SHELF

THERE'S SIX SEASONS UP ON A
SHELF

AND YOU CAN WATCH 'EM ONE AFTER
THE OTHER.

AND YOU CAN WATCH 'EM ONE AFTER
THE OTHER.

SO THE BAD EPISODES ARE GONNA
COME OUT IN THE WASH,

SO THE BAD EPISODES ARE GONNA
COME OUT IN THE WASH,

AND THE GOOD EPISODES ARE ALSO
GONNA COME OUT IN THE WASH.

AND THE GOOD EPISODES ARE ALSO
GONNA COME OUT IN THE WASH.

ALL THAT'S GONNA MATTER IS, YOU
KNOW,

ALL THAT'S GONNA MATTER IS, YOU
KNOW,

WHAT ARE THE PEAKS AND VALLEYS
OF THE STORYTELLING AS A WHOLE?

WHAT ARE THE PEAKS AND VALLEYS
OF THE STORYTELLING AS A WHOLE?

(Pinkner) WRITING 22 EPISODES OF
A TELEVISION SHOW

(Pinkner) WRITING 22 EPISODES OF
A TELEVISION SHOW

IS A HEAVY ENDEAVOR, AND ANYBODY
WHO CAN DO IT

ON THEIR OWN, MORE POWER TO
THEM.

BUT WE'RE NOT REALLY INTERESTED
IN DOING IT ON OUR OWN.

BUT WE'RE NOT REALLY INTERESTED
IN DOING IT ON OUR OWN.

WE'RE INTERESTED IN HAVING A
FAMILY OF WRITERS

WE'RE INTERESTED IN HAVING A
FAMILY OF WRITERS

WHO ARE ALL CONTRIBUTING TO MAKE
THE SHOW SOMETHING

WHO ARE ALL CONTRIBUTING TO MAKE
THE SHOW SOMETHING

THAT COLLECTIVELY, WE'RE ALL
PROUD OF.

THAT COLLECTIVELY, WE'RE ALL
PROUD OF.

AND HOPEFULLY, BY THE TIME IT
GETS ON AIR,

AND HOPEFULLY, BY THE TIME IT
GETS ON AIR,

EVERYBODY FEELS THAT PART OF
THEM IS IN THAT EPISODE.

EVERYBODY FEELS THAT PART OF
THEM IS IN THAT EPISODE.

PART OF THEM IS IN IT-- YEAH, WE
DON'T REALLY CARE--

I MEAN, THERE'S A LOT OF
SHOWRUNNERS THAT ARE

I MEAN, THERE'S A LOT OF
SHOWRUNNERS THAT ARE

VERY CONCERNED BECAUSE THEIR
NAME'S ON EVERY SCRIPT

AND WHILE IT'S OUR
RESPONSIBILITY TO COME UP

WITH THE STORIES, YOU KNOW, UM,
ON A CONSISTENCY

WITH THE STORIES, YOU KNOW, UM,
ON A CONSISTENCY

AND A THROUGH LINE OF WHERE
WE'RE GOING,

YOU KNOW, IT'S NOT IMPORTANT FOR
US

TO HAVE OUR NAMES ON THE SCRIPTS
SO MUCH.

IT'S KIND OF MORE IMPORTANT THAT
PEOPLE RECOGNIZE,

IT'S KIND OF MORE IMPORTANT THAT
PEOPLE RECOGNIZE,

OKAY, THOSE GUYS ARE THE ONES
BEHIND THE SHOWS.

OKAY, THOSE GUYS ARE THE ONES
BEHIND THE SHOWS.

JOHN, WHY DON'T YOU JUST HEAD
FOR...

JOHN, WHY DON'T YOU JUST HEAD
FOR...

CAN YOU GET AS FAR AS THE END OF
ACT TWO?

YEAH, I CAN.

CAN YOU GET AS FAR AS THE END OF
ACT THREE?

CAN YOU GET AS FAR AS THE END OF
ACT THREE?

I CAN GET TO THE MIDDLE OF ACT
THREE.

I CAN GET TO THE MIDDLE OF ACT
THREE.

I WANTED TO JUST HEAR ACT FOUR.

I WANTED TO JUST HEAR ACT FOUR.

(all laughing)

(all laughing)

GO, JOHN.

WE'RE REALLY GONNA COME BACK TO
THE NEW SEASON,

PICKING UP WHERE EVERYONE'S
STORY WAS.

IN OTHER WORDS, WE'RE GONNA FIND
BRENNAN--

IN OTHER WORDS, WE'RE GONNA FIND
BRENNAN--

THIS IS FULL OF SPOILERS-- I'M A
LITTLE HESITANT TO SPEAK.

THIS IS FULL OF SPOILERS-- I'M A
LITTLE HESITANT TO SPEAK.

DON'T HESITATE-- GO AHEAD. DON'T
WORRY ABOUT THE SPOILERS.

THIS IS GONNA COME OUT AFTER
WE--

THIS IS GONNA COME OUT AFTER
WE--

IT'S A RICH STEW OF SPOILERS.

(laughter)

SO, UH, BRENNAN IS ON THE RUN
STILL

SO, UH, BRENNAN IS ON THE RUN
STILL

SO, UH, BRENNAN IS ON THE RUN
STILL

WITH HER DAUGHTER CHRISTINE.

UM, BOOTH DOESN'T KNOW WHERE
BRENNAN IS.

UM, BOOTH DOESN'T KNOW WHERE
BRENNAN IS.

HE IS LOOKING FOR HER. SO WE'RE
GONNA PICK UP ON...

(Hanson) 99% OF THE AUDIENCE,
THEY DON'T KNOW MY NAME.

(Hanson) 99% OF THE AUDIENCE,
THEY DON'T KNOW MY NAME.

THEY DON'T KNOW THAT PEOPLE
WRITE IT, EVEN.

THEY DON'T KNOW THAT PEOPLE
WRITE IT, EVEN.

I MEAN, MY FATHER WAS ON SET
ONCE AND, UM,

I MEAN, MY FATHER WAS ON SET
ONCE AND, UM,

MY DAD HAS WATCHED TV SINCE THEY
MADE TV-- HE LOVES IT.

MY DAD HAS WATCHED TV SINCE THEY
MADE TV-- HE LOVES IT.

FIRST TIME HE SAW MY NAME ON TV,
HE HAD A LITTLE WEEP.

FIRST TIME HE SAW MY NAME ON TV,
HE HAD A LITTLE WEEP.

AND HE'S A LOGGER. HE'S NOT A
WEEPY GUY.

AND HE'S A LOGGER. HE'S NOT A
WEEPY GUY.

HE WAS STANDING WATCHING EMILY
SAY ONE OF HER, YOU KNOW,

HE WAS STANDING WATCHING EMILY
SAY ONE OF HER, YOU KNOW,

SCIENTIFIC THINGS ABOUT THE
BONES, SOMETHING I'D WRITTEN.

SCIENTIFIC THINGS ABOUT THE
BONES, SOMETHING I'D WRITTEN.

AND HE TURNED TO ME AND SAID,

"WOW, HOW DOES SHE COME UP WITH
THAT STUFF?"

"WOW, HOW DOES SHE COME UP WITH
THAT STUFF?"

AND I THOUGHT, "THAT'S MY DAD."

AND I THOUGHT, "THAT'S MY DAD."

THAT'S, NINE-- THAT'S THE
AUDIENCE IS-- ARE THOSE PEOPLE

THAT'S, NINE-- THAT'S THE
AUDIENCE IS-- ARE THOSE PEOPLE

WHO DON'T KNOW HOW THE SOUP IS
MADE.

UM, AND THEN THERE'S A SMALL--
UH, A VERY SMALL, UH, PORTION

UM, AND THEN THERE'S A SMALL--
UH, A VERY SMALL, UH, PORTION

UM, AND THEN THERE'S A SMALL--
UH, A VERY SMALL, UH, PORTION

OF THE AUDIENCE THAT THINKS THEY
KNOW HOW THE SOUP IS MADE

OF THE AUDIENCE THAT THINKS THEY
KNOW HOW THE SOUP IS MADE

AND HAVE-- GIVE YOU ADVICE ON
HOW MUCH SALT TO PUT IN.

AND HAVE-- GIVE YOU ADVICE ON
HOW MUCH SALT TO PUT IN.

AND I THINK THEY SHOULD BE
IGNORED, BECAUSE THEY'RE NOT--

AND I THINK THEY SHOULD BE
IGNORED, BECAUSE THEY'RE NOT--

NOT THAT THEY'RE STUPID OR
ANYTHING.

NOT THAT THEY'RE STUPID OR
ANYTHING.

SOME OF THEM ARE STUPID.

SOME OF THEM ARE VERY, VERY
SMART.

BUT THEY SHOULD BE IGNORED

BUT THEY SHOULD BE IGNORED

BECAUSE THEY'RE NOT YOUR
AUDIENCE.

ONCE THE WHOLE STORY IS WRITTEN
DOWN,

WE'LL TALK ABOUT WHAT THE
PERSONAL STORIES ARE.

THEN WE TRY AND SMOOSH THOSE
TOGETHER INTO AN OUTLINE.

THEN WE TRY AND SMOOSH THOSE
TOGETHER INTO AN OUTLINE.

AND GENERALLY, THE WRITE--
WHOEVER THE WRITER IS,

AND GENERALLY, THE WRITE--
WHOEVER THE WRITER IS,

WILL, UH, WRITE THE OUTLINE.

IT'S BREAKING DOWN EACH ACT INTO
SCENES,

AND JUST GIVING YOU A SHORT
DESCRIPTION

OF WHAT EACH SCENE IS.

OF WHAT EACH SCENE IS.

JUST SO YOU KNOW WHAT THE END OF
THE ACTS ARE

AND WHAT HAPPENS IN EACH ACT.

IT'S FOR THE NETWORK AND THE
STUDIO TO SAY, "OKAY, LET'S GO."

IT'S FOR THE NETWORK AND THE
STUDIO TO SAY, "OKAY, LET'S GO."

AND SO THAT WE'RE ALL ON MORE OR
LESS THE SAME PAGE.

AND SO THAT WE'RE ALL ON MORE OR
LESS THE SAME PAGE.

AND THEN IT'S OFF TO DRAFTS WE
GO,

AND IT JUST GOES THROUGH THE
SAME, UH, PROCESS.

AND IT JUST GOES THROUGH THE
SAME, UH, PROCESS.

THE TRUTH IS, THERE ARE A LOT OF
PEOPLE WHO CAN WRITE

THE TRUTH IS, THERE ARE A LOT OF
PEOPLE WHO CAN WRITE

WITH A VERY DISTINCTIVE VOICE

WHO WOULD BE ABSOLUTE ABJECT
FAILURES AS SHOWRUNNERS,

WHO WOULD BE ABSOLUTE ABJECT
FAILURES AS SHOWRUNNERS,

BECAUSE WHEN YOU'RE CREATING
TELEVISION,

BECAUSE WHEN YOU'RE CREATING
TELEVISION,

YOU'RE TRYING TO CREATE
SOMETHING UNIQUE AND DO IT

YOU'RE TRYING TO CREATE
SOMETHING UNIQUE AND DO IT

FOR A CERTAIN AMOUNT OF MONEY

FOR A CERTAIN AMOUNT OF MONEY

AND WITHIN A CERTAIN PERIOD OF
TIME.

AND WITHIN A CERTAIN PERIOD OF
TIME.

AND WHEN YOU THROW IN THOSE TWO
COMPLICATING FACTORS,

AND WHEN YOU THROW IN THOSE TWO
COMPLICATING FACTORS,

YOU REALLY SEPARATE THE REAL
SHOWRUNNERS

FROM THE GREAT WRITERS.

FROM THE GREAT WRITERS.

(Whedon) THE PHILOSOPHY OF MY
ROOM FOR THE WRITERS HAS ALWAYS
BEEN

(Whedon) THE PHILOSOPHY OF MY
ROOM FOR THE WRITERS HAS ALWAYS
BEEN

FALL IN LOVE WITH MOMENTS, NOT
MOVES.

FALL IN LOVE WITH MOMENTS, NOT
MOVES.

A MOVE IS, "OH, MY GOD, IT WAS
HIS EVIL TWIN."

A MOVE IS, "OH, MY GOD, IT WAS
HIS EVIL TWIN."

EVIL TWIN GIVES YOU NOTHING,

EVIL TWIN GIVES YOU NOTHING,

UM, UNLESS THERE IS SOME
EXTREMELY RELATABLE THING

UM, UNLESS THERE IS SOME
EXTREMELY RELATABLE THING

THAT EVERYBODY HAS GONE THROUGH
IN REGARDS TO AN EVIL TWIN

THAT EVERYBODY HAS GONE THROUGH
IN REGARDS TO AN EVIL TWIN

THAT YOU CAN MINE, AND THAT'S
YOUR MOMENT.

THAT YOU CAN MINE, AND THAT'S
YOUR MOMENT.

UM, WE WILL PROTECT MOMENTS AT
ALL COSTS.

UM, WE WILL PROTECT MOMENTS AT
ALL COSTS.

I WILL GIVE UP A GOOD MOVE IN A
HEARTBEAT.

I WILL GIVE UP A GOOD MOVE IN A
HEARTBEAT.

IT'S VERY HARD.

IT'S VERY HARD.

MOST WRITERS ARE TAUGHT, JUST
KEEP IT GOING

TILL YOU GET TO THE END.

WHEW, WE GOT THROUGH ANOTHER
ONE.

AND THEN SHOOTOUT AT THE
WAREHOUSE.

AND THEN SHOOTOUT AT THE
WAREHOUSE.

AND, UH-- AND BELIEVE ME, I'VE
DONE MY SHARE

AND, UH-- AND BELIEVE ME, I'VE
DONE MY SHARE

OF SHOOTOUTS AT WAREHOUSES, I'M
SORRY TO SAY.

EVERY SHOW NEEDS TO HAVE A
SEPARATE INTENT.

EVERY SHOW NEEDS TO HAVE A
SEPARATE INTENT.

WHAT DO WE NEED TO SEE, WHAT IS
THE BIG MOVIE MOMENT,

WHAT DO WE NEED TO SEE, WHAT IS
THE BIG MOVIE MOMENT,

WHETHER IT'S EMOTIONAL, WHETHER
IT'S FUNNY,

WHETHER IT'S ACTION-- WHAT'S
THAT THING

WHETHER IT'S ACTION-- WHAT'S
THAT THING

WE'RE LEADING UP TO THAT-- THAT,
YOU KNOW,

WE'RE LEADING UP TO THAT-- THAT,
YOU KNOW,

THAT HITS YOU IN THE HEART?

THE WRITERS OF MY SHOWS AND
STAFFS, THEY'RE MY FAMILIES.

THE WRITERS OF MY SHOWS AND
STAFFS, THEY'RE MY FAMILIES.

YOU WANT THEM TO BE PARTNERS AND
NOT JUST, UH, SCRIBES.

YOU WANT THEM TO BE PARTNERS AND
NOT JUST, UH, SCRIBES.

YOU WANT THEM TO BE PARTNERS AND
NOT JUST, UH, SCRIBES.

FRANKLY, IF YOU'RE LUCKY, YOU
GET TO, UH, TAKE EACH STEP

FRANKLY, IF YOU'RE LUCKY, YOU
GET TO, UH, TAKE EACH STEP

ALONG THE WAY, AND I DID FROM
ASSISTANT TO STAFF WRITER.

ALONG THE WAY, AND I DID FROM
ASSISTANT TO STAFF WRITER.

ALONG THE WAY, AND I DID FROM
ASSISTANT TO STAFF WRITER.

AND THEN YOU GET A STORY EDITOR.

AND THEN EXECUTIVE STORY EDITOR
AND CO-PRODUCER

AND THEN EXECUTIVE STORY EDITOR
AND CO-PRODUCER

AND SUPERVISING PRODUCER AND
CO-EP AND THEN, UH,

AND SUPERVISING PRODUCER AND
CO-EP AND THEN, UH,

EXECUTIVE PRODUCER, AND THEN
SHOWRUNNER IF YOU GET A SHOW.

EXECUTIVE PRODUCER, AND THEN
SHOWRUNNER IF YOU GET A SHOW.

UH, FOR ME, EVERY ONE OF THOSE
STEPS, UH, IS IMPORTANT.

UH, FOR ME, EVERY ONE OF THOSE
STEPS, UH, IS IMPORTANT.

YOU LEARN SOMETHING NEW,

AND THE RESPONSIBILITIES GET A
LITTLE BIT GREATER.

■■■

■■■

■■■

DAVE COBB, WRITER'S ASSISTANT.

TODD HELBING, STORY EDITOR.

TODD HELBING, STORY EDITOR.

AARON HELBING, STORY EDITOR.

MISHA GREEN, STORY EDITOR.

MISHA GREEN, STORY EDITOR.

BRENT FLETCHER, CO-PRODUCER.

BRENT FLETCHER, CO-PRODUCER.

JED... (laughing)

JED... (laughing)

(all laughing)

(all laughing)

JED WHEDON, CO-PRODUCER.

JED WHEDON, CO-PRODUCER.

WHAT I LOVE ABOUT THIS ROOM IS
THAT THERE'S NO POWER PLAYS.

WHAT I LOVE ABOUT THIS ROOM IS
THAT THERE'S NO POWER PLAYS.

THERE'S NO-- NOBODY'S TRYING TO
GET OVER ANYBODY ELSE.

THERE'S NO-- NOBODY'S TRYING TO
GET OVER ANYBODY ELSE.

I'VE BEEN ON SHOWS WHERE IT'S
VERY CLEAR THAT THERE WAS.

I'VE BEEN ON SHOWS WHERE IT'S
VERY CLEAR THAT THERE WAS.

I'VE BEEN ON SHOWS WHERE IT'S
VERY CLEAR THAT THERE WAS.

I AM THE KING-- LET'S NOT FORGET
THAT.

BUT BESIDES THAT, EVERYBODY'S
EQUAL.

EVERYBODY-- ME AND THE LITTLE
KING WILL BROACH NO DISSENT.

EVERYBODY-- ME AND THE LITTLE
KING WILL BROACH NO DISSENT.

EVERYBODY-- ME AND THE LITTLE
KING WILL BROACH NO DISSENT.

WHEN I GRADUATED FROM UCLA, I
THOUGHT,

WHEN I GRADUATED FROM UCLA, I
THOUGHT,

OKAY, SIX MONTHS TO A YEAR,
I'LL, YOU KNOW,

OKAY, SIX MONTHS TO A YEAR,
I'LL, YOU KNOW,

GET MY CAREER GOING AND BREAK
IN.

GET MY CAREER GOING AND BREAK
IN.

AND DURING THAT TIME, I GOT A
JOB

AS A ENGLISH AS A SECOND
LANGUAGE TEACHER

AS A ENGLISH AS A SECOND
LANGUAGE TEACHER

AT A JAPANESE SCHOOL IN VAN
NUYS.

AT A JAPANESE SCHOOL IN VAN
NUYS.

BUT I THOUGHT, YOU KNOW, SIX
MONTHS TO A YEAR.

SIX AND A HALF YEARS LATER, I
COULD NOT GET ARRESTED.

SIX AND A HALF YEARS LATER, I
COULD NOT GET ARRESTED.

UM, EVERYTHING I TRIED, UH,
NOTHING HAPPENED.

UM, EVERYTHING I TRIED, UH,
NOTHING HAPPENED.

UM, EVERYTHING I TRIED, UH,
NOTHING HAPPENED.

WE'LL GET, UH, THE FULL OUTLINE
BY THE 22ND OUT TO EVERYBODY.

WE'LL GET, UH, THE FULL OUTLINE
BY THE 22ND OUT TO EVERYBODY.

UM, NOTES OR NO NOTES,

UM, NOTES OR NO NOTES,

I WANNA SEND YOU OUT THE SCRIPT
ON THE 23RD.

AND THEN WE ARE IN THE END GAME
OF THE FINAL EPISODE.

AND THEN WE ARE IN THE END GAME
OF THE FINAL EPISODE.

I'M SURE EVERYTHING WILL BE
GREAT.

I'M SURE EVERYTHING WILL BE
GREAT.

THEY'LL LOVE IT.

THEY'LL LOVE IT.

I WAS 33 BEFORE I HAD MY FIRST
PROFESSIONAL WRITING JOB.

I WAS 33 BEFORE I HAD MY FIRST
PROFESSIONAL WRITING JOB.

AFTER FOUR SEASONS ON THIS TEEN
SEX COMEDY,

AFTER FOUR SEASONS ON THIS TEEN
SEX COMEDY,

I WAS DESPERATE TO GET INTO,
LIKE, MAINSTREAM NETWORK.

I WAS DESPERATE TO GET INTO,
LIKE, MAINSTREAM NETWORK.

I TOOK MY FAVORITE SHOW ON TV AT
THE TIME,

I TOOK MY FAVORITE SHOW ON TV AT
THE TIME,

"BUFFY THE VAMPIRE SLAYER," AND
I WROTE A SPEC.

"BUFFY THE VAMPIRE SLAYER," AND
I WROTE A SPEC.

THAT GOT INTO JOSS WHEDON'S
PEOPLE'S HANDS,

THAT GOT INTO JOSS WHEDON'S
PEOPLE'S HANDS,

AND I SPENT THE NEXT, I THINK,
EIGHT WEEKS CHEWING MY NAILS.

AND I SPENT THE NEXT, I THINK,
EIGHT WEEKS CHEWING MY NAILS.

AND THEN I FINALLY GOT A CALL

THAT JOSS WHEDON WANTS TO SEE
YOU.

THAT JOSS WHEDON WANTS TO SEE
YOU.

THAT WAS WHEN I FELT LIKE MY
CAREER HAS REALLY STARTED.

THAT WAS WHEN I FELT LIKE MY
CAREER HAS REALLY STARTED.

THAT WAS WHEN I FELT LIKE MY
CAREER HAS REALLY STARTED.

DURING THE DARK DAYS, THE
THOUGHT WOULD PASS MY MIND

DURING THE DARK DAYS, THE
THOUGHT WOULD PASS MY MIND

DURING THE DARK DAYS, THE
THOUGHT WOULD PASS MY MIND

ABOUT GIVING UP, BUT HONESTLY,

IT WAS THE ONLY THING I FELT
REALLY PASSIONATE ABOUT.

IT WAS THE ONLY THING I FELT
REALLY PASSIONATE ABOUT.

IT WAS THE ONLY THING THAT I
THOUGHT I COULD DO REALLY WELL.

IT WAS THE ONLY THING THAT I
THOUGHT I COULD DO REALLY WELL.

PART OF THE MAIN JOB DESCRIPTION

IN THE WRITER'S ROOM IS,

YOU'RE THE GUY THAT HAS TO COME
IN AND SHIT ON EVERYBODY,

WHICH I ACTUALLY HATE DOING...

BUT ARE VERY GOOD AT.

UH, WELL, YOU KNOW, I TRY--

I TRY TO DO IT WITH A WINK AND A
SMILE.

ONE OF THE THINGS THAT I'VE SEEN
GO HORRIBLY AWRY

ONE OF THE THINGS THAT I'VE SEEN
GO HORRIBLY AWRY

WITH OTHER SHOWS IS TO NOT MAKE
A DECISION.

WITH OTHER SHOWS IS TO NOT MAKE
A DECISION.

UM, YOU NEED TO MAKE A
DECISION-- WHETHER IT'S GOOD,

UM, YOU NEED TO MAKE A
DECISION-- WHETHER IT'S GOOD,

WHETHER IT'S BAD, WHETHER
EVERYBODY AGREES WITH IT,

YOU GOTTA MAKE A DECISION.

THERE ARE TWO APPROACHES

I THINK YOU HAVE TO BE CAREFUL
ABOUT WHEN YOU DO TV.

ONE IS, TO NOT KNOW IT ALL WHERE
YOUR SHOW IS GONNA GO.

ONE IS, TO NOT KNOW IT ALL WHERE
YOUR SHOW IS GONNA GO.

ONE IS, TO NOT KNOW IT ALL WHERE
YOUR SHOW IS GONNA GO.

AND THEN, I WOULD SAY THE OTHER
WORRISOME THING

AND THEN, I WOULD SAY THE OTHER
WORRISOME THING

IS TO REALLY THINK YOU DO KNOW
WHERE YOUR SHOW IS GONNA GO.

IS TO REALLY THINK YOU DO KNOW
WHERE YOUR SHOW IS GONNA GO.

IS TO REALLY THINK YOU DO KNOW
WHERE YOUR SHOW IS GONNA GO.

WHAT I MEAN BY THAT IS, THERE
ARE SOME SHOWS WHERE THEY GO,

WHAT I MEAN BY THAT IS, THERE
ARE SOME SHOWS WHERE THEY GO,

"WE HAVE A FIVE-YEAR PLAN.

"WE HAVE A FIVE-YEAR PLAN.

WE KNOW EXACTLY WHAT'S GONNA
HAPPEN."

WELL, I'M ALWAYS SUSPICIOUS OF
THAT,

BECAUSE THESE IDEAS ARE REALLY
HARD TO COME UP WITH,

AND IF YOU COME UP WITH FIVE
SEASONS' WORTH OF IDEAS

AND IF YOU COME UP WITH FIVE
SEASONS' WORTH OF IDEAS

IN THE LAST TWO MONTHS, THEN MY
GUESS IS,

IN THE LAST TWO MONTHS, THEN MY
GUESS IS,

THEY AREN'T THE GREATEST IDEAS
IN THE WORLD,

THEY AREN'T THE GREATEST IDEAS
IN THE WORLD,

BECAUSE, I KNOW THE SHOWS I'VE
WORKED ON,

BECAUSE, I KNOW THE SHOWS I'VE
WORKED ON,

IT'S TAKEN US A LOT LONGER TO
WORK IT OUT.

IT'S TAKEN US A LOT LONGER TO
WORK IT OUT.

AT THE SAME TIME, IF YOU DON'T
HAVE ANY PLAN AT ALL,

AT THE SAME TIME, IF YOU DON'T
HAVE ANY PLAN AT ALL,

AND YOU'VE GOT A PILOT

AND YOU'VE GOT A PILOT

THAT MAKES AN ENTERTAINING HOUR
OF TELEVISION

THAT MAKES AN ENTERTAINING HOUR
OF TELEVISION

BUT YOU DON'T REALLY KNOW WHERE
IT LEADS

BUT YOU DON'T REALLY KNOW WHERE
IT LEADS

AND WHERE IT GOES TO,

AND WHERE IT GOES TO,

I THINK YOU'RE GONNA BE IN BIG
TROUBLE.

I THINK YOU'RE GONNA BE IN BIG
TROUBLE.

MY JOB, WHEN I'M PRODUCING A
SHOW THAT I HAVEN'T CREATED,

MY JOB, WHEN I'M PRODUCING A
SHOW THAT I HAVEN'T CREATED,

MY JOB, WHEN I'M PRODUCING A
SHOW THAT I HAVEN'T CREATED,

IS TO HELP THE CREATOR AND THE
SHOWRUNNERS DO THEIR JOB.

IS TO HELP THE CREATOR AND THE
SHOWRUNNERS DO THEIR JOB.

IS TO HELP THE CREATOR AND THE
SHOWRUNNERS DO THEIR JOB.

BUT PEOPLE LIKE JONAH NOLAN WHO
CREATED "PERSON OF INTEREST,"

BUT PEOPLE LIKE JONAH NOLAN WHO
CREATED "PERSON OF INTEREST,"

SOMEONE WHO HAD DONE SUCH
INCREDIBLE WORK IN FILM

SOMEONE WHO HAD DONE SUCH
INCREDIBLE WORK IN FILM

AND WAS JUST DYING TO TELL THE
STORY AS A TV SERIES,

AND WAS JUST DYING TO TELL THE
STORY AS A TV SERIES,

AND ALONG WITH GREG PLAGEMAN,

DO AN EXTRAORDINARY JOB RUNNING
THAT SERIES.

MY JOB IS TO REALLY KIND OF
SUPPORT THEM IN WHAT THEY NEED.

SO, RATHER THAN BEING SOMEONE
WHO SORT OF CALLS THEM

AND STARTS TO MANDATE STUFF OUT
OF THE BLUE, YOU KNOW,

AND STARTS TO MANDATE STUFF OUT
OF THE BLUE, YOU KNOW,

I WOULD MUCH RATHER BE SOMEONE
WHO IS THERE

WHEN THEY NEED ME TO BE THERE,

BUT NOT SOMEONE WHO IS TRYING TO
IMPOSE IDEAS ON THEM,

BUT NOT SOMEONE WHO IS TRYING TO
IMPOSE IDEAS ON THEM,

BECAUSE REALLY, IT'S THEIR SHOW.

BECAUSE REALLY, IT'S THEIR SHOW.

A SHOWRUNNER FRIEND OF MINE WHO
ASKED ME

WHEN I WAS PITCHING THE SHOW IN
THE FIRST PLACE,

HE'S LIKE, "YEAH, WHAT'S EPISODE
SIX?"

HE'S LIKE, "YEAH, WHAT'S EPISODE
SIX?"

THAT WAS THE BIG QUESTION-- LIKE
DO YOU HAVE A FRANCHISE?

IS THERE AN IDEA THAT'S DURABLE
WITH THE SHOW?

IS THERE AN IDEA THAT'S DURABLE
WITH THE SHOW?

AND I THINK YOU AND I HAD TO
GENERATE--

AND I THINK YOU AND I HAD TO
GENERATE--

WE WERE IN NEW YORK-- AND THE
PILOT WAS A FUCKING DISASTER.

WE WERE IN NEW YORK-- AND THE
PILOT WAS A FUCKING DISASTER.

I MEAN, FRONT TO BACK, ACROSS
THE BOARD,

IT WAS JUST, YOU KNOW,

ANYTHING THAT COULD GO WRONG
WENT WRONG.

WHAT DID YOU GUYS COME UP WITH?

WHAT ARE YOU, WHAT ARE YOU...

WHAT ARE YOU, WHAT ARE YOU...

(Jonathan Nolan) THE LARGER
QUESTION OF, ARE YOU GONNA BE
ABLE

(Jonathan Nolan) THE LARGER
QUESTION OF, ARE YOU GONNA BE
ABLE

TO TELL A STORY OF THE WEEK AND
A BIGGER STORY.

TO TELL A STORY OF THE WEEK AND
A BIGGER STORY.

FOR ME, IT WAS ANSWERED IN
EPISODE SEVEN.

FOR ME, IT WAS ANSWERED IN
EPISODE SEVEN.

I THINK THAT WAS THE DEFINING
MOMENT FOR US IN THE SEASON.

I THINK THAT WAS THE DEFINING
MOMENT FOR US IN THE SEASON.

WE'RE COMING TO IT SAYING, WE'RE
GONNA GET FUCKING BORED

WE'RE COMING TO IT SAYING, WE'RE
GONNA GET FUCKING BORED

IF IT'S JUST GONNA BE THIS EVERY
WEEK.

THAT'S NOT WHAT WE SIGNED ON
FOR, THAT'S NOT WHAT WE WANTED.

THAT'S NOT WHAT WE SIGNED ON
FOR, THAT'S NOT WHAT WE WANTED.

AND THE ONLY WAY FOR PEOPLE TO
REALLY FEEL LIKE THE SHOW

AND THE ONLY WAY FOR PEOPLE TO
REALLY FEEL LIKE THE SHOW

HAS ANY STAKES IS FOR OUR GUYS
TO LOSE,

FOR OUR GUYS TO FUCK IT UP.

...BETWEEN A STAND-ALONE...

...BETWEEN A STAND-ALONE...

THERE WAS SOME RESISTANCE TO IT,
BUT THERE WAS NO WIN

AT THE END OF THE SHOW,

WHICH IS THE NETWORK'S BIG
THING, IS LIKE, WELL...

OUR GUY LOST. IT'S A KNOWN GOAL.

YEAH-- BUT THE TWIST WAS SO
GREAT,

AND THAT THREW DOWN THE GAUNTLET

AND SAID THAT'S THE KIND OF SHOW
WE'RE GONNA BE.

AND THAT WAS THE CLOSEST WE HAD
TO SORT OF A CREATIVE ARGUMENT

AND THAT WAS THE CLOSEST WE HAD
TO SORT OF A CREATIVE ARGUMENT

WITH THE NETWORK-- NOT TO TALK
OUT OF SCHOOL.

(Matthew Carnahan) I THINK WE
WERE SUCCESSFUL IN THE PILOT

(Matthew Carnahan) I THINK WE
WERE SUCCESSFUL IN THE PILOT

IN MAKING EXACTLY WHAT WE
WANTED.

IN MAKING EXACTLY WHAT WE
WANTED.

YOU KNOW, WE MADE A THING THAT'S
REALLY FUNNY,

YOU KNOW, WE MADE A THING THAT'S
REALLY FUNNY,

REALLY WICKED, REALLY FILTHY,

REALLY WICKED, REALLY FILTHY,

AND MANAGED TO TAKE A GOOD SWING

AND MANAGED TO TAKE A GOOD SWING

AT THE FINANCIAL SERVICES
BUSINESS WHILE WE DID IT,

AT THE FINANCIAL SERVICES
BUSINESS WHILE WE DID IT,

WHICH WAS REALLY FUN.

IF I COULD KEEP THAT KIND OF
BALANCE GOING WITHIN THE SHOW

IF I COULD KEEP THAT KIND OF
BALANCE GOING WITHIN THE SHOW

AND NOT JUST GO FOR THE POO
JOKES EVERY TIME--

ALTHOUGH, LOVE A GOOD POO JOKE--

THEN WE'LL HAVE WON.

WE HAVEN'T BROUGHT ANY SCRIPTS
IN YET.

WE'RE JUST BRINGING-- WE BROUGHT
OUR FIRST OUTLINE IN YESTERDAY,

WHICH WAS KAREN'S, WHICH WAS
AMAZING.

WHICH WAS KAREN'S, WHICH WAS
AMAZING.

WE'RE WORKING ON EPISODE SEVEN
SO YOU WANNA JUST KEEP, UH...

WE'RE WORKING ON EPISODE SEVEN
SO YOU WANNA JUST KEEP, UH...

(Carnahan) ONE HAS HIGH HOPES.

(Carnahan) ONE HAS HIGH HOPES.

I WANNA MAKE A GREAT PIECE OF
WORK.

I WANNA MAKE A GREAT PIECE OF
WORK.

UM, WHETHER I CAN ACCOMPLISH
THAT, I HAVE NO IDEA.

UM, WHETHER I CAN ACCOMPLISH
THAT, I HAVE NO IDEA.

MATT CARNAHAN HAS A GREAT SENSE
OF LANGUAGE.

MATT CARNAHAN HAS A GREAT SENSE
OF LANGUAGE.

I LIKE THE COMBINATION OF
PROFANE AND SOULFULNESS.

I LIKE THE COMBINATION OF
PROFANE AND SOULFULNESS.

IT HAD ELEMENTS OF SATIRE ABOUT
AMERICAN BUSINESS

IT HAD ELEMENTS OF SATIRE ABOUT
AMERICAN BUSINESS

IT HAD ELEMENTS OF SATIRE ABOUT
AMERICAN BUSINESS

THAT SORT OF FELT LIKE UNIQUE
TERRITORY FOR COMEDY.

THAT SORT OF FELT LIKE UNIQUE
TERRITORY FOR COMEDY.

THAT SORT OF FELT LIKE UNIQUE
TERRITORY FOR COMEDY.

ALL OF OUR SHOWS RUN SLIGHTLY
DIFFERENTLY.

ALL OF OUR SHOWS RUN SLIGHTLY
DIFFERENTLY.

NEIL JORDAN WRITES ALMOST ALL
THE SCRIPTS OF "THE BORGIAS."

NEIL JORDAN WRITES ALMOST ALL
THE SCRIPTS OF "THE BORGIAS."

TOM KAPINOS WRITES ALL THE
SCRIPTS OF "CALIFORNICATION."

TOM KAPINOS WRITES ALL THE
SCRIPTS OF "CALIFORNICATION."

I THINK, IN TRUTH, "HOUSE OF
LIES" IS STILL DEFINING ITSELF.

I THINK, IN TRUTH, "HOUSE OF
LIES" IS STILL DEFINING ITSELF.

IT'S RUN MORE TRADITIONALLY

IT'S RUN MORE TRADITIONALLY

WITH A SHOWRUNNER AND A WRITING
STAFF.

WITH A SHOWRUNNER AND A WRITING
STAFF.

YEAH, JOB SECURITY IS A PUNCH
LINE IN OUR PROFESSION.

YEAH, JOB SECURITY IS A PUNCH
LINE IN OUR PROFESSION.

YEAH, JOB SECURITY IS A PUNCH
LINE IN OUR PROFESSION.

OUR ENTIRE WELL-BEING IS IN
JEOPARDY.

OUR ENTIRE WELL-BEING IS IN
JEOPARDY.

WE DON'T OWN THE WHITE BOARDS.

YOU KNOW, THEY CAN CART 'EM OFF
TOMORROW.

(all laughing)

(all laughing)

I HAD NO REAL CAREER PATH
PLANNED OUT, I WAS JUST--

I HAD NO REAL CAREER PATH
PLANNED OUT, I WAS JUST--

MY CAREER STRATEGY WAS,

IF YOU OFFERED ME A JOB, I WOULD
TAKE IT.

IF YOU OFFERED ME A JOB, I WOULD
TAKE IT.

SO YOU LOOK AT MY RESUME, AND
IT'S JUST ALL OVER THE PLACE.

I DON'T THINK YOU COULD FIGURE
OUT WHAT I WAS DOING.

THAT WAS A REALLY TOUGH SHOW FOR
ME.

THAT WAS A REALLY TOUGH SHOW FOR
ME.

THAT IS NOT MY WORLD, NOT MY
MILIEU.

THAT IS NOT MY WORLD, NOT MY
MILIEU.

I WROTE THREE OF THEM, AND I
THINK, CONSISTENTLY,

I WROTE THREE OF THEM, AND I
THINK, CONSISTENTLY,

THEY ARE LIKE THE LOWEST RATED
FAN FAVORITES IN THE SERIES,

THEY ARE LIKE THE LOWEST RATED
FAN FAVORITES IN THE SERIES,

AND I TOTALLY-- YOU KNOW, I COP
TO THAT FREELY-- I JUST--

AND I TOTALLY-- YOU KNOW, I COP
TO THAT FREELY-- I JUST--

YEAH, I SHOULD NOT HAVE BEEN
WRITING THAT SHOW.

YEAH, I SHOULD NOT HAVE BEEN
WRITING THAT SHOW.

THE MAIN THING THAT DAVID TRIED
TO IMPRESS UPON US AS WRITERS

THE MAIN THING THAT DAVID TRIED
TO IMPRESS UPON US AS WRITERS

THE MAIN THING THAT DAVID TRIED
TO IMPRESS UPON US AS WRITERS

WAS TO ALWAYS BE ENTERTAINING.

WAS TO ALWAYS BE ENTERTAINING.

I ACTUALLY HAVE A SIGN IN MY OWN
WRITER'S ROOM

I ACTUALLY HAVE A SIGN IN MY OWN
WRITER'S ROOM

THAT JUST SAYS, "BE
ENTERTAINING."

SO, IF YOU THINK ABOUT "THE
SOPRANOS,"

IT WAS FUNNY, IT WAS VIOLENT,
THERE WAS GREAT MUSIC,

THERE WAS ACTION, THERE WAS JUST
A LOT GOING ON THERE.

SOMETHING THAT YOU'D JUST ALWAYS
KEEP IN MIND, YOU KNOW,

FIRST AND FOREMOST, YOU'RE
PUTTING ON A TELEVISION SHOW.

FIRST AND FOREMOST, YOU'RE
PUTTING ON A TELEVISION SHOW.

NO MATTER WHAT ELSE I DO IN MY
CAREER,

THAT WILL BE THE EXPERIENCE THAT
I COMPARE EVERYTHING ELSE TO.

(Moore) I STARTED DATING THIS
GIRL

WHO WORKED AT "STAR TREK: THE
NEXT GENERATION."

AND SHE SAID, UH, YOU KNOW,

I COULD PROBABLY GET YOU A TOUR
OF THE SETS.

TURNS, IN RETROSPECT, THAT THAT
WAS THE KEY MOMENT OF MY CAREER,

TURNS, IN RETROSPECT, THAT THAT
WAS THE KEY MOMENT OF MY CAREER,

BECAUSE I JUST DECIDED, WHAT THE
HELL,

BECAUSE I JUST DECIDED, WHAT THE
HELL,

I'M GONNA WRITE A SPEC SCRIPT
CALLED "THE BONDING."

I'M GONNA WRITE A SPEC SCRIPT
CALLED "THE BONDING."

THERE WAS THIS YOUNG MAN WHO WAS
GIVING ME THE TOUR,

THERE WAS THIS YOUNG MAN WHO WAS
GIVING ME THE TOUR,

AND I CONNED HIM INTO READING
IT,

AND I CONNED HIM INTO READING
IT,

AND IT TURNED OUT, HE LIKED IT.

AND HE WAS ONE OF GENE
RODDENBERRY'S ASSISTANTS.

AND HE WAS ONE OF GENE
RODDENBERRY'S ASSISTANTS.

AND HE GAVE IT TO THE LATE
MICHAEL PILLER, WHO BOUGHT IT.

AND HE GAVE IT TO THE LATE
MICHAEL PILLER, WHO BOUGHT IT.

AND HE GAVE IT TO THE LATE
MICHAEL PILLER, WHO BOUGHT IT.

AND THEN I GOT THIS CALL ONE
DAY, JUST SAYING,

AND THEN I GOT THIS CALL ONE
DAY, JUST SAYING,

"I NEED A STAFF WRITER. CAN YOU
START WORKING TOMORROW?"

"I NEED A STAFF WRITER. CAN YOU
START WORKING TOMORROW?"

AND I SAID, "YES," AND SHOWED UP
AND...

AND I SAID, "YES," AND SHOWED UP
AND...

AND I SAID, "YES," AND SHOWED UP
AND...

I WAS THERE TEN YEARS.

WHEN I STARTED AT "STAR TREK,"

WHEN I STARTED AT "STAR TREK,"

IT REALLY WAS THE FULFILLMENT OF
A LIFELONG DREAM.

IT REALLY WAS THE FULFILLMENT OF
A LIFELONG DREAM.

I WAS A VERY SERIOUS TREKKIE AS
A KID.

I WAS A VERY SERIOUS TREKKIE AS
A KID.

I LOVED THE OLD SHOW.

I LOVED THE OLD SHOW.

AND THEN I KILLED KIRK.

I CO-WROTE "GENERATIONS" AND
KILLED MY CHILDHOOD HERO.

I CO-WROTE "GENERATIONS" AND
KILLED MY CHILDHOOD HERO.

I MEAN, I LITERALLY KILLED MY
CHILDHOOD HERO.

I MEAN, I LITERALLY KILLED MY
CHILDHOOD HERO.

I WEPT WHEN I WROTE IT.

I WEPT WHEN I WROTE IT.

IT STILL MOVES ME WHEN I THINK
ABOUT IT.

IT STILL MOVES ME WHEN I THINK
ABOUT IT.

IT STILL MOVES ME WHEN I THINK
ABOUT IT.

I DON'T KNOW ANYONE ELSE WHO HAS
THAT EXPERIENCE.

I DON'T KNOW ANYONE ELSE WHO HAS
THAT EXPERIENCE.

I DON'T KNOW HOW TO TAKE IT IN
AND UNDERSTAND WHAT IT MEANS

FOR MY LIFE, WHAT IT SAYS ABOUT
ME, YOU KNOW, WHAT--

WHAT INSIGHT IT GIVES INTO MY
SOUL.

WHAT INSIGHT IT GIVES INTO MY
SOUL.

YOU KNOW. IT'S A-- IT'S A UNIQUE
EXPERIENCE

THAT I DON'T QUITE KNOW WHAT TO
DO WITH.

(Janet Tamaro) I NEVER THOUGHT
I'D BE WRITING TELEVISION.

(Janet Tamaro) I NEVER THOUGHT
I'D BE WRITING TELEVISION.

WHAT I LOVED ABOUT JOURNALISM,
WHAT DREW ME TO IT

WHAT I LOVED ABOUT JOURNALISM,
WHAT DREW ME TO IT

WHAT I LOVED ABOUT JOURNALISM,
WHAT DREW ME TO IT

IS EVENTUALLY WHAT REPELLED ME
FROM IT.

IS EVENTUALLY WHAT REPELLED ME
FROM IT.

WHAT GOT TO ME ABOUT COVERING
REAL EVENTS IS,

WHAT GOT TO ME ABOUT COVERING
REAL EVENTS IS,

WHAT GOT TO ME ABOUT COVERING
REAL EVENTS IS,

THAT BODY ON THE FLOOR DOESN'T
GET BACK UP.

THAT BODY ON THE FLOOR DOESN'T
GET BACK UP.

AND IT GOT TO BE RELENTLESS

AND IT GOT TO BE RELENTLESS

AND IT GOT TO BE RELENTLESS

AND-- AND REALLY PROFOUNDLY
DISTURBING.

AND-- AND REALLY PROFOUNDLY
DISTURBING.

AND-- AND REALLY PROFOUNDLY
DISTURBING.

IN OCTOBER OF 1977...

I WAS DOING A THIRD SCHOOL
SHOOTING,

I WAS DOING A THIRD SCHOOL
SHOOTING,

AND I JUST HAD THIS MOMENT WHERE
I WALKED AWAY,

AND I JUST HAD THIS MOMENT WHERE
I WALKED AWAY,

AND I JUST THOUGHT, I CAN'T DO
THIS ANYMORE.

AND I JUST THOUGHT, I CAN'T DO
THIS ANYMORE.

YOU SAID THAT YOU CRIED ABOUT
SHOOTING LARRY FLYNT.

YOU SAID THAT YOU CRIED ABOUT
SHOOTING LARRY FLYNT.

AND THAT WAS THE MOMENT I
THOUGHT,

WELL, THEN WHAT THE HELL AM I
GONNA DO WITH MY LIFE?

WELL, THEN WHAT THE HELL AM I
GONNA DO WITH MY LIFE?

BUT WITH THAT VERY FIRST SCRIPT,

IT WAS LIKE A WHOLE NEW WORLD
OPENED UP FOR ME AND I THOUGHT,

IT WAS LIKE A WHOLE NEW WORLD
OPENED UP FOR ME AND I THOUGHT,

I GET TO FICTIONALIZE ALL THESE
THINGS THAT I'VE SEEN.

I GET TO FICTIONALIZE ALL THESE
THINGS THAT I'VE SEEN.

REPORTING LIVE FROM LOS ANGELES,

REPORTING LIVE FROM LOS ANGELES,

I'M JANET TAMARO FOR ABC NEWS.

I'M JANET TAMARO FOR ABC NEWS.

(Mike Royce) AS A FORMER STANDUP
COMIC, I THINK THAT COMEDY

(Mike Royce) AS A FORMER STANDUP
COMIC, I THINK THAT COMEDY

IS HARDER THAN DRAMA-- I'LL JUST
SAY IT.

YOU KNOW, WHEN YOU'RE WRITING,
IT'S LIKE EIGHT HOURS

OF BEING IN A HOLE AND THEN, OH,
OH, OH, HERE WE GO, YOU KNOW?

OF BEING IN A HOLE AND THEN, OH,
OH, OH, HERE WE GO, YOU KNOW?

I MEAN, SOMETIMES THERE'S DAYS
OF,

I MEAN, SOMETIMES THERE'S DAYS
OF,

OH, ALL RIGHT, GREAT, YOU KNOW?

OH, ALL RIGHT, GREAT, YOU KNOW?

BUT SOMETIMES THERE'S DAYS OF,
LIKE,

BUT SOMETIMES THERE'S DAYS OF,
LIKE,

I DON'T KNOW, MAN, I JUST DON'T
KNOW.

I DON'T KNOW, MAN, I JUST DON'T
KNOW.

NOTHING IS HAPPENING-- YOU KNOW,
THIS IS HORRIBLE.

NOTHING IS HAPPENING-- YOU KNOW,
THIS IS HORRIBLE.

AND IT SEEMS TO NOT MATTER

AND IT SEEMS TO NOT MATTER

HOW OFTEN YOU CAN CONQUER A
WRITING PROBLEM.

HOW OFTEN YOU CAN CONQUER A
WRITING PROBLEM.

THE NEXT TIME THERE'S A WRITING
PROBLEM,

THE NEXT TIME THERE'S A WRITING
PROBLEM,

THAT BECOMES THE ONE THAT WILL
KILL YOU.

THAT BECOMES THE ONE THAT WILL
KILL YOU.

WHEN YOU'RE DONE WITH WRITING,

WHEN YOU'RE DONE WITH WRITING,

YOU HAVE THE, "I'M AWESOME"
FEELING.

YOU HAVE THE, "I'M AWESOME"
FEELING.

LOOK AT WHAT I DID-- OH, MY GOD.

OF COURSE, I'VE HAD THAT

AFTER WRITING, LIKE, A ONE-LINE
EMAIL, TOO.

AFTER WRITING, LIKE, A ONE-LINE
EMAIL, TOO.

WOW, THAT WAS PITHY-- WHEW, WOW,
NICE WORK.

WOW, THAT WAS PITHY-- WHEW, WOW,
NICE WORK.

(Bill Prady) I THINK THE
CHALLENGE THAT COMEDY PRESENTS

(Bill Prady) I THINK THE
CHALLENGE THAT COMEDY PRESENTS

THAT DRAMA DOESN'T

THAT DRAMA DOESN'T

IS MOVING PEOPLE INTO RIDICULOUS
SITUATIONS.

IS MOVING PEOPLE INTO RIDICULOUS
SITUATIONS.

IS MOVING PEOPLE INTO RIDICULOUS
SITUATIONS.

OUR SLANG IN THE ROOM IS, YOU
HAVE TO CLOSE

OUR SLANG IN THE ROOM IS, YOU
HAVE TO CLOSE

ALL THE OTHER DOORS SO THAT THE
ONLY DOOR AVAILABLE

ALL THE OTHER DOORS SO THAT THE
ONLY DOOR AVAILABLE

TO THIS CHARACTER IS THE DOOR

THAT LEADS TO THE BIG BLOCK
COMEDY SCENE YOU WANNA DO,

THAT LEADS TO THE BIG BLOCK
COMEDY SCENE YOU WANNA DO,

AND THAT'S DIFFICULT.

THE MORE EPISODES YOU WRITE,

THE MORE EPISODES YOU WRITE,

THE MORE STORIES YOU'VE TOLD AND
CAN'T TELL AGAIN.

THE MORE STORIES YOU'VE TOLD AND
CAN'T TELL AGAIN.

AND THAT BECOMES HARDER WITH
EVERY EPISODE.

IT'S HARDER ON THE SECOND
EPISODE THAN ON THE FIRST,

IT'S HARDER ON THE SECOND
EPISODE THAN ON THE FIRST,

HARDER ON THE THIRD THAN THE
SECOND.

BUT THE STORYTELLING WITHIN THE
EPISODE DOESN'T CHANGE.

BUT THE STORYTELLING WITHIN THE
EPISODE DOESN'T CHANGE.

BUT THE STORYTELLING WITHIN THE
EPISODE DOESN'T CHANGE.

YOU HAVE TO GET TO THE POINT
WHERE THE AUDIENCE WOULD SAY,

YOU HAVE TO GET TO THE POINT
WHERE THE AUDIENCE WOULD SAY,

YOU KNOW WHAT?

IF I WERE IN THAT SITUATION,

IF I WERE IN THAT SITUATION,

DAMN IT, IF I WOULDN'T DO THE
EXACT SAME THING.

DAMN IT, IF I WOULDN'T DO THE
EXACT SAME THING.

(John Rogers) THE SHOW WAS
REALLY BORN OF THE FACT

THAT COMMON HEIST SHOWS, I FELT,

WEREN'T DOING WHAT THEY WERE
SUPPOSED TO DO,

WHICH IS TO GIVE YOU THE MAGIC
TRICK.

WHICH IS TO GIVE YOU THE MAGIC
TRICK.

THEY WERE BEING HIGHLY
SERIALIZED.

CHRIS WAS TALKING ABOUT
"ROCKFORD FILES." YEAH.

CHRIS WAS TALKING ABOUT
"ROCKFORD FILES." YEAH.

AND WHERE WERE THE SHOWS LIKE
"ROCKFORD FILES"

THAT WAS GOOD, SMART, CRIME
DRAMA

THAT YOU COULD WATCH WITH YOUR
DAD?

THAT YOU COULD WATCH WITH YOUR
DAD?

RIGHT, AND IT SEEMED LIKE THERE
WERE A LOT OF SHOWS

ABOUT SERIAL KILLERS ON THE AIR.

PROBABLY MORE SERIAL KILLERS
HAVE BEEN CAPTURED

PROBABLY MORE SERIAL KILLERS
HAVE BEEN CAPTURED

ON NETWORK TELEVISION THAN EVER
EXISTED. IN ONE SEASON.

ON NETWORK TELEVISION THAN EVER
EXISTED. IN ONE SEASON.

IN ONE SEASON, YEAH, THERE IS--

IN ONE SEASON, YEAH, THERE IS--

AS FAR AS AMERICA IS CONCERNED,

SCRAGGLY WHITE LONERS ARE
ROAMING THE STREETS,

UH, DROPPING BAROQUE CLUE PATHS

IN THE PATH OF PRIVATE
INVESTIGATORS.

TALKING TO SOME OF MY FRIENDS

WHO WRITE ON MORE TRADITIONAL
PROCEDURALS,

WHO WRITE ON MORE TRADITIONAL
PROCEDURALS,

ONCE THEY HAVE AN ARENA WHERE
THEY'RE GONNA BE--

ONCE THEY HAVE AN ARENA WHERE
THEY'RE GONNA BE--

IT'S A MURDER AT A CIRCUS.

IT'S A MURDER AT A CIRCUS.

IT'S A, YOU KNOW, MURDER AT A
MICROCHIP PLANT.

IT'S A, YOU KNOW, MURDER AT A
MICROCHIP PLANT.

THEY'RE IN HEAVEN, BUT IT'S
FINDING A NEW CLUE PATH

THEY'RE IN HEAVEN, BUT IT'S
FINDING A NEW CLUE PATH

THAT THEY HAVEN'T DONE BEFORE--

THAT THEY HAVEN'T DONE BEFORE--

THAT'S WHAT THEY SPEND THE BULK
OF THEIR TIME ON.

THAT'S WHAT THEY SPEND THE BULK
OF THEIR TIME ON.

AND FOR US, THE CLUE PATH IS
THESE-- IS THE HEIST.

AND FOR US, THE CLUE PATH IS
THESE-- IS THE HEIST.

AND FOR US, THE CLUE PATH IS
THESE-- IS THE HEIST.

YEAH, AND THE CON. AND THE CON.

I HAD LUNCH WITH AN EX-FBI AGENT

I HAD LUNCH WITH AN EX-FBI AGENT

AND WE WERE STRUGGLING WITH, UH,

AND WE WERE STRUGGLING WITH, UH,

WHAT ARE WE STEALING THIS WEEK?

THIS IS SORT OF THE ENDLESS
STRUGGLE.

HE SAID, UM, "UH, WELL, YOU
KNOW, YOU HEAR ABOUT

HE SAID, UM, "UH, WELL, YOU
KNOW, YOU HEAR ABOUT

"CALIBRATION WEIGHTS FOR
CENTRIFUGES TO MAKE NUCLEAR--

"CALIBRATION WEIGHTS FOR
CENTRIFUGES TO MAKE NUCLEAR--

UH, TO MAKE NUCLEAR WEAPONS?"

AND I WAS LIKE, "I WANNA KISS
YOU ON THE MOUTH."

(laughing)

(laughing)

IF YOU WEREN'T ARMED RIGHT NOW,
I WOULD KISS YOU ON THE MOUTH.

YOU'RE TELLING ME THAT A TINY
WEIGHT THIS BIG

COULD CALIBRATE A CENTRIFUGE TO
MAKE NUCLEAR WEAPONS

COULD CALIBRATE A CENTRIFUGE TO
MAKE NUCLEAR WEAPONS

FOR A ROGUE STATE AND YOU HAVE
TO STEAL THIS TINY ITEM?

FOR A ROGUE STATE AND YOU HAVE
TO STEAL THIS TINY ITEM?

THAT'S THE SIZE OF SOMETHING YOU
PUT IN A BELT POUCH

THAT'S THE SIZE OF SOMETHING YOU
PUT IN A BELT POUCH

ON SOMEONE WHO IS RAPPELLING
THROUGH A CEILING.

ON SOMEONE WHO IS RAPPELLING
THROUGH A CEILING.

THAT'S PERFECT!

THAT'S PERFECT!

(Tamaro) SOMEBODY SAID, WHERE
DID THIS COME FROM?

WHY DID YOU WANNA DO THIS SHOW?

I THOUGHT ABOUT, WELL, I DIDN'T
WANNA DO AN ADAPTATION,

AND IT'S AN ADAPTATION.

I REALLY DIDN'T WANNA DO A
PROCEDURAL, IT'S A PROCEDURAL.

I REALLY DIDN'T WANNA DO A
MYSTERY, IT'S A MYSTERY.

I KNEW I WANTED TO DO HUMOR
BECAUSE I LIKE TO BE FUNNY.

I KNEW I WANTED TO DO HUMOR
BECAUSE I LIKE TO BE FUNNY.

I HOPE I AM FUNNY--

I HOPE I'M NOT THE ONLY ONE
LAUGHING AT MY JOKES.

BUT I THINK WHAT IT WAS ABOUT
FOR ME ON A DEEP LEVEL

AND THIS IS WHERE-- WHY WRITERS
PICK STUFF THAT--

AND THIS IS WHERE-- WHY WRITERS
PICK STUFF THAT--

AND THIS IS WHERE-- WHY WRITERS
PICK STUFF THAT--

THAT-- THAT THEY RESPOND TO.

THAT-- THAT THEY RESPOND TO.

I HAD-- MY BEST FRIEND OF 16
YEARS

I HAD-- MY BEST FRIEND OF 16
YEARS

HAD BEEN KILLED IN A-- IN A-- IN
AN ACCIDENT.

HAD BEEN KILLED IN A-- IN A-- IN
AN ACCIDENT.

(exhaling)

(exhaling)

(exhaling)

(interviewer) IF YOU DON'T WANNA
GO THERE...

(interviewer) IF YOU DON'T WANNA
GO THERE...

YOU KNOW, IT'S FUNNY, I DON'T GO
THERE ON THE SHOW, UM...

YOU KNOW, IT'S FUNNY, I DON'T GO
THERE ON THE SHOW, UM...

YOU KNOW, IT'S FUNNY, I DON'T GO
THERE ON THE SHOW, UM...

BUT I DO.

THIS RELATIONSHIP BETWEEN THESE
TWO WOMEN

THIS RELATIONSHIP BETWEEN THESE
TWO WOMEN

WHO WERE REALLY DIFFERENT WAS IN
SOME WAYS

WHO WERE REALLY DIFFERENT WAS IN
SOME WAYS

MY RELATIONSHIP WITH MY BEST
FRIEND.

MY RELATIONSHIP WITH MY BEST
FRIEND.

AND YOU KNOW, IT'S-- IT'S
HORRENDOUSLY AWFUL THAT, UM,

AND YOU KNOW, IT'S-- IT'S
HORRENDOUSLY AWFUL THAT, UM,

AND YOU KNOW, IT'S-- IT'S
HORRENDOUSLY AWFUL THAT, UM,

YOU KNOW, MY LIFE, MY PERSONAL
TRAGEDY BECAME FUEL

YOU KNOW, MY LIFE, MY PERSONAL
TRAGEDY BECAME FUEL

FOR THIS SHOW, BUT I THINK
THAT'S WHAT HAPPENS TO WRITERS,

FOR THIS SHOW, BUT I THINK
THAT'S WHAT HAPPENS TO WRITERS,

AND I THINK THAT'S WHY NOBODY
WANTS TO BE MARRIED

AND I THINK THAT'S WHY NOBODY
WANTS TO BE MARRIED

OR RELATED TO A WRITER--

OR RELATED TO A WRITER--

UH, EVEN A TELEVISION OR FILM
WRITER,

UH, EVEN A TELEVISION OR FILM
WRITER,

BECAUSE YOUR LIFE DOES, IN FACT,

BECAUSE YOUR LIFE DOES, IN FACT,

INFORM THE KIND OF WRITING THAT
YOU DO.

INFORM THE KIND OF WRITING THAT
YOU DO.

(Michael Wright) THIS MIGHT BE
MUCH DEBATED IN THIS
DOCUMENTARY,

BUT I DO THINK THAT GOOD
CREATIVE EXECUTIVES DO MAKE

BUT I DO THINK THAT GOOD
CREATIVE EXECUTIVES DO MAKE

AN IMPORTANT CREATIVE
CONTRIBUTION

AN IMPORTANT CREATIVE
CONTRIBUTION

TO THE SUCCESSES OF THE SHOW.

IT'S NOT ABOUT TELLING SOMEBODY
HOW TO WRITE IT.

IT'S NOT ABOUT TELLING SOMEBODY
HOW TO WRITE IT.

IT'S ABOUT GIVING THEM GOOD
COUNSEL.

IT'S ABOUT GIVING THEM GOOD
COUNSEL.

I TEND TO WORK VERY DIRECTLY-- I
HAVE A LOT OF OPINIONS

I TEND TO WORK VERY DIRECTLY-- I
HAVE A LOT OF OPINIONS

I TEND TO WORK VERY DIRECTLY-- I
HAVE A LOT OF OPINIONS

AND FEELINGS OF WHAT I THINK
IS-- IS INTERESTING,

AND FEELINGS OF WHAT I THINK
IS-- IS INTERESTING,

WHAT I THINK IS BORING, WHAT I
THINK IS, UH, FRESH,

WHAT I THINK IS BORING, WHAT I
THINK IS, UH, FRESH,

WHAT I THINK HAS BEEN DONE
BEFORE, AND I COMMUNICATE IT.

WHAT I THINK HAS BEEN DONE
BEFORE, AND I COMMUNICATE IT.

I'M VERY CLEAR-- IT'S THEIR
SHOW,

I'M VERY CLEAR-- IT'S THEIR
SHOW,

AND I TEND TO WIN THE BUDGET
WARS,

THEY WIN THE CREATIVE WARS.

THERE'S NO SHOW THAT GOES ON OUR
AIR WHERE WE DON'T HAVE

THERE'S NO SHOW THAT GOES ON OUR
AIR WHERE WE DON'T HAVE

GENERAL CONSENSUS BETWEEN THE
WRITER, SHOWRUNNER,

GENERAL CONSENSUS BETWEEN THE
WRITER, SHOWRUNNER,

THE LEAD ACTORS, AND THE
NETWORK.

THE LEAD ACTORS, AND THE
NETWORK.

WHEN THERE'S NOT CONSENSUS,

WHEN THERE'S NOT CONSENSUS,

THAT'S WHEN YOU MAKE CRAPPY
TELEVISION.

THAT'S WHEN YOU MAKE CRAPPY
TELEVISION.

(chatter)

(chatter)

(chatter)

(director) ACTION!

(director) ACTION!

(Rogers) THE THING WE KIND OF
BEAT INTO THE YOUNG WRITERS

(Rogers) THE THING WE KIND OF
BEAT INTO THE YOUNG WRITERS

WHEN THEY START IS, IS THIS THE
HILL YOU'RE GONNA DIE ON?

WHEN THEY START IS, IS THIS THE
HILL YOU'RE GONNA DIE ON?

BECAUSE THIS ARGUMENT YOU HAVE
IS THE ONLY ONE

BECAUSE THIS ARGUMENT YOU HAVE
IS THE ONLY ONE

YOU'RE EVER GONNA HAVE A SHOT AT
WINNING,

YOU'RE EVER GONNA HAVE A SHOT AT
WINNING,

SO MAKE SURE IT'S THE ONE,
BECAUSE AFTER THAT, YOU KNOW,

SO MAKE SURE IT'S THE ONE,
BECAUSE AFTER THAT, YOU KNOW,

IF YOU JUST START FIGHTING 'EM
ON EVERY SINGLE THING,

YOU BECOME THE PROBLEM IN THE
ROOM.

AND THEY WRITE THE CHECKS AND
THEY PAY THE BILLS.

AND BY THE WAY, SOMETIMES
THERE'S NO WAY

TO GET OUT OF IT. RIGHT.

TO GET OUT OF IT. RIGHT.

A LOT OF TIMES-- AND SOMETIMES
IT IS THE HILL YOU WANNA DIE ON.

A LOT OF TIMES-- AND SOMETIMES
IT IS THE HILL YOU WANNA DIE ON.

I MEAN, IF THAT'S REALLY WHAT
THE EPISODE IS ABOUT

I MEAN, IF THAT'S REALLY WHAT
THE EPISODE IS ABOUT

AND TO TAKE THE NOTE

IS GONNA UNDERMINE EVERYTHING,
YOU KNOW--

IS GONNA UNDERMINE EVERYTHING,
YOU KNOW--

DON'T NOT HAVE A HILL.

YEAH, YEAH, YEAH, YOU WANNA HAVE
A HILL.

YOU WANNA HAVE SOME INTEGRITY,

YOU WANNA HAVE SOME INTEGRITY,

BUT MAKE SURE IT'S THE HILL,
YEAH.

WORKING ON "DIRT" WAS ALL KINDS
OF THINGS.

IT WAS A DIFFICULT EXPERIENCE.

IT WAS AN ENLIGHTENING
EXPERIENCE

BECAUSE COURTNEY'S CHARACTER

WASN'T EVEN IN THE SCRIPT WHEN I
WROTE IT.

THE NETWORK REALLY WANTED A
FEMALE-DRIVEN SERIES

THE NETWORK REALLY WANTED A
FEMALE-DRIVEN SERIES

SO I CREATED THIS CHARACTER FOR
COURTNEY.

SO I CREATED THIS CHARACTER FOR
COURTNEY.

(exhaling)

(exhaling)

UM... SO IN A WAY, MY INITIAL--
MY ORIGINAL VISION

UM... SO IN A WAY, MY INITIAL--
MY ORIGINAL VISION

UM... SO IN A WAY, MY INITIAL--
MY ORIGINAL VISION

WAS COMPROMISED FROM THE TIME I
SAID OKAY.

WAS COMPROMISED FROM THE TIME I
SAID OKAY.

SOMETHING AS SIMPLE AS GOING,
OKAY, I'LL DO THAT.

AND FROM THERE, IT DETERIORATED.

AND FROM THERE, IT DETERIORATED.

IT WAS CHALLENGING AND JOHN
LANDGRAF AND I, THE HEAD OF FX,

IT WAS CHALLENGING AND JOHN
LANDGRAF AND I, THE HEAD OF FX,

WE WENT AT IT-- WE REALLY
STRUGGLED.

AND IT WAS-- IT WAS A REALLY--
IT WAS ULTIMATELY

AND IT WAS-- IT WAS A REALLY--
IT WAS ULTIMATELY

AND IT WAS-- IT WAS A REALLY--
IT WAS ULTIMATELY

AN INCREDIBLY DIFFICULT

AN INCREDIBLY DIFFICULT

AND REALLY REWARDING CREATIVE
PROCESS.

AND REALLY REWARDING CREATIVE
PROCESS.

I FEEL LIKE THE PILOT I GOT TO
MAKE WAS AMAZINGLY COOL.

I FEEL LIKE THE PILOT I GOT TO
MAKE WAS AMAZINGLY COOL.

THE FIRST SEASON I GOT TO MAKE
WAS REALLY COOL.

THE SECOND SEASON, HE JUST SAID
THIS IS WHAT WE'RE GONNA DO.

THE SECOND SEASON, HE JUST SAID
THIS IS WHAT WE'RE GONNA DO.

AND I FELT LIKE IT WASN'T SO
GOOD.

I'VE NEVER SEEN THE SECOND
SEASON OF "DIRT,"

I'VE NEVER SEEN THE SECOND
SEASON OF "DIRT,"

UH, NOR DO I WANT TO.

UH, NOR DO I WANT TO.

I'VE PROBABLY SPOKEN OUT AGAINST
THE BEHAVIOR

I'VE PROBABLY SPOKEN OUT AGAINST
THE BEHAVIOR

I'VE PROBABLY SPOKEN OUT AGAINST
THE BEHAVIOR

OF THE PEOPLE AT THE TOP IN THE
NETWORKS

OF THE PEOPLE AT THE TOP IN THE
NETWORKS

OF THE PEOPLE AT THE TOP IN THE
NETWORKS

TWO OR THREE TIMES IN MY CAREER,

TWO OR THREE TIMES IN MY CAREER,

AND NOW I FIND RECENTLY THAT I
HAVE A REPUTATION.

AND NOW I FIND RECENTLY THAT I
HAVE A REPUTATION.

AND NOW I FIND RECENTLY THAT I
HAVE A REPUTATION.

I'VE GOTTEN A LITTLE BIT SHIRTY
AND I'VE GOTTEN INSISTENT

I'VE GOTTEN A LITTLE BIT SHIRTY
AND I'VE GOTTEN INSISTENT

AND I'VE DRAWN THE LINE.

AND I'VE DRAWN THE LINE.

BUT THE MOMENT YOU FORGET THAT
THE EXECUTIVE YOU CAN'T STAND

BUT THE MOMENT YOU FORGET THAT
THE EXECUTIVE YOU CAN'T STAND

BUT THE MOMENT YOU FORGET THAT
THE EXECUTIVE YOU CAN'T STAND

MIGHT BE THE ONLY PERSON IN THE
ROOM WHO HAS THE RIGHT IDEA

MIGHT BE THE ONLY PERSON IN THE
ROOM WHO HAS THE RIGHT IDEA

ABOUT HOW TO FIX SOMETHING,
YOU'RE GONNA LOSE.

ABOUT HOW TO FIX SOMETHING,
YOU'RE GONNA LOSE.

I DON'T THINK YOU NEED TO TREAT
ANYBODY LIKE YOUR ENEMY

I DON'T THINK YOU NEED TO TREAT
ANYBODY LIKE YOUR ENEMY

I DON'T THINK YOU NEED TO TREAT
ANYBODY LIKE YOUR ENEMY

UNLESS THEY ARE ACTIVELY TRYING
TO DESTROY YOU,

UNLESS THEY ARE ACTIVELY TRYING
TO DESTROY YOU,

WHICH OCCASIONALLY DOES HAPPEN.

THERE ARE THOSE KIND OF PEOPLE
OUT THERE,

BUT THERE ARE NOT MANY.

I AM AND ALWAYS HAVE TRIED

TO BE A COMPANY MAN.

AND YET, NOW I FIND THAT I'M
THIS HOT-HEADED MAVERICK.

AND YET, NOW I FIND THAT I'M
THIS HOT-HEADED MAVERICK.

WHICH IS AMAZING, BECAUSE, YOU
KNOW,

WHICH IS AMAZING, BECAUSE, YOU
KNOW,

I'M AFRAID OF FOUR-YEAR-OLDS.

I'M AFRAID OF FOUR-YEAR-OLDS.

■■■

■■■

■■■

GOOD MORNING. GOOD MORNING.

GOOD MORNING. GOOD MORNING.

(Hanson) THE WORST POINT FOR
NOTES IS BEFORE YOU'RE ON THE
AIR,

(Hanson) THE WORST POINT FOR
NOTES IS BEFORE YOU'RE ON THE
AIR,

AND EVERYBODY THINKS THEY KNOW

AND EVERYBODY THINKS THEY KNOW

HOW THE PUBLIC IS GOING TO REACT
TO A SHOW.

HOW THE PUBLIC IS GOING TO REACT
TO A SHOW.

OR IF A SHOW IS DOING KIND OF
MIDLING WELL, MIDDLING

OR IF A SHOW IS DOING KIND OF
MIDLING WELL, MIDDLING

WHICH IS WHAT "BONES" DID, BY
THE WAY--

IT DID MIDDLING WELL-- IT WAS
NOT A HIT.

IT DID MIDDLING WELL-- IT WAS
NOT A HIT.

WE WERE LIKE A WEED THAT YOU
COULDN'T KILL,

AND THEN WE GOT A LITTLE LOVE
AND DID QUITE WELL.

AND THEN WE GOT A LITTLE LOVE
AND DID QUITE WELL.

THE WRITERS MEETING IS FOR THE
DIRECTOR TO GIVE NOTES

THE WRITERS MEETING IS FOR THE
DIRECTOR TO GIVE NOTES

ON THE SCRIPT, UM, AND SAY WHAT
WORKS

OR DOESN'T WORK FOR HIM AND HER,
SO...

OR DOESN'T WORK FOR HIM AND HER,
SO...

(Milan Cheylov) IT'S IMPORTANT
FOR ME TOO,

BECAUSE I CAN HAVE IDEAS IN
PREP,

BUT I NEED TO KNOW THAT THESE
GUYS-- THAT WE'RE ALL IN SYNC

AS WE PUSH FORWARD, AS WE
CONTINUE TO PREP, UH,

AS WE PUSH FORWARD, AS WE
CONTINUE TO PREP, UH,

IN TERMS OF MAKING THE SHOW THAT
THESE GUYS ENVISION,

IN TERMS OF MAKING THE SHOW THAT
THESE GUYS ENVISION,

THAT EVERYBODY WANTS TO SEE AT
THE END OF THE DAY.

UH, THE SCRIPT IS CURRENTLY 60
PAGES?

UH, THE SCRIPT IS CURRENTLY 60
PAGES?

52. 52?

52. 52?

52 MINUTES. 52 MINUTES.

OH, IS IT READY?

OH, IS IT READY?

I WOULDN'T TOUCH IT. I WOULDN'T
GO ANY SHORTER.

I WOULDN'T TOUCH IT. I WOULDN'T
GO ANY SHORTER.

FIRST OF ALL, IT'S NOT... SO
PLOT DRIVEN.

FIRST OF ALL, IT'S NOT... SO
PLOT DRIVEN.

THAT THIS IS MORE THAN ANY WE'VE
HAD,

THAT THIS IS MORE THAN ANY WE'VE
HAD,

IT SHOULD NOT BE TRIMMED THAT
MUCH.

IT SHOULD NOT BE TRIMMED THAT
MUCH.

I GOT TWO NOTES FRIDAY FROM THE
NETWORK

I GOT TWO NOTES FRIDAY FROM THE
NETWORK

WHICH I THOUGHT WERE REALLY--
WERE GOOD.

WHICH I THOUGHT WERE REALLY--
WERE GOOD.

WHICH I THOUGHT WERE REALLY--
WERE GOOD.

UM, AND I DON'T MEAN TO SOUND
SURPRISED...

UM, AND I DON'T MEAN TO SOUND
SURPRISED...

(Ali LeRoi) WHAT TAKES A SINGLE
EPISODE OF NETWORK TELEVISION

(Ali LeRoi) WHAT TAKES A SINGLE
EPISODE OF NETWORK TELEVISION

(Ali LeRoi) WHAT TAKES A SINGLE
EPISODE OF NETWORK TELEVISION

SO LONG TO GET PRODUCED IS THE
MEETINGS.

SO LONG TO GET PRODUCED IS THE
MEETINGS.

SO LONG TO GET PRODUCED IS THE
MEETINGS.

THERE'S LOTS OF MEETINGS.

THERE'S LOTS OF MEETINGS.

THE SINGLE DUMBEST NOTE I'VE
EVER GOTTEN WAS--

THE SINGLE DUMBEST NOTE I'VE
EVER GOTTEN WAS--

THE SINGLE DUMBEST NOTE I'VE
EVER GOTTEN WAS--

WE WERE DOING "EVERYBODY HATES
CHRIS,"

AND WE HAD AN EPISODE WHERE
CHRIS HAD GOTTEN A FEVER

AND WE HAD AN EPISODE WHERE
CHRIS HAD GOTTEN A FEVER

AND A FLU OR SOMETHING-- IT WAS
AT CHRISTMAS,

HE WAS IN THE HOSPITAL, AND HE
WAS HALLUCINATING

THAT HE WAS TALKING TO A GUY WHO
WAS BASICALLY SANTA CLAUS.

THAT HE WAS TALKING TO A GUY WHO
WAS BASICALLY SANTA CLAUS.

AND THE NOTE CAME DOWN FROM THE
NETWORK,

AND THE NOTE CAME DOWN FROM THE
NETWORK,

"DOES SANTA CLAUS HAVE TO BE SO
OLD?"

"DOES SANTA CLAUS HAVE TO BE SO
OLD?"

(Mike Kelley) ONE OF THE FUNNIER
NOTES I EVER RECEIVED

WAS RIGHT AFTER CBS PICKED UP
"SWINGTOWN."

AND I WENT TO THIS MEETING, AND
LES, LES MOONVES, UM--

AND I WENT TO THIS MEETING, AND
LES, LES MOONVES, UM--

AND I WENT TO THIS MEETING, AND
LES, LES MOONVES, UM--

GOD HELP ME, UH, IF HE'S
WATCHING THIS--

GOD HELP ME, UH, IF HE'S
WATCHING THIS--

LES MOONVES TELLS ME THAT HE--
YOU KNOW, HE LOVES THE SHOW.

LES MOONVES TELLS ME THAT HE--
YOU KNOW, HE LOVES THE SHOW.

AND WE GOT ALMOST THROUGH THE
WHOLE MEETING.

HE SAYS, "I GOT ONE NOTE." I
SAID, "WHAT?"

AND HE GOES, "I DON'T THINK THE
NEIGHBORS

SHOULD SLEEP TOGETHER."

I SAID, "YOU DON'T THINK THE
NEIGHBORS

SHOULD SLEEP TOGETHER?"

SHOULD SLEEP TOGETHER?"

AND HE SAID, "NO."

AND HE SAID, "NO."

"WELL, IT'S CALLED 'SWINGTOWN.'

"IT'S ABOUT SWINGERS IN THE
'70S.

LIKE, WHAT DO YOU WANT THEM TO
DO?"

HE SAYS, "WELL, THAT'S WHY
YOU'RE THE WRITER."

HE SAYS, "WELL, THAT'S WHY
YOU'RE THE WRITER."

I CAN'T BELIEVE I'LL NEVER WORK
AT CBS AGAIN.

I CAN'T BELIEVE I'LL NEVER WORK
AT CBS AGAIN.

(laughing)

(laughing)

YOU KNOW, I HAVE A VERY DARK
SENSIBILITY.

YOU KNOW, I HAVE A VERY DARK
SENSIBILITY.

LIKE, WHAT I FIND ACCEPTABLE,
90% OF THE POPULOUS

LIKE, WHAT I FIND ACCEPTABLE,
90% OF THE POPULOUS

LIKE, WHAT I FIND ACCEPTABLE,
90% OF THE POPULOUS

DOES NOT FIND ACCEPTABLE.

DOES NOT FIND ACCEPTABLE.

AND I'VE HAD TO LEARN THAT THE
HARD WAY.

AND I'VE HAD TO LEARN THAT THE
HARD WAY.

SO I NEED SOMEBODY SOMETIMES TO
SAY,

"HEY, DUDE, THAT'S TOO MUCH.

"HEY, DUDE, THAT'S TOO MUCH.

"LIKE, THAT'S-- THAT DOESN'T--
NOT ONLY DOESN'T THAT

"LIKE, THAT'S-- THAT DOESN'T--
NOT ONLY DOESN'T THAT

SERVE THE STORY, BUT IT'S JUST
TOO OUT THERE,"

SERVE THE STORY, BUT IT'S JUST
TOO OUT THERE,"

SO I CAN TAKE A STEP BACK AND
GO-- SO IT'S NOT A REACTION

SO I CAN TAKE A STEP BACK AND
GO-- SO IT'S NOT A REACTION

LIKE, FUCK YOU, THAT'S MY
VISION.

LIKE, FUCK YOU, THAT'S MY
VISION.

IT'S LIKE I CAN THEN TAKE A STEP
BACK AND GO, ALL RIGHT,

IT'S LIKE I CAN THEN TAKE A STEP
BACK AND GO, ALL RIGHT,

WELL, YEAH, MAYBE-- MAYBE THAT
IS TOO MUCH.

WELL, YEAH, MAYBE-- MAYBE THAT
IS TOO MUCH.

WELL, YEAH, MAYBE-- MAYBE THAT
IS TOO MUCH.

YOU KNOW, MAYBE WE DON'T REALLY
NEED TO SEE

THE BALLS BEING HACKED OFF THE
CLOWN.

PERHAPS WE TELL IT ON THE FACE.

(Moore) IT WAS A HUGE
DISAPPOINTMENT THAT THAT PILOT
DIDN'T GO.

(Moore) IT WAS A HUGE
DISAPPOINTMENT THAT THAT PILOT
DIDN'T GO.

AND THE SCRIPT WAS VERY WELL
RECEIVED,

BUT THE WB WAS VERY DIFFICULT.

BUT THE WB WAS VERY DIFFICULT.

THERE CAME THIS MOMENT WHERE
THEY WANTED

THERE CAME THIS MOMENT WHERE
THEY WANTED

A DIFFERENT VERSION OF THE
SCRIPT.

AND THEY HAD BROUGHT IN ANOTHER
WRITER OVER MY OBJECTIONS,

AND THEY HAD BROUGHT IN ANOTHER
WRITER OVER MY OBJECTIONS,

WHICH IS-- IN RETROSPECT,

WHICH IS-- IN RETROSPECT,

I CAN'T EVEN BELIEVE I ALLOWED
THAT TO HAPPEN.

BUT AT THAT POINT, I WAS VERY
YOUNG, IT WAS MY FIRST PILOT.

BUT AT THAT POINT, I WAS VERY
YOUNG, IT WAS MY FIRST PILOT.

AND WE WERE NOW ABOUT A WEEK
AWAY FROM SHOOTING.

AND WE WERE NOW ABOUT A WEEK
AWAY FROM SHOOTING.

AND THE SCRIPT CAME IN AND I
HATED IT-- IT WAS TERRIBLE.

AND THE SCRIPT CAME IN AND I
HATED IT-- IT WAS TERRIBLE.

AND I JUST SAID, I WON'T SHOOT
THE SCRIPT.

AND I JUST SAID, I WON'T SHOOT
THE SCRIPT.

AND SO THE NETWORK SAID, "YES,
YOU WILL."

AND SO THE NETWORK SAID, "YES,
YOU WILL."

AND WE HAD THIS BIG UGLY
CONFERENCE CALL ABOUT IT.

AND, UH, THERE WAS THIS MOMENT
ON THE CALL

AND, UH, THERE WAS THIS MOMENT
ON THE CALL

WHERE THE NETWORK SAID, "WELL,
IF THAT'S HOW YOU FEEL,

THEN MAYBE WE SHOULD JUST SAY
GOODBYE."

THEN MAYBE WE SHOULD JUST SAY
GOODBYE."

AND I REALIZED, WELL, THIS IS
IT, THIS IS THE MOMENT.

AND I REALIZED, WELL, THIS IS
IT, THIS IS THE MOMENT.

THEY'RE GONNA CALL YOUR BLUFF ON
THIS.

THEY'RE GONNA CALL YOUR BLUFF ON
THIS.

AND I SAID, "THEN, OKAY, LET'S
DO THAT."

AND I SAID, "THEN, OKAY, LET'S
DO THAT."

AND THEN THEY SAID, "FINE," AND
THEY HUNG UP.

AND THEN THEY SAID, "FINE," AND
THEY HUNG UP.

AND THEN, HUNDREDS OF PHONE
CALLS,

AND THEN, HUNDREDS OF PHONE
CALLS,

LIKE EVERYONE'S CALLING EACH
OTHER.

"I CAN'T BELIEVE HE SAID THAT,
HE'S NOT REALLY SERIOUS..."

EVERYONE WAS REALLY, REALLY
UPSET, BUT I REALLY WAS SERIOUS.

EVERYONE WAS REALLY, REALLY
UPSET, BUT I REALLY WAS SERIOUS.

I WASN'T GONNA SHOOT THAT
SCRIPT.

AND, UH, THE WHOLE THING FELL
APART,

AND IT COST A COUPLE MILLION
DOLLARS AND, UH,

IT WAS A DISASTER AT THE TIME.

IT WAS A HUGE DISAPPOINTMENT TO
ME,

'CAUSE I WAS VERY ATTACHED TO
THOSE BOOKS,

'CAUSE I WAS VERY ATTACHED TO
THOSE BOOKS,

AND I THOUGHT THAT WE WERE GONNA
DO JUSTICE BY THESE BOOKS.

AND I THOUGHT THAT WE WERE GONNA
DO JUSTICE BY THESE BOOKS.

AND MY AGENT AT THE TIME,
WHETHER HE BELIEVED IT OR NOT,

SAID, NO, NO, THIS-- YOU KNOW,
BELIEVE ME, PEOPLE LIKE IT

SAID, NO, NO, THIS-- YOU KNOW,
BELIEVE ME, PEOPLE LIKE IT

WHEN YOU SAY NO AND YOU'LL GET A
REPUTATION

WHEN YOU SAY NO AND YOU'LL GET A
REPUTATION

AS SOMEONE WHO HAS INTEGRITY
AND, DAH-DAH-DAH.

AS SOMEONE WHO HAS INTEGRITY
AND, DAH-DAH-DAH.

I CHOSE AT THE TIME TO BELIEVE
THAT.

I CHOSE AT THE TIME TO BELIEVE
THAT.

■■■

■■■

(Nolan) WE ALWAYS WANTED TO
REWARD THE VIEWERS

(Nolan) WE ALWAYS WANTED TO
REWARD THE VIEWERS

WHO WATCHED WEEK TO WEEK, BUT
NOT PUNISH ONES

WHO WATCHED WEEK TO WEEK, BUT
NOT PUNISH ONES

WHO WERE COMING NEW TO THE SHOW.

THAT KIND OF SELF-CONTAINED
STORY OF THE WEEK

THAT KIND OF SELF-CONTAINED
STORY OF THE WEEK

JUST SO HAPPENS TO LINE UP
REALLY-- REALLY NICELY

JUST SO HAPPENS TO LINE UP
REALLY-- REALLY NICELY

WITH THE KINDS OF PROCEDURAL
BASED EPISODIC CRIME SHOWS

WITH THE KINDS OF PROCEDURAL
BASED EPISODIC CRIME SHOWS

WITH THE KINDS OF PROCEDURAL
BASED EPISODIC CRIME SHOWS

THAT CBS KNOWS HOW TO MAKE
REALLY WELL,

AND THEN BEYOND THAT, THE STORY
THAT WE WANTED TO TELL

AND THEN BEYOND THAT, THE STORY
THAT WE WANTED TO TELL

IS THIS LARGER NOVEL-LIKE STORY
THAT'S SIMILAR

IS THIS LARGER NOVEL-LIKE STORY
THAT'S SIMILAR

TO THE SHOWS THAT ARE
FLOURISHING RIGHT NOW ON CABLE.

TO THE SHOWS THAT ARE
FLOURISHING RIGHT NOW ON CABLE.

AND I THINK THE NETWORK KNOWS
THAT, YOU KNOW,

AND I THINK THE NETWORK KNOWS
THAT, YOU KNOW,

THE AUDIENCE'S TASTES ARE
CHANGING.

THE AUDIENCE'S TASTES ARE
CHANGING.

IF YOU LIKEN THE PROCEDURAL--

IF YOU LIKEN THE PROCEDURAL--

WHICH WE'VE NEVER THOUGHT OF AS
A FOUR-LETTER WORD,

WE'VE ALWAYS KIND OF EMBRACED
THEM.

I GREW UP WATCHING "MAGNUM,
P.I." AND "MIAMI VICE"

AND "HILL STREET BLUES" AND ALL
THESE AMAZING SHOWS.

BUT, THE SHOWS THAT ARE
FLOURISHING RIGHT NOW

ARE THESE SERIALIZED NOVEL-LIKE
SHOWS ON CABLE.

ARE THESE SERIALIZED NOVEL-LIKE
SHOWS ON CABLE.

BUT, BROADCAST WAS ALWAYS
CAPABLE OF DOING BOTH.

BUT, BROADCAST WAS ALWAYS
CAPABLE OF DOING BOTH.

SO, IT'S A DIFFERENT WAY OF
DOING IT.

YOU STILL HAVE A MASSIVE,
MASSIVE AUDIENCE,

FAR BIGGER, UH, THAN CABLE,
WATCHING BROADCAST TELEVISION.

FAR BIGGER, UH, THAN CABLE,
WATCHING BROADCAST TELEVISION.

FAR BIGGER, UH, THAN CABLE,
WATCHING BROADCAST TELEVISION.

WE REGULARLY HAVE 14-15 MILLION
PEOPLE

WE REGULARLY HAVE 14-15 MILLION
PEOPLE

WATCHING OUR SHOW, WHICH DWARFS

WATCHING OUR SHOW, WHICH DWARFS

ANY OF THE AUDIENCES OF THESE
CABLE SHOWS.

ANY OF THE AUDIENCES OF THESE
CABLE SHOWS.

THERE'S THAT "TOM AND JERRY"
CARTOON EFFECT,

THERE'S THAT "TOM AND JERRY"
CARTOON EFFECT,

WHERE IT'S LIKE IF TOM GETS
BLOWN UP BY DYNAMITE

WHERE IT'S LIKE IF TOM GETS
BLOWN UP BY DYNAMITE

AND THEN YOU FADE TO BLACK, AND
THEN YOU COME UP,

AND THEN HE'S JUST CHASING JERRY
AGAIN,

IT'S NOT AS INTERESTING TO ME AS
TOM

GETS BLOWN UP BY DYNAMITE AND
NOW IN THE NEXT SCENE

GETS BLOWN UP BY DYNAMITE AND
NOW IN THE NEXT SCENE

HE'S IN THE HOSPITAL
REHABILITATING,

HE'S IN THE HOSPITAL
REHABILITATING,

TRYING TO FIGURE OUT WHERE HE
WENT WRONG.

TRYING TO FIGURE OUT WHERE HE
WENT WRONG.

UM, SO, YOU KNOW, I DO FEEL LIKE

UM, SO, YOU KNOW, I DO FEEL LIKE

LIFE IS SERIALIZED, LIFE IS NOT
A PROCEDURAL,

LIFE IS SERIALIZED, LIFE IS NOT
A PROCEDURAL,

AND THEREFORE, THAT'S THE KIND
OF STORYTELLING

THAT I LIKE TO WATCH, AND IT'S
THE KIND OF STORYTELLING

THAT I LIKE TO WRITE.

THAT BEING SAID, I THINK THAT,
UM,

THAT BEING SAID, I THINK THAT,
UM,

IT'S UNFAIR TO CATEGORIZE SHOWS
AS PROCEDURAL

IT'S UNFAIR TO CATEGORIZE SHOWS
AS PROCEDURAL

OR SERIALIZED, OR ONE WORKING
BETTER THAN THE OTHER.

OR SERIALIZED, OR ONE WORKING
BETTER THAN THE OTHER.

I THINK THAT THAT'S WHAT
NETWORKS LIKE TO DO.

BUT, AT THE END OF THE DAY, IF
YOU PUT SOMETHING COOL

IN FRONT OF THEM, THEY DON'T
CARE

WHETHER IT'S A SERIALIZED OR A
PROCEDURAL

OR A MARRIAGE OF BOTH, YOU KNOW?

I THINK THERE ARE SHOWS LIKE
"THE GOOD WIFE" NOW

THAT ARE PROCEDURAL SHOWS, BUT
ARE ACTUALLY

THAT ARE PROCEDURAL SHOWS, BUT
ARE ACTUALLY

STEALTH SERIALIZED SHOWS, AND
THAT'S WHY

THEY'RE GETTING NOMINATED FOR
EMMYS.

(Robert King) WE WOULD AGREE
THAT IT'S A BIT OF A--

A WOLF IN SHEEP'S CLOTHING.

THERE ARE CERTAIN ELEMENTS THAT
WE HAVE TO SATISFY

THERE ARE CERTAIN ELEMENTS THAT
WE HAVE TO SATISFY

TO BE ON CBS, TO BE SHOW THAT
HAS

TO BE ON CBS, TO BE SHOW THAT
HAS

TO BE ON CBS, TO BE SHOW THAT
HAS

A STORY THAT WE TELL WITHIN THE
EPISODE, HAS CASES.

A STORY THAT WE TELL WITHIN THE
EPISODE, HAS CASES.

AND SO, IT'S PARTLY THAT,

AND PARTLY CHARACTERS THAT WEAVE
THROUGH IT.

AND PARTLY CHARACTERS THAT WEAVE
THROUGH IT.

AND PARTLY CHARACTERS THAT WEAVE
THROUGH IT.

WE DON'T DO A LOT OF JUST
CHARACTER SCENES

WE DON'T DO A LOT OF JUST
CHARACTER SCENES

OR JUST PERSONAL SCENES,

OR JUST PERSONAL SCENES,

THAT THE PERSONAL TENDS TO COME
ON THE PROCEDURAL PLOT.

THAT THE PERSONAL TENDS TO COME
ON THE PROCEDURAL PLOT.

THAT THE PERSONAL TENDS TO COME
ON THE PROCEDURAL PLOT.

WE DO 23 EPISODES A YEAR.

THESE OTHER SHOWS DO 13 A YEAR.

THESE OTHER SHOWS DO 13 A YEAR.

I WOULDN'T CALL IT BITTERNESS ON
OUR PART

THAT WE HAVE TOWARDS CABLE--
CABLE IS VERY MUCH

THAT WE HAVE TOWARDS CABLE--
CABLE IS VERY MUCH

THE GRASS IS GREENER ON THAT
SIDE.

THE GRASS IS GREENER ON THAT
SIDE.

■■■

■■■

■■■

I HOPE I'M AT HBO FOR MY ENTIRE
CAREER.

I HOPE I'M AT HBO FOR MY ENTIRE
CAREER.

UM, I MEAN, IT'S JUST BEEN THE
BEST PLACE

UM, I MEAN, IT'S JUST BEEN THE
BEST PLACE

I'VE EVER WORKED FOR SO MANY
DIFFERENT REASONS.

CREATIVELY, IT'S GREAT.

CREATIVELY, IT'S GREAT.

I MEAN, I COULD THEORETICALLY
WORK AT A NETWORK.

I MEAN, I COULD THEORETICALLY
WORK AT A NETWORK.

I WOULD NEVER SAY NEVER, BUT I
KNOW--

I WOULD NEVER SAY NEVER, BUT I
KNOW--

I KNOW WHAT THAT MEANS.

I KNOW WHAT THAT MEANS.

THAT'S ONE OF THE GREAT THINGS
ABOUT WORKING

THAT'S ONE OF THE GREAT THINGS
ABOUT WORKING

FOR HBO, THEY LET YOU DO YOUR
JOB.

FOR HBO, THEY LET YOU DO YOUR
JOB.

AND YOU KNOW, IT'S NOT TO SAY
THERE AREN'T CONVERSATIONS.

AND YOU KNOW, IT'S NOT TO SAY
THERE AREN'T CONVERSATIONS.

THERE ARE, BUT THEY'RE NEVER
MANDATES,

THERE ARE, BUT THEY'RE NEVER
MANDATES,

AND THEY'RE NEVER-- THEY'RE
NEVER NOTES

THAT ARE BORN OF COWARDICE,
WHERE THEY'RE AFRAID

TO ALIENATE PEOPLE OR OFFEND
PEOPLE, OR YOU KNOW--

TO ALIENATE PEOPLE OR OFFEND
PEOPLE, OR YOU KNOW--

'CAUSE THEY'RE NOT TRYING TO
SELL

COMMERCIAL AIRTIME OR PRODUCT.

COMMERCIAL AIRTIME OR PRODUCT.

SO, IT'S BASED ON, JUST DO THE
BEST SHOW YOU CAN DO.

SO, IT'S BASED ON, JUST DO THE
BEST SHOW YOU CAN DO.

(DeKnight) WE HAVE AN INCREDIBLE
AMOUNT OF FREEDOM ON PREMIUM
CABLE.

(DeKnight) WE HAVE AN INCREDIBLE
AMOUNT OF FREEDOM ON PREMIUM
CABLE.

SO, GOING BACK TO NETWORK
TELEVISION WOULD BE DIFFICULT

SO, GOING BACK TO NETWORK
TELEVISION WOULD BE DIFFICULT

ON A CREATIVE LEVEL.

ON A CREATIVE LEVEL.

THE TRADEOFF, OF COURSE, IS THE
AMOUNT OF MONEY

THE TRADEOFF, OF COURSE, IS THE
AMOUNT OF MONEY

THAT YOU CAN MAKE ON 22 EPISODES
OF A SHOW

THAT YOU CAN MAKE ON 22 EPISODES
OF A SHOW

IN NETWORK IS PHENOMENALLY
LARGE.

IN NETWORK IS PHENOMENALLY
LARGE.

IN NETWORK IS PHENOMENALLY
LARGE.

UH, MUCH LARGER THAN I MAKE ON
THIS SHOW.

UH, MUCH LARGER THAN I MAKE ON
THIS SHOW.

BUT, I DO HAVE THAT-- THAT TASTE
OF THAT FREEDOM.

BUT, I DO HAVE THAT-- THAT TASTE
OF THAT FREEDOM.

BUT, I DO HAVE THAT-- THAT TASTE
OF THAT FREEDOM.

AS MUCH FREEDOM AS YOU DO HAVE
IN CABLE

COMPARED TO NETWORK, YOU KNOW,
THE NETWORK IS--

YOU KNOW, THEY WERE UP MY ASS

DURING THE PILOT PROCESS, YOU
KNOW,

AND REALLY, YOU KNOW,
MICROMANAGING

PRETTY MUCH EVERY DETAIL.

BECAUSE THAT'S-- THAT'S THE TIME

BECAUSE THAT'S-- THAT'S THE TIME

THAT THEY FEEL LIKE THEY HAVE
THE MOST INPUT, YOU KNOW?

THAT THEY FEEL LIKE THEY HAVE
THE MOST INPUT, YOU KNOW?

AND-- AND NOT THAT IT-- NOT THAT
IT FUCKED ME UP

AND-- AND NOT THAT IT-- NOT THAT
IT FUCKED ME UP

OR STRAYED-- OR MADE ME STRAY
OFF MY VISION.

OR STRAYED-- OR MADE ME STRAY
OFF MY VISION.

BUT, THEY'RE VERY ENGAGED AND
VERY HANDS ON.

BUT, THEY'RE VERY ENGAGED AND
VERY HANDS ON.

UM, BUT THE GOOD THING IS THAT
ONCE THE SHOW

UM, BUT THE GOOD THING IS THAT
ONCE THE SHOW

UM, BUT THE GOOD THING IS THAT
ONCE THE SHOW

GETS ESTABLISHED AND-- AND YOU
EARN THEIR TRUST,

GETS ESTABLISHED AND-- AND YOU
EARN THEIR TRUST,

THAT THEY HONOR THAT.

IT'S NOT LIKE GROUNDHOG DAY
EVERY SEASON,

IT'S NOT LIKE GROUNDHOG DAY
EVERY SEASON,

LIKE YOU GOTTA PROVE YOURSELF
AGAIN.

LIKE YOU GOTTA PROVE YOURSELF
AGAIN.

I PERSONALLY DON'T SEE AS BIG A
DIFFERENCE

I PERSONALLY DON'T SEE AS BIG A
DIFFERENCE

BETWEEN NETWORK AND CABLE AS
OTHER PEOPLE HAVE.

BETWEEN NETWORK AND CABLE AS
OTHER PEOPLE HAVE.

AND I ALSO THINK SOME OF THESE
CABLE CHANNELS

AND I ALSO THINK SOME OF THESE
CABLE CHANNELS

HAVE KIND OF PERPETUATED THIS
MYTH THAT ARTISTS

HAVE KIND OF PERPETUATED THIS
MYTH THAT ARTISTS

HAVE COMPLETE FREEDOM AT THESE
NETWORKS.

AND YET, I'VE TALKED TO PEOPLE
AND HEARD ABOUT

NOTES CALLS AT THESE NETWORKS.

SO, I'M NOT SURE THAT'S EXACTLY
IT.

I THINK IT'S A CASE BY CASE
SITUATION.

DOES THE NETWORK TRUST YOU TO DO
THE JOB?

DOES THE NETWORK TRUST YOU TO DO
THE JOB?

IF THEY DO YOU'RE GONNA GET A
LOT OF FREEDOM.

IF THEY DO YOU'RE GONNA GET A
LOT OF FREEDOM.

IF THEY SENSE A VOID IN
LEADERSHIP,

IF THEY SENSE A VOID IN
LEADERSHIP,

THEY'RE GONNA RUSH IN TO FILL
IT,

NO MATTER WHAT NETWORK IT'S AT.

■■■

■■■

■■■

(overlapping chatter)

(overlapping chatter)

HELLO.

HELLO.

UH, WE'RE GONNA HAVE A SET OF,
UH--

UH, WE'RE GONNA HAVE A SET OF,
UH--

'CAUSE WE HAVE A QUARTET
PLAYING.

'CAUSE WE HAVE A QUARTET
PLAYING.

PIANO, CELLO, VIOLIN, VIOLA.

PIANO, CELLO, VIOLIN, VIOLA.

ONCE WE GET THE OKAY TO BOOK
THEM,

ONCE WE GET THE OKAY TO BOOK
THEM,

THEN I'LL GET SIZES TO YOU.

'CAUSE WE'LL HAVE THE STAND-INS.

(Carnahan) I THINK BETWEEN
CASTING THE NEXT EPISODE,

(Carnahan) I THINK BETWEEN
CASTING THE NEXT EPISODE,

BEING ON SET FOR THE EPISODE
YOU'RE SHOOTING,

BEING IN THE WRITER'S ROOM

DEALING WITH BUDGETS AND
EVERYTHING,

I WOULD SAY THAT SHOWRUNNING IS
AS MUCH

A FEAT OF CHOREOGRAPHY AS IT IS
OF ANYTHING ELSE.

A FEAT OF CHOREOGRAPHY AS IT IS
OF ANYTHING ELSE.

A FEAT OF CHOREOGRAPHY AS IT IS
OF ANYTHING ELSE.

I HAVE AN AMAZING NON-WRITING
EXECUTIVE PRODUCER,

I HAVE AN AMAZING NON-WRITING
EXECUTIVE PRODUCER,

JESSIKA BORSICZKY, TO JUST
UNDERSTAND

JESSIKA BORSICZKY, TO JUST
UNDERSTAND

ADMINISTRATING PEOPLE AND
BUDGETS AND HOT COSTS

ADMINISTRATING PEOPLE AND
BUDGETS AND HOT COSTS

ADMINISTRATING PEOPLE AND
BUDGETS AND HOT COSTS

AND ALL OF THAT STUFF

AND ALL OF THAT STUFF

THAT I KIND OF GLAZE OVER AT.

THAT I KIND OF GLAZE OVER AT.

(Melvoin) THE SKILL SETS TO BE A
GOOD WRITER

(Melvoin) THE SKILL SETS TO BE A
GOOD WRITER

AND TO BE A GOOD MANAGER ARE
ALMOST DIAMETRICALLY OPPOSITE.

AND TO BE A GOOD MANAGER ARE
ALMOST DIAMETRICALLY OPPOSITE.

AND TO BE A GOOD MANAGER ARE
ALMOST DIAMETRICALLY OPPOSITE.

I THINK WRITERS TEND TO BE
SKEPTICS, CRITICS.

I THINK WRITERS TEND TO BE
SKEPTICS, CRITICS.

THEY'RE FUELED BY ANGER, UM, BY
A CURIOSITY, BY OUTRAGE.

THEY'RE FUELED BY ANGER, UM, BY
A CURIOSITY, BY OUTRAGE.

WHEREAS WHEN YOU'RE MANAGING,
YOU HAVE SO MANY DIFFERENT

WHEREAS WHEN YOU'RE MANAGING,
YOU HAVE SO MANY DIFFERENT

ASPECTS OF PRODUCTION TO BE
CONCERNED ABOUT.

ASPECTS OF PRODUCTION TO BE
CONCERNED ABOUT.

THE WRITERS ARE YOUR MOST
IMMEDIATE,

BUT THEN YOU'VE GOTTA DEAL WITH
ACTORS,

AND YOU'VE GOTTA DEAL WITH YOUR
DIRECTORS,

AND YOU'VE GOTTA DEAL WITH
EVERYBODY ELSE.

THOSE SKILLS ARE NOT INNATE.

THOSE SKILLS ARE NOT INNATE.

STEADICAM, IN-CAMERA FREEZE.

STEADICAM, IN-CAMERA FREEZE.

YEAH, WE'LL GET THAT EITHER
RIGHT BEFORE OR RIGHT AFTER

YEAH, WE'LL GET THAT EITHER
RIGHT BEFORE OR RIGHT AFTER

WE GET THE WALKING IN MASTER.

WE GET THE WALKING IN MASTER.

(Melvoin) WHEN YOU SPEND A LOT
OF TIME JUST TRYING TO STEER

(Melvoin) WHEN YOU SPEND A LOT
OF TIME JUST TRYING TO STEER

YOUR OWN BOAT AS A WRITER, THE
IDEA NOW THAT

YOUR OWN BOAT AS A WRITER, THE
IDEA NOW THAT

YOU HAVE TO BE DOING ALL OF
THESE OTHER TASKS,

IS UM-- CAN BE OVERWHELMING.

IS UM-- CAN BE OVERWHELMING.

A LIST OF THE ORDERED
BREAKAWAYS,

A LIST OF THE ORDERED
BREAKAWAYS,

AND SEE IF WE'RE IN THE
BALLPARK.

AND SEE IF WE'RE IN THE
BALLPARK.

ONE OR TWO...

SHOWRUNNING HAS THIS KIND OF
GLAMOROUS PATINA TO IT.

SHOWRUNNING HAS THIS KIND OF
GLAMOROUS PATINA TO IT.

YOU KNOW, THE GUYS WHO RUN LOST,
AND YOU KNOW,

YOU KNOW, THE GUYS WHO RUN LOST,
AND YOU KNOW,

IT SORT OF SEEMS LIKE ONE
FABULOUS PARTY

OF, YOU KNOW, BEING CREATIVE AND
FOOLING THE PUBLIC,

OF, YOU KNOW, BEING CREATIVE AND
FOOLING THE PUBLIC,

AND BEING, YOU KNOW, BRILLIANT.

AND BEING, YOU KNOW, BRILLIANT.

FOR ME, A LOT OF IT IS THE GRIND
OF SELLING THE SHOW,

FOR ME, A LOT OF IT IS THE GRIND
OF SELLING THE SHOW,

FOR ME, A LOT OF IT IS THE GRIND
OF SELLING THE SHOW,

PITCHING THE SHOW, GETTING THE
OUTLINE APPROVED,

PITCHING THE SHOW, GETTING THE
OUTLINE APPROVED,

GOING TO SCRIPTS, HANDING IN A
DRAFT.

GOING TO SCRIPTS, HANDING IN A
DRAFT.

IT'S JUST A FUCKING GRIND, IS
THE TRUTH.

IT'S JUST A FUCKING GRIND, IS
THE TRUTH.

■■■

■■■

■■■

BECAUSE WE'RE DOING A PERIOD
PIECE,

BECAUSE WE'RE DOING A PERIOD
PIECE,

EVERYTHING IS EXPONENTIALLY MORE
COMPLICATED

EVERYTHING IS EXPONENTIALLY MORE
COMPLICATED

AND TIME CONSUMING.

AND TIME CONSUMING.

UH, EVERY ACTOR, EVERY EXTRA
NEEDS A HAIRCUT.

UH, EVERY ACTOR, EVERY EXTRA
NEEDS A HAIRCUT.

EVERY SET HAS TO BE DRESSED.

EVERY SET HAS TO BE DRESSED.

I MEAN, I'M TALKING ABOUT
LOCATIONS PARTICULARLY.

IF YOU'RE DOING A CONTEMPORARY
SHOW,

YOU JUST PULL UP AND SHOOT.

YOU JUST PULL UP AND SHOOT.

THIS, WE PULL UP, IT TAKES THREE
DAYS

TO GET A SIMPLE STREET SCENE
READY.

AIR CONDITIONERS, LIGHTS THAT
AREN'T CORRECT, DOORKNOBS.

AIR CONDITIONERS, LIGHTS THAT
AREN'T CORRECT, DOORKNOBS.

I MEAN, EVERY LITTLE THING HAS
TO BE CHANGED AND FIXED.

I MEAN, EVERY LITTLE THING HAS
TO BE CHANGED AND FIXED.

THIS IS THE SCOPE OF THIS THING.

THIS IS THE SCOPE OF THIS THING.

OUR NETWORK HOUR OF TELEVISION
IS 43 MINUTES LONG.

OUR NETWORK HOUR OF TELEVISION
IS 43 MINUTES LONG.

AN EPISODE OF OUR SHOW IS
TYPICALLY BETWEEN

55 AND 60 MINUTES-- THAT'S DAYS
AND DAYS OF EXTRA WORK.

55 AND 60 MINUTES-- THAT'S DAYS
AND DAYS OF EXTRA WORK.

SO, IT ALL ADDS UP TO A MUCH
GREATER SHOOTING SCHEDULE.

SO, IT ALL ADDS UP TO A MUCH
GREATER SHOOTING SCHEDULE.

(Prady) THERE ARE SIX TYPICAL
DAYS IN THE PRODUCTION

(Prady) THERE ARE SIX TYPICAL
DAYS IN THE PRODUCTION

(Prady) THERE ARE SIX TYPICAL
DAYS IN THE PRODUCTION

OF A FOUR CAMERA, HALF HOUR
TELEVISION COMEDY.

OF A FOUR CAMERA, HALF HOUR
TELEVISION COMEDY.

FIVE OF THEM ARE YOUR FIVE
PRODUCTION DAYS.

FIVE OF THEM ARE YOUR FIVE
PRODUCTION DAYS.

AND THE SIXTH IS A HIATUS.

AND THE SIXTH IS A HIATUS.

AND THE SIXTH IS A HIATUS.

WE PRODUCE 24 EPISODES IN THE
COURSE OF A SEASON,

WE PRODUCE 24 EPISODES IN THE
COURSE OF A SEASON,

AND WE DO THEM IN BLOCKS.

A BLOCK OF THREE IS THREE
EPISODES ON,

AND THEN A WEEK DOWN FROM
PRODUCTION.

DURING THOSE DOWN WEEKS, YOU
CATCH UP ON SCRIPTS.

DURING THOSE DOWN WEEKS, YOU
CATCH UP ON SCRIPTS.

YOU START WRITING SCRIPTS BEFORE
THE--

YOU START WRITING SCRIPTS BEFORE
THE--

BEFORE YOU START SHOOTING-- SO
WE START SHOOTING IN AUGUST

BEFORE YOU START SHOOTING-- SO
WE START SHOOTING IN AUGUST

BECAUSE AMERICA NEEDS NEW
TELEVISION IN SEPTEMBER.

AND IN ORDER TO START SHOOTING
IN AUGUST,

THE WRITERS START WORKING IN
JUNE,

THE WRITERS START WORKING IN
JUNE,

AND WE WRAP IN APRIL.

AND, UM, I THINK THAT IF YOU
WOULD BRING IN SCIENTISTS

AND, UM, I THINK THAT IF YOU
WOULD BRING IN SCIENTISTS

AND, UM, I THINK THAT IF YOU
WOULD BRING IN SCIENTISTS

TO STUDY THIS, THEY WOULD
DISCOVER

TO STUDY THIS, THEY WOULD
DISCOVER

THAT HUMAN BEINGS HAVE EXACTLY
ENOUGH ENERGY

THAT HUMAN BEINGS HAVE EXACTLY
ENOUGH ENERGY

THAT HUMAN BEINGS HAVE EXACTLY
ENOUGH ENERGY

TO ACCOMPLISH 90% OF THAT
SCHEDULE.

TO ACCOMPLISH 90% OF THAT
SCHEDULE.

AND THE LAST 10% OF IT IS A
BATAAN DEATH MARCH

AND THE LAST 10% OF IT IS A
BATAAN DEATH MARCH

AND THE LAST 10% OF IT IS A
BATAAN DEATH MARCH

TO THE WRAP PARTY.

TO THE WRAP PARTY.

MIRROR MY SITUATION EXACTLY.
RIGHT, RIGHT, RIGHT.

MIRROR MY SITUATION EXACTLY.
RIGHT, RIGHT, RIGHT.

I JUST MEAN, YOU ARE MARRIED
WITH KIDS.

(phone ringing)

(phone ringing)

THERE SHE IS.

THERE SHE IS.

AH, SHIT. (laughing)

AH, SHIT. (laughing)

THAT'S MY WIFE TELLING ME I HAVE
ENOUGH MONEY.

THAT'S MY WIFE TELLING ME I HAVE
ENOUGH MONEY.

(overlapping chatter, laughter)

(overlapping chatter, laughter)

(overlapping chatter, laughter)

IF THIS SHOW GOES DOWN THE
TUBES,

IF THIS SHOW GOES DOWN THE
TUBES,

YOU GOTTA MAKE A LIVING RIGHT
AWAY SOMEWHERE.

YOU GOTTA MAKE A LIVING RIGHT
AWAY SOMEWHERE.

THAT'S FOR YOU GUYS.

THAT'S FOR YOU GUYS.

'CAUSE I GOT A LOT OF MONEY, SO
I DON'T CARE.

'CAUSE I GOT A LOT OF MONEY, SO
I DON'T CARE.

(laughter)

(laughter)

WELL, WHILE WE'RE ON THE
SUBJECT, WE MIGHT NOT BE IN

THIS ROOM FOR SIX, SEVEN MONTHS
FROM NOW.

NINE-- NINE MONTHS. RIGHT.

WE'VE GOT TO HAVE A TALK ABOUT
THAT, BUT YEAH.

THAT IS A...

THAT IS A...

WE MET WITH A COUPLE NETWORKS,
AND THEN TNT--

WE MET WITH A COUPLE NETWORKS,
AND THEN TNT--

WHEN WE MET WITH MICHAEL WRIGHT

WHEN WE MET WITH MICHAEL WRIGHT

AND THE WAY HE TOOK TO IT AND
THE WAY HE RESPONDED TO IT,

AND THE WAY HE TOOK TO IT AND
THE WAY HE RESPONDED TO IT,

WE JUST FELT, YOU KNOW, THIS IS
A GOOD FIT, YEAH.

WE JUST FELT, YOU KNOW, THIS IS
A GOOD FIT, YEAH.

THE MAIN THING IS THEY-- THEY
HAVE THEIR OPINIONS

THE MAIN THING IS THEY-- THEY
HAVE THEIR OPINIONS

AND SOMETIMES WE DISAGREE,

AND SOMETIMES WE DISAGREE,

BUT THEY DON'T COME DOWN WITH AN
EDICT.

BUT THEY DON'T COME DOWN WITH AN
EDICT.

THE CRITICS HAVE BEEN HELPFUL,
'CAUSE WE GOT GREAT REVIEWS.

THE CRITICS HAVE BEEN HELPFUL,
'CAUSE WE GOT GREAT REVIEWS.

OH YEAH. SEASON ONE.

THEN WE GOT EVEN BETTER REVIEWS
THIS SEASON.

THEN WE GOT EVEN BETTER REVIEWS
THIS SEASON.

IF THAT DOESN'T HAPPEN, MAYBE
THEY--

IF THAT DOESN'T HAPPEN, MAYBE
THEY--

NO, OF COURSE. THEY STICK THEIR
HAND IN THERE MORE, YEAH.

NO, OF COURSE. THEY STICK THEIR
HAND IN THERE MORE, YEAH.

I CAN SPEAK FOR HIM-- I CAN SAY
WHY

I CAN SPEAK FOR HIM-- I CAN SAY
WHY

HE'S BEEN IN A HIT SHOW, AND
THEN ANOTHER SHOW.

HE'S BEEN IN A HIT SHOW, AND
THEN ANOTHER SHOW.

HE'S BEEN IN A HIT SHOW, AND
THEN ANOTHER SHOW.

SO, YOU'RE ASSUMING THIS SHOW IS
A HIT.

(laughter)

THERE'S A NUMBER AT WHICH YOU
SURVIVE,

THERE'S A NUMBER AT WHICH YOU
SURVIVE,

AND THERE'S A NUMBER AT WHICH
YOU DON'T SURVIVE.

AND THERE'S A NUMBER AT WHICH
YOU DON'T SURVIVE.

UM, YOU GET FEEDBACK-- IT'S
CALLED RATINGS.

UM, YOU GET FEEDBACK-- IT'S
CALLED RATINGS.

WE RESPECT THAT ASPECT OF THE
BUSINESS

WE RESPECT THAT ASPECT OF THE
BUSINESS

AND WE UNDERSTAND THAT THE
NETWORK HAS TO MAINTAIN

AND WE UNDERSTAND THAT THE
NETWORK HAS TO MAINTAIN

A CERTAIN NUMBER OF EYEBALLS ON
THEIR SHOW

OR ELSE YOU'RE GONE. WE GO TO A
BUNCH OF PEOPLE

OR ELSE YOU'RE GONE. WE GO TO A
BUNCH OF PEOPLE

AND ASK THEM TO GIVE US A COUPLE
MILLION BUCKS A WEEK

AND ASK THEM TO GIVE US A COUPLE
MILLION BUCKS A WEEK

TO TELL OUR LITTLE PRETEND-Y
STORIES.

TO TELL OUR LITTLE PRETEND-Y
STORIES.

THAT-- THE IDEA THAT THEY SHOULD
DO THAT

THAT-- THE IDEA THAT THEY SHOULD
DO THAT

WITH NO STRINGS ATTACHED IS
MADNESS

WITH NO STRINGS ATTACHED IS
MADNESS

RIGHT. YOU KNOW?

IT'S OTHER PEOPLE'S MONEY.

THERE'S STOCKHOLDERS OUT THERE
SOMEWHERE.

THERE'S STOCKHOLDERS OUT THERE
SOMEWHERE.

I DON'T KNOW WHO WOULD INVEST IN
TELEVISION NOW,

THAT'S A HORRIBLE IDEA.

THAT'S A HORRIBLE IDEA.

IF YOU PAY TOO MUCH ATTENTION TO
THE THINGS

IF YOU PAY TOO MUCH ATTENTION TO
THE THINGS

THAT ARE COMPLETELY OUT OF YOUR
CONTROL,

THAT ARE COMPLETELY OUT OF YOUR
CONTROL,

LIKE WHEN THEY'RE AIRING YOU,
WHEN THEY'RE PREEMPTING YOU.

LIKE WHEN THEY'RE AIRING YOU,
WHEN THEY'RE PREEMPTING YOU.

HOW MANY PEOPLE WATCHED THAT
NIGHT,

HOW MANY PEOPLE WATCHED THAT
NIGHT,

OR WHETHER OR NOT IT WENT UP OR
DOWN FROM LAST WEEK.

OR WHETHER OR NOT IT WENT UP OR
DOWN FROM LAST WEEK.

IF YOU START DOING THAT, THEN
YOU START LOSING

CONTROL OF THE THINGS THAT ARE
WITHIN YOUR GRASP.

ALL I CAN DO IS TELL A BETTER
STORY.

ALL I CAN DO IS TELL A BETTER
STORY.

OBVIOUSLY, IF THERE'S A CLEAR
DROP-OFF,

OBVIOUSLY, IF THERE'S A CLEAR
DROP-OFF,

OBVIOUSLY, IF THERE'S A CLEAR
DROP-OFF,

THEN YOU SHOULD LOOK AT THAT.

BUT, I DO READ OTHER PEOPLE'S
RATINGS.

(laughing)

(laughing)

THE THING THAT MEN DO-- WOMEN DO
THIS, TOO--

THE THING THAT MEN DO-- WOMEN DO
THIS, TOO--

BUT I DON'T TEND TO DO THIS--
THEY FOCUS ON THE NUMBER.

BUT I DON'T TEND TO DO THIS--
THEY FOCUS ON THE NUMBER.

"WHAT'S THE NUMBER GONNA BE,
WHAT'S THE NUMBER?"

"WHAT'S THE NUMBER GONNA BE,
WHAT'S THE NUMBER?"

AND I POURED MYSELF INTO IT,
ABOUT IT, MIDNIGHT,

AND I POURED MYSELF INTO IT,
ABOUT IT, MIDNIGHT,

THE NIGHT THAT WE AIRED, I
COULDN'T EVEN WATCH IT

THE NIGHT THAT WE AIRED, I
COULDN'T EVEN WATCH IT

ON BROADCAST TELEVISION-- I
SHOULDN'T TELL ANYBODY THAT.

ON BROADCAST TELEVISION-- I
SHOULDN'T TELL ANYBODY THAT.

I DIDN'T WATCH MY OWN SHOW AIR.

I DIDN'T WATCH MY OWN SHOW AIR.

I'VE BEEN ON SO MANY FAILED,
CANCELLED SHOWS.

I'VE BEEN ON SO MANY FAILED,
CANCELLED SHOWS.

AND I JUST THOUGHT, "OH, GOD,
PLEASE BE GOOD ENOUGH

AND I JUST THOUGHT, "OH, GOD,
PLEASE BE GOOD ENOUGH

TO STAY ON THE AIR."

TO STAY ON THE AIR."

I WENT TO BED, AND YOU KNOW, SIX
HOURS LATER,

I WENT TO BED, AND YOU KNOW, SIX
HOURS LATER,

MY HUSBAND IS POKING ME AND HE
HAS HIS COMPUTER WITH HIM,

MY HUSBAND IS POKING ME AND HE
HAS HIS COMPUTER WITH HIM,

AND HE SAYS, "I THINK YOU WANT
TO GET OUT OF BED."

AND HE SAYS, "I THINK YOU WANT
TO GET OUT OF BED."

AND I HAD, OF COURSE, SLEPT
THROUGH THE EARLY NIELSEN

AND I HAD, OF COURSE, SLEPT
THROUGH THE EARLY NIELSEN

AND ALL THE PHONE CALLS AND THE
TEXTING.

AND I SAID, "NO, I DON'T WANNA
KNOW, I DON'T WANNA KNOW,"

WHICH IS VERY COWARDLY OF ME.

AND HE SAID, "YEAH, I THINK YOU
MIGHT WANNA KNOW

YOU'RE THE MOST SUCCESSFUL SHOW
ON-- IN BASIC CABLE HISTORY."

YOU'RE THE MOST SUCCESSFUL SHOW
ON-- IN BASIC CABLE HISTORY."

AND I SAID, "FUCK YOU, THAT'S
NOT FUNNY!"

AND I SAID, "FUCK YOU, THAT'S
NOT FUNNY!"

WHICH IS NOT NICE OF ME TO SAY
TO MY HUSBAND.

WHICH IS NOT NICE OF ME TO SAY
TO MY HUSBAND.

I REALLY THOUGHT HE WAS KIDDING.

I REALLY THOUGHT HE WAS KIDDING.

AND I LOOKED AT IT AND I STARED
AT IT.

AND I LOOKED AT IT AND I STARED
AT IT.

AND I'M NOT BEING HUMBLE HERE, I
THOUGHT,

AND I'M NOT BEING HUMBLE HERE, I
THOUGHT,

"HOW IS THAT POSSIBLE? HOW IS
THAT POSSIBLE?"

(overlapping chatter)

(overlapping chatter)

(Whedon) YOU DON'T GO INTO A TV
SHOW EXPECTING GOOD HOURS.

(Whedon) YOU DON'T GO INTO A TV
SHOW EXPECTING GOOD HOURS.

YOU GO INTO A TV SHOW EXPECTING
THE WORST.

YOU GO INTO A TV SHOW EXPECTING
THE WORST.

SOMEBODY IS ALWAYS STAYING UP.

SOMEBODY IS ALWAYS STAYING UP.

I THINK THERE ARE A LOT OF SHOWS
WHERE EVERYBODY IS ALWAYS
STAYING UP.

I THINK THERE ARE A LOT OF SHOWS
WHERE EVERYBODY IS ALWAYS
STAYING UP.

FOR THE LONGEST TIME-- REALLY
UNTIL--

BECAUSE OF THE FAMILY, I
COULDN'T, I WAS, YOU KNOW,

FIRST IN AND LAST OUT.

AND IF YOU'RE DOING THAT, I
THINK PEOPLE

AND IF YOU'RE DOING THAT, I
THINK PEOPLE

ARE A LITTLE MORE FORGIVING.

ARE A LITTLE MORE FORGIVING.

THE FIRST YEAR OF "BUFFY" WAS
LIKE, UH, WAS LIKE

THE FIRST YEAR OF "BUFFY" WAS
LIKE, UH, WAS LIKE

EVERYBODY WAS ON ECSTASY,
EVERYBODY HATED EVERYBODY,

EVERYBODY WAS ON ECSTASY,
EVERYBODY HATED EVERYBODY,

EVERYBODY LOVED EVERYBODY, AND
NOBODY WANTED TO GO HOME.

EVERYBODY LOVED EVERYBODY, AND
NOBODY WANTED TO GO HOME.

THAT WAS HOW I DESCRIBED IT.

AND MY WIFE JUST QUIETLY SAID,

"I THINK THE CREW WANTED TO GO
HOME."

"I THINK THE CREW WANTED TO GO
HOME."

THERE'S A PART OF ME THAT HAS A
VERY, VERY FOND

THERE'S A PART OF ME THAT HAS A
VERY, VERY FOND

SENSE OF NOSTALGIA FOR THE SHOW.

SENSE OF NOSTALGIA FOR THE SHOW.

BUT, THE WEIGHT OF-- FOR THOSE
SIX YEARS,

BUT, THE WEIGHT OF-- FOR THOSE
SIX YEARS,

IT NEVER LEFT ME.

IT WAS ALL THAT I THOUGHT ABOUT.

IT WAS ALL THAT I THOUGHT ABOUT.

WHEN I WOKE UP IN THE MORNING, I
REALIZED THAT I HAD BEEN

WHEN I WOKE UP IN THE MORNING, I
REALIZED THAT I HAD BEEN

THINKING ABOUT IT THROUGH THE
NIGHT.

THINKING ABOUT IT THROUGH THE
NIGHT.

I BASICALLY PROPOSED MARRIAGE IN
MAY, RIGHT AFTER THE PILOT

I BASICALLY PROPOSED MARRIAGE IN
MAY, RIGHT AFTER THE PILOT

I BASICALLY PROPOSED MARRIAGE IN
MAY, RIGHT AFTER THE PILOT

WAS PICKED UP, THINKING THAT THE
SHOW

WOULD PROBABLY BE CANCELLED
AFTER A FEW EPISODES.

AND THEN I GOT MARRIED 3 DAYS
AFTER THE SEASON ONE FINALE.

AND THEN I GOT MARRIED 3 DAYS
AFTER THE SEASON ONE FINALE.

AND THEN I HAD MY SON RIGHT
AROUND THE TIME

AND THEN I HAD MY SON RIGHT
AROUND THE TIME

THAT LOCKE AND JACK WERE GOING
INTO THE HATCH.

THAT LOCKE AND JACK WERE GOING
INTO THE HATCH.

SO, THOSE ARE-- THE FACT THAT
I--

THE BENCHMARKS OF MY LIFE ARE
MEASURED BY THE SHOW.

THE BENCHMARKS OF MY LIFE ARE
MEASURED BY THE SHOW.

SHOULDN'T IT BE THE OTHER WAY
AROUND?

I DID "LOST" FOR SIX YEARS AND
THAT WAS ALL I DID.

I DID "LOST" FOR SIX YEARS AND
THAT WAS ALL I DID.

MY FRIEND, HEATHER, WAS AN
EXECUTIVE AT ABC.

AND SHE CALLED ME ON A FRIDAY
NIGHT,

AND SHE SAID, "DO YOU WANNA MEET
WITH J.J. ON MONDAY?"

AND SHE SAID, "DO YOU WANNA MEET
WITH J.J. ON MONDAY?"

AND I SAID, "YES," AND IN SAYING
YES TO THAT QUESTION,

AND I SAID, "YES," AND IN SAYING
YES TO THAT QUESTION,

I BASICALLY, COMPLETELY CHANGED
MY DESTINY.

I BASICALLY, COMPLETELY CHANGED
MY DESTINY.

AND-- AND IF I HAD SAID YES, AND
THEN HEATHER HAD SAID TO ME

AND-- AND IF I HAD SAID YES, AND
THEN HEATHER HAD SAID TO ME

AND-- AND IF I HAD SAID YES, AND
THEN HEATHER HAD SAID TO ME

"LISTEN, THIS IS GONNA BE THE
NEXT SIX YEARS OF YOUR LIFE,

"LISTEN, THIS IS GONNA BE THE
NEXT SIX YEARS OF YOUR LIFE,

"LISTEN, THIS IS GONNA BE THE
NEXT SIX YEARS OF YOUR LIFE,

"IT IS GOING TO DEFINE YOU.

"THE WORD NEXT TO YOUR NAME WHEN
YOU DIE

"THE WORD NEXT TO YOUR NAME WHEN
YOU DIE

"IS GOING TO BE 'LOST'-- NO
MATTER WHAT YOU DO,

"IS GOING TO BE 'LOST'-- NO
MATTER WHAT YOU DO,

"IT'S GOING TO SAY 'LOST'
WRITER, YOU KNOW,

"IT'S GOING TO SAY 'LOST'
WRITER, YOU KNOW,

UM, HOW DO YOU FEEL ABOUT THAT?"

I WOULD HAVE SAID, "FORGET IT,
I'M NOT TAKING THE MEETING."

THE BURNOUT RATE FOR SHOWRUNNERS
IS 100%.

THE BURNOUT RATE FOR SHOWRUNNERS
IS 100%.

100% OF THE PEOPLE WHO DO THIS

100% OF THE PEOPLE WHO DO THIS

STOP BY THEIR MID TO LATE 50s,

STOP BY THEIR MID TO LATE 50s,

WHETHER IN SUCCESS OR FAILURE.

WHETHER IN SUCCESS OR FAILURE.

SO THAT'S THE PROBLEM-- IT'S TOO
GOOD TO QUIT,

SO THAT'S THE PROBLEM-- IT'S TOO
GOOD TO QUIT,

SO THAT'S THE PROBLEM-- IT'S TOO
GOOD TO QUIT,

AND IT'S TOO HARD TO DO.

AND IT'S TOO HARD TO DO.

IF YOU SAID TO THEM, THE ONLY
WAY

IF YOU SAID TO THEM, THE ONLY
WAY

THAT I'M GONNA BE ABLE TO
PRODUCE THE NEXT EPISODE

IS ON A HOSPITAL GURNEY WITH AN
IV RUNNING INTO MY LINE,

IS ON A HOSPITAL GURNEY WITH AN
IV RUNNING INTO MY LINE,

THEY WOULD SAY, "GREAT, WHAT
KIND OF GURNEY

"DO YOU LIKE, 'CAUSE HERE ARE
THREE CHOICES.

"DO YOU LIKE, 'CAUSE HERE ARE
THREE CHOICES.

AND WHAT WOULD YOU LIKE IN THE
IV?"

AND WHAT WOULD YOU LIKE IN THE
IV?"

(Robert King) THERE'S SO MUCH
LITERALLY TO DO EVERY STEP OF
THE WAY.

(Robert King) THERE'S SO MUCH
LITERALLY TO DO EVERY STEP OF
THE WAY.

(Robert King) THERE'S SO MUCH
LITERALLY TO DO EVERY STEP OF
THE WAY.

IF WE DIDN'T HAVE EACH OTHER TO
DO IT,

IF WE DIDN'T HAVE EACH OTHER TO
DO IT,

I THINK WE'D GO CRAZY.

I THINK WE'D GO CRAZY.

AND THERE ARE SHOWRUNNERS--
SINGLE SHOWRUNNERS

THAT RUN MULTIPLE SHOWS, AND I--
I LITERALLY

THAT RUN MULTIPLE SHOWS, AND I--
I LITERALLY

HAVE NO IDEA HOW THAT...

I ACTUALLY THINK THAT YOU CAN'T.

I MEAN, YOU HAVE TO HAND IT OFF
TO SOMEONE...

WE'RE HAVING A LITTLE
CONVERSATION ABOUT THIS,

IF YOU GUYS WANNA LEAVE FOR A
MINUTE.

IF YOU GUYS WANNA LEAVE FOR A
MINUTE.

YEAH, BECAUSE SOME PEOPLE SAY
THEY CAN RUN MORE THAN ONE SHOW.

YEAH, BECAUSE SOME PEOPLE SAY
THEY CAN RUN MORE THAN ONE SHOW.

I ACTUALLY DON'T THINK YOU CAN

WITHOUT GIVING UP ON ONE OF
THEM.

WITHOUT GIVING UP ON ONE OF
THEM.

I MEAN, I'D LOVE TO KNOW HOW
THEY DID IT.

I MEAN, I'D LOVE TO KNOW HOW
THEY DID IT.

THE YEAR I HAD THREE SHOWS, UM,

THE YEAR I HAD THREE SHOWS, UM,

I HAD A LOT OF FOCUS.

I HAD A LOT OF FOCUS.

56 EPISODES, DID THEM ALL.

56 EPISODES, DID THEM ALL.

I DON'T WANT TO DO THAT AGAIN.

I DON'T WANT TO DO THAT AGAIN.

BUT, THERE WAS A GRANDEUR TO IT,

BUT, THERE WAS A GRANDEUR TO IT,

BECAUSE IT WAS THE LAST YEAR OF
"BUFFY"

SO I COULDN'T DROP THE BALL
THERE.

IT WAS THE FIRST YEAR OF
"FIREFLY,"

SO I COULDN'T DROP THE BALL
THERE.

AND IT WAS THE FOURTH YEAR OF
"ANGEL" WHERE I THOUGHT

EVERYBODY KNOWS I'M GONNA DROP
THE BALL HERE,

SO I CAN'T DROP THE BALL HERE
BECAUSE THAT'S WHERE

THEY'LL BE LOOKING FOR IT.

THEY'LL BE LOOKING FOR IT.

AND THE EMOTION THAT WE WERE
GOING THROUGH ON "FIREFLY,"

AND THE EMOTION THAT WE WERE
GOING THROUGH ON "FIREFLY,"

WHICH WAS TERRIBLE BUT SO
BONDING.

WHICH WAS TERRIBLE BUT SO
BONDING.

THERE IS AN ELEMENT OF, ONCE YOU
GET THEM ALL SPINNING

THERE IS AN ELEMENT OF, ONCE YOU
GET THEM ALL SPINNING

THEY KIND OF BALANCE A LITTLE
BIT.

YOU CAN GO FROM HERE TO HERE TO
HERE A LITTLE BIT.

YOU CAN GO FROM HERE TO HERE TO
HERE A LITTLE BIT.

BUT, ONLY FOR A CERTAIN AMOUNT
OF TIME,

BUT, ONLY FOR A CERTAIN AMOUNT
OF TIME,

AND THEN YOU DIE OF EXTREME OLD
AGE.

■■■

■■■

■■■

PLEASE TELL ME YOU GOT A
WARNING.

WHAT IS THIS? A DOCUMENTARY
FILM.

WHAT IS THIS? A DOCUMENTARY
FILM.

(laughing)

(laughing)

(laughing)

(Hanson) IF A SHOW IS IN ITS
THIRD YEAR, IT'S A HIT.

(Hanson) IF A SHOW IS IN ITS
THIRD YEAR, IT'S A HIT.

YOU CAN REPLACE BEHIND THE
CAMERA.

YOU CAN REPLACE BEHIND THE
CAMERA.

YOU CAN NOT REPLACE IN FRONT OF
THE CAMERA.

SO, IF THERE'S A HUGE FIGHT, IF
YOU'RE NOT GETTING ALONG

SO, IF THERE'S A HUGE FIGHT, IF
YOU'RE NOT GETTING ALONG

AND IT COMES TO WHO'S GONNA
STAY,

AND IT COMES TO WHO'S GONNA
STAY,

THE ACTOR WILL PROBABLY WIN.

THE ACTOR WILL PROBABLY WIN.

THE ACTOR WILL PROBABLY WIN.

THE BOCHCO QUOTE I HEARD WAS
"THE FIRST YEAR,

THE BOCHCO QUOTE I HEARD WAS
"THE FIRST YEAR,

"THEY WORK FOR YOU, SECOND YEAR,
YOU'RE PARTNERS.

"THEY WORK FOR YOU, SECOND YEAR,
YOU'RE PARTNERS.

AND THE THIRD YEAR, YOU WORK FOR
THEM."

(overlapping chatter)

THIS IS DRESSED UP. MONITORED.

THIS IS DRESSED UP. MONITORED.

THIS IS SUCH A GOOD IDEA.

YEAH NEW SHOE-- ARE THOSE NEW
SHOES?

YEAH NEW SHOE-- ARE THOSE NEW
SHOES?

ARE THOSE YOUR... LOOK HOW NEW
THEY ARE!

ARE THOSE YOUR... LOOK HOW NEW
THEY ARE!

THEY'RE TRIPLE-TIED!

THEY'RE TRIPLE-TIED!

YOU'RE TRYING TO LOOK DECENT.

TRIPLE-TIED, THOSE ARE
TRIPLE-TIED.

TRIPLE-TIED, THOSE ARE
TRIPLE-TIED.

UH-HUH, YOU DON'T EVEN KNOW WHAT
HE USUALLY LOOKS LIKE.

UH-HUH, YOU DON'T EVEN KNOW WHAT
HE USUALLY LOOKS LIKE.

(interviewer) OH, OKAY, OKAY.

(interviewer) OH, OKAY, OKAY.

WHEN I'M DEALING WITH MY CAST,
THE OCCASIONAL HOT TEMPERS

WHEN I'M DEALING WITH MY CAST,
THE OCCASIONAL HOT TEMPERS

WHEN I'M DEALING WITH MY CAST,
THE OCCASIONAL HOT TEMPERS

IS IMPOSSIBLE TO AVOID.

IS IMPOSSIBLE TO AVOID.

IF YOU'RE LUCKY, THE ARGUMENTS
THAT YOU HAVE,

IF YOU'RE LUCKY, THE ARGUMENTS
THAT YOU HAVE,

IT'S ALL BASED IN CHARACTER AND
STORY

IT'S ALL BASED IN CHARACTER AND
STORY

AND TRYING TO DO THE BEST SHOW
THAT YOU POSSIBLY CAN.

AND TRYING TO DO THE BEST SHOW
THAT YOU POSSIBLY CAN.

I TRY TO FOCUS ON WHAT'S
CONSTRUCTIVE,

I TRY TO FOCUS ON WHAT'S
CONSTRUCTIVE,

'CAUSE GENERALLY, THERE'S A NOTE
TO BE HAD

'CAUSE GENERALLY, THERE'S A NOTE
TO BE HAD

INSIDE-- INSIDE A VICIOUS
THROWDOWN ARGUMENT.

INSIDE-- INSIDE A VICIOUS
THROWDOWN ARGUMENT.

INSIDE-- INSIDE A VICIOUS
THROWDOWN ARGUMENT.

I REALLY, YOU KNOW, TRY TO NOT
BRING POISON ONTO MY SET.

I REALLY, YOU KNOW, TRY TO NOT
BRING POISON ONTO MY SET.

I REALLY, YOU KNOW, TRY TO NOT
BRING POISON ONTO MY SET.

AND IF AN ACTOR HAS A REPUTATION
OF BEING POISON

AND IF AN ACTOR HAS A REPUTATION
OF BEING POISON

I DON'T BRING 'EM ON, I DON'T
CARE

HOW FUCKING GOOD HIS WORK IS.

I DON'T WANT SOMEBODY
UNDERMINING THE ENERGY

I DON'T WANT SOMEBODY
UNDERMINING THE ENERGY

I DON'T WANT SOMEBODY
UNDERMINING THE ENERGY

THAT WE HAVE ON THE SET THAT
ULTIMATELY FEEDS

THAT WE HAVE ON THE SET THAT
ULTIMATELY FEEDS

THE WORK AND-- AND WHAT THE SHOW
IS

THE WORK AND-- AND WHAT THE SHOW
IS

AND HOW-- AND HOW PEOPLE
PERCEIVE THE SHOW.

AND HOW-- AND HOW PEOPLE
PERCEIVE THE SHOW.

ACTION!

ACTION!

HE THREATENED HER IN FRONT OF
YOU?

HE THREATENED HER IN FRONT OF
YOU?

(Shawn Ryan) WE WERE CASTING THE
"SHIELD" PILOT.

(Shawn Ryan) WE WERE CASTING THE
"SHIELD" PILOT.

I WAS VERY PROUD OF THAT SCRIPT.

I WAS VERY PROUD OF THAT SCRIPT.

AND THEN ACTORS STARTED TO COME
IN AND READ FOR VIC MACKEY.

AND THEN ACTORS STARTED TO COME
IN AND READ FOR VIC MACKEY.

AND ALL OF A SUDDEN, IT DIDN'T
SOUND SO GOOD,

AND ALL OF A SUDDEN, IT DIDN'T
SOUND SO GOOD,

AND I STARTED TO GET REALLY
DEPRESSED ABOUT IT.

AND I STARTED TO GET REALLY
DEPRESSED ABOUT IT.

AND I REMEMBER ONE DAY, I TURNED
TO CLARK JOHNSON,

AND I REMEMBER ONE DAY, I TURNED
TO CLARK JOHNSON,

OUR DIRECTOR, AND I SAID, "MAYBE
THE SCRIPT

ISN'T AS GOOD AS I THINK IT IS."

ISN'T AS GOOD AS I THINK IT IS."

AND I REMEMBER THE NEXT DAY,
MICHAEL CHIKLIS CAME IN,

AND I REMEMBER THE NEXT DAY,
MICHAEL CHIKLIS CAME IN,

AND HE SAT DOWN, AND HE HAD
ABOUT A SIX

AND HE SAT DOWN, AND HE HAD
ABOUT A SIX

OR EIGHT MINUTE AUDITION

OR EIGHT MINUTE AUDITION

THAT JUST FROM BEGINNING TO END,
HE WAS VIC MACKEY.

THAT JUST FROM BEGINNING TO END,
HE WAS VIC MACKEY.

AND HE GOT UP AND HE LEFT THE
ROOM,

AND I TURNED TO CLARK AND I SAID
"NO, I'M A GREAT WRITER."

AND I TURNED TO CLARK AND I SAID
"NO, I'M A GREAT WRITER."

(laughing) AND IT'S A-- IT'S A
GOOD EXAMPLE OF, YOU KNOW,

(laughing) AND IT'S A-- IT'S A
GOOD EXAMPLE OF, YOU KNOW,

WHEN YOU-- YOU FEEL SO GREAT
WHEN YOU FIND THAT ACTOR

WHEN YOU-- YOU FEEL SO GREAT
WHEN YOU FIND THAT ACTOR

THAT JUST EMBODIES A ROLE.

THAT JUST EMBODIES A ROLE.

CUT!

CUT!

DON'T HAVE TO BE SO MEAN, BOOTH!

DON'T HAVE TO BE SO MEAN, BOOTH!

IT'S THEIR JOB TO DO WHAT'S
WRITTEN FOR THEM.

IT'S THEIR JOB TO DO WHAT'S
WRITTEN FOR THEM.

AND OF COURSE, THEY'RE INVESTED
IN THEIR CHARACTERS

AND OF COURSE, THEY'RE INVESTED
IN THEIR CHARACTERS

IN A WAY THAT WE'RE JUST NOT

BECAUSE THEY SPEND ALL THEIR
TIME WITH IT,

WHEREAS WE'RE SPENDING TIME WITH
SEVEN CHARACTERS

AT A MINIMUM.

ON BIG THINGS, LIKE WHETHER OR
NOT THE CHARACTER

SHOULD BE IN A RELATIONSHIP,
WELL, WE KNOW WHERE WE'RE GOING.

MM-HMM. AND THEY DON'T.

THEY TRUST US. WHEN THEY GET A
SCRIPT,

THEY TRUST US. WHEN THEY GET A
SCRIPT,

USUALLY WE'LL GET A PHONE CALL

OF THEM SAYING, "WOW, THIS IS
WILD.

I MEAN, HOW AM I SUPPOSED TO DO
THIS?"

YOU KNOW, AND YOU'RE LIKE,
"WELL, WHAT DO YOU THINK?"

AND THEN THAT'S WHEN THE
CONVERSATION BEGINS.

AND THEN THAT'S WHEN THE
CONVERSATION BEGINS.

OUR LEAD ACTRESS, FOR EXAMPLE,
SHE'S HIT THESE CHALLENGES

OUR LEAD ACTRESS, FOR EXAMPLE,
SHE'S HIT THESE CHALLENGES

THAT EVEN OURSELVES, WE'RE LIKE,

THAT EVEN OURSELVES, WE'RE LIKE,

"WELL, THIS IS GONNA TAKE A LONG
CONVERSATION."

"WELL, THIS IS GONNA TAKE A LONG
CONVERSATION."

BUT, I MEAN, LIKE NOTHING--
"OKAY, GUYS, THAT SOUNDS GREAT,

BUT, I MEAN, LIKE NOTHING--
"OKAY, GUYS, THAT SOUNDS GREAT,

YOU KNOW, LET ME TAKE A CRACK AT
IT."

YOU KNOW, LET ME TAKE A CRACK AT
IT."

AND YOU KNOW, WE'RE JUST SITTING
HERE FLABBERGASTED

AND YOU KNOW, WE'RE JUST SITTING
HERE FLABBERGASTED

BECAUSE I WOULD HAVE ASKED SOME
QUESTIONS.

BECAUSE I WOULD HAVE ASKED SOME
QUESTIONS.

■■■

■■■

■■■

■■■

(Jason O'Mara) IN TELEVISION,
YOU'RE GONNA HAVE A LONG
RELATIONSHIP

(Jason O'Mara) IN TELEVISION,
YOU'RE GONNA HAVE A LONG
RELATIONSHIP

WITH THE PEOPLE THAT YOU'RE IN
BED WITH.

WITH THE PEOPLE THAT YOU'RE IN
BED WITH.

AND THOSE RELATIONSHIPS NEED TO
FUNCTION

AND THOSE RELATIONSHIPS NEED TO
FUNCTION

OR YOU WON'T HAVE A SHOW.

OR YOU WON'T HAVE A SHOW.

IN THE PAST, I'VE EITHER CALLED
OR EMAILED A SHOWRUNNER

AND GONE, "LOOK, THERE'S
SOMETHING HERE

"THAT I DON'T NECESSARILY AGREE
WITH.

"I'D LOVE TO TALK TO YOU ABOUT
IT.

"IS IT SOMETHING WE'LL JUST LIVE
WITH FOR THIS EPISODE,

"IS IT SOMETHING WE'LL JUST LIVE
WITH FOR THIS EPISODE,

"OR IS THIS SOMETHING THAT WE'LL
HAVE TO LIVE WITH

"OR IS THIS SOMETHING THAT WE'LL
HAVE TO LIVE WITH

IN THE FUTURE?"

IN THE FUTURE?"

AS AN ACTOR, YOU ARE THE
GUARDIAN OF YOUR CHARACTER.

AS AN ACTOR, YOU ARE THE
GUARDIAN OF YOUR CHARACTER.

SO, YOU DO HAVE THE AUTHORITY TO
BE ABLE TO SAY,

SO, YOU DO HAVE THE AUTHORITY TO
BE ABLE TO SAY,

"I DON'T THINK MY CHARACTER
WOULD DO THAT,"

"I DON'T THINK MY CHARACTER
WOULD DO THAT,"

OR "I WOULD LOVE IT IF MY
CHARACTER DID THIS."

OR "I WOULD LOVE IT IF MY
CHARACTER DID THIS."

UM, YOU CAN SAY WHAT YOU WANT.

UM, YOU CAN SAY WHAT YOU WANT.

YOU ARE THE GUARDIAN OF YOUR
CHARACTER.

YOU ARE THE GUARDIAN OF YOUR
CHARACTER.

BUT, YOU KNOW, THE SHOWRUNNER
HAS-- HE'S THE BOSS.

BUT, YOU KNOW, THE SHOWRUNNER
HAS-- HE'S THE BOSS.

HE'S THE BOSS MAN, AND HE HAS
THE ULTIMATE SAY--

OR SHE HAS THE ULTIMATE SAY

OR SHE HAS THE ULTIMATE SAY

TO DECIDE WHETHER YOUR CHARACTER
WOULD DO THAT,

TO DECIDE WHETHER YOUR CHARACTER
WOULD DO THAT,

REGARDLESS OF WHAT THE GUARDIAN
THINKS.

REGARDLESS OF WHAT THE GUARDIAN
THINKS.

THERE'S A TENDENCY IN NETWORK
TELEVISION

THERE'S A TENDENCY IN NETWORK
TELEVISION

BECAUSE OF THE PRESSURE AND THE
TIME CRUNCH THAT YOU'RE UNDER,

BECAUSE OF THE PRESSURE AND THE
TIME CRUNCH THAT YOU'RE UNDER,

IS THAT NO MATTER WHAT SCENE
COMES THROUGH,

IS THAT NO MATTER WHAT SCENE
COMES THROUGH,

THEY JUST WANT YOU TO DO IT.

THEY JUST WANT YOU TO DO IT.

DOESN'T MATTER IF IT'S GOOD OR
BAD, JUST DO IT.

DOESN'T MATTER IF IT'S GOOD OR
BAD, JUST DO IT.

AND I CAN'T WORK THAT WAY.

AND I CAN'T WORK THAT WAY.

SO, IT ENDED UP THAT I WOULD
STOP PRODUCTION

SO, IT ENDED UP THAT I WOULD
STOP PRODUCTION

FOR 30 MINUTES, SOMETIMES FIVE
OR TEN,

FOR 30 MINUTES, SOMETIMES FIVE
OR TEN,

FOR 30 MINUTES, SOMETIMES FIVE
OR TEN,

AND WE WOULD SIT DOWN AND WE
WOULD BASICALLY REWRITE

AND WE WOULD SIT DOWN AND WE
WOULD BASICALLY REWRITE

THE SCENE RIGHT THERE ON THE
SET.

MY RELATIONSHIP WITH HANK IN THE
BEGINNING

MY RELATIONSHIP WITH HANK IN THE
BEGINNING

MY RELATIONSHIP WITH HANK IN THE
BEGINNING

WAS VERY, VERY ROCKY.

WAS VERY, VERY ROCKY.

HE WAS 32 YEARS OLD.

HE WAS 32 YEARS OLD.

HE WAS A BABY AND HE'D NEVER
DONE IT BEFORE.

HE WAS A BABY AND HE'D NEVER
DONE IT BEFORE.

CONSEQUENTLY, YOU KNOW, HE MADE
ALL THE MISTAKES

CONSEQUENTLY, YOU KNOW, HE MADE
ALL THE MISTAKES

THAT YOU MAKE WHEN YOU'RE PUT
UNDER THAT KIND OF PRESSURE.

THAT YOU MAKE WHEN YOU'RE PUT
UNDER THAT KIND OF PRESSURE.

THAT YOU MAKE WHEN YOU'RE PUT
UNDER THAT KIND OF PRESSURE.

I KNOW I DROVE HIM CRAZY,
BECAUSE I WOULD GET A SCRIPT--

I KNOW I DROVE HIM CRAZY,
BECAUSE I WOULD GET A SCRIPT--

AND MY PEOPLE SKILLS WERE NOT
PARTICULARLY GOOD AT THE TIME.

AND MY PEOPLE SKILLS WERE NOT
PARTICULARLY GOOD AT THE TIME.

AND I WOULD WALK IN AND I WOULD
GO, "THIS IS SHIT.

AND I WOULD WALK IN AND I WOULD
GO, "THIS IS SHIT.

THIS IS-- WHY, THIS DOESN'T MAKE
ANY SENSE."

THIS IS-- WHY, THIS DOESN'T MAKE
ANY SENSE."

BUT, TO HIS CREDIT, HANK WROTE
THE BEST EPISODES

BUT, TO HIS CREDIT, HANK WROTE
THE BEST EPISODES

BUT, TO HIS CREDIT, HANK WROTE
THE BEST EPISODES

OF THE ENTIRE SERIES IN HIS
THREE YEARS

THAT HE WORKED ON THE SHOW.

HE CAME TO ME AT ONE POINT AND
HE SAID,

HE CAME TO ME AT ONE POINT AND
HE SAID,

"YOU KNOW, I'M GOING TO LEAVE AT
THE END OF THIS SEASON,

"YOU KNOW, I'M GOING TO LEAVE AT
THE END OF THIS SEASON,

"YOU KNOW, I'M GOING TO LEAVE AT
THE END OF THIS SEASON,

AND I'M GOING TO DO ANOTHER
SHOW."

AND I'M GOING TO DO ANOTHER
SHOW."

HE SAID, "QUITE HONESTLY, WHEN I
SEE YOUR NAME

COME UP IN MY PHONE, I GET THE
HIVES."

COME UP IN MY PHONE, I GET THE
HIVES."

(laughing)

I LOVED HIM FOR HIS HONESTY.

I LOVED HIM FOR HIS HONESTY.

AND ACTION.

AND ACTION.

EVERY WEEK, WE WALTZ INTO
COMPANIES

EVERY WEEK, WE WALTZ INTO
COMPANIES

JUST LIKE THIS ONE AND TELL THEM
HOW TO FIX THEIR SHIT.

JUST LIKE THIS ONE AND TELL THEM
HOW TO FIX THEIR SHIT.

NOW, IN THE CASE OF
GALWEATHER-STEARN

IT HAS COME TO MY ATTENTION

THAT THERE IS A SEXUAL
HARASSMENT ELEMENT.

SEXUAL HARASSMENT? DO TELL,
OBI-WAN.

SEXUAL HARASSMENT? DO TELL,
OBI-WAN.

SEXY, RIGHT?

OH!

(laughter)

(laughter)

(laughter)

HOW'S THAT SOUND, JEANNIE?

HOW'S THAT SOUND, JEANNIE?

LET'S DO THIS.

LET'S DO THIS.

(director) CUT-- GOOD. GOOD,
GOOD, GOOD.

(director) CUT-- GOOD. GOOD,
GOOD, GOOD.

ONE ADJUSTMENT, LET'S GO AGAIN.

ONE ADJUSTMENT, LET'S GO AGAIN.

WHICH IS AT THE BEGINNING...

(Kristen Bell) MATT IS
INTERESTING

BECAUSE YOU DON'T GET A SENSE OF
WHO HE IS,

BECAUSE HIS WORK IS PERVY.

BECAUSE HIS WORK IS PERVY.

HE HAS A DARK BLACK SOUL.

HE HAS A DARK BLACK SOUL.

HE HAS GOT MUD RUNNING THROUGH
HIS VEINS,

HE HAS GOT MUD RUNNING THROUGH
HIS VEINS,

AND I DON'T KNOW WHERE IT COMES
FROM.

BECAUSE THEN, WHEN YOU INTERACT
WITH HIM,

HE'S SO GENTLE AND HE'S SO
SOFT-SPOKEN

AND HE'S SO KIND, BUT I THINK
HE'S GOT

A LOT OF DARK STUFF INSIDE HIM

A LOT OF DARK STUFF INSIDE HIM

THAT HE GETS OUT IN HIS WRITING.

THAT HE GETS OUT IN HIS WRITING.

(Carnahan) I LIKE COMING UP WITH
AN IDEA

AND THEN GETTING TO DIRECT THAT
THING.

SOME PEOPLE REALLY DON'T LIKE
THAT.

I MEAN, TOM KAPINOS, WHO DOES
"CALIFORNICATION",

I MEAN, TOM KAPINOS, WHO DOES
"CALIFORNICATION",

I TALK TO HIM, AND HE'S NOT

I TALK TO HIM, AND HE'S NOT

THAT INTERESTED IN THE DIRECTING
PART.

THAT INTERESTED IN THE DIRECTING
PART.

...DOES NOT WORK HERE, I WILL
NOT ACCEPT IT.

...DOES NOT WORK HERE, I WILL
NOT ACCEPT IT.

YEAH, ROUND FUCKING TWO! PLEASE,
GO.

YEAH, ROUND FUCKING TWO! PLEASE,
GO.

I THINK ONE OF THINGS WOMEN HAVE
TO DO IS STEP UP AND DIRECT.

I THINK ONE OF THINGS WOMEN HAVE
TO DO IS STEP UP AND DIRECT.

AND ALL MALE SHOWRUNNERS THAT I
KNOW OF

AND ALL MALE SHOWRUNNERS THAT I
KNOW OF

EVENTUALLY DIRECT THEIR OWN
EPISODES.

EVENTUALLY DIRECT THEIR OWN
EPISODES.

AND THERE ARE NO QUESTIONS
ASKED.

YOU KNOW, THAT GUY'S BEEN
WRITING, SO OF COURSE

HE'S GONNA DIRECT THE SEASON
OPENER.

I HAVE TO STEP UP AND DO THAT,

I HAVE TO STEP UP AND DO THAT,

BECAUSE I DON'T LIKE IT THAT
THERE IS MORE SCRUTINY.

BECAUSE I DON'T LIKE IT THAT
THERE IS MORE SCRUTINY.

I THINK THERE IS MORE SCRUTINY
ON WOMEN.

I THINK THERE IS MORE SCRUTINY
ON WOMEN.

I THINK IT'S MUCH HARDER FOR
WOMEN IN THIS BUSINESS

THAN IT WAS IN NEWS.

AND I FIND MYSELF DOING THAT
THING

AND I FIND MYSELF DOING THAT
THING

I THINK THAT IS UNIQUELY FEMALE,
WHICH IS,

I THINK THAT IS UNIQUELY FEMALE,
WHICH IS,

"THEY ALL THINK I'M A BITCH.
THEY ALL HATE ME."

MEN DON'T WORRY ABOUT THAT. I'VE
WORKED FOR MEN,

THEY DON'T THINK-- THEY DON'T GO
HOME AND BE LIKE STEWING.

"OH GOD, THEY THINK I'M AN
ASSHOLE."

I DO.

I DO.

THE FIRST PEOPLE IN, YOU KNOW,
IF ALL THE SHOWRUNNERS

THE FIRST PEOPLE IN, YOU KNOW,
IF ALL THE SHOWRUNNERS

ARE WHITE GUYS, IF ALL THE
EXECUTIVES ARE WHITE GUYS,

ARE WHITE GUYS, IF ALL THE
EXECUTIVES ARE WHITE GUYS,

AND THE FIRST BRIGADE OF WHOEVER
THE MINORITY ARE,

AND THE FIRST BRIGADE OF WHOEVER
THE MINORITY ARE,

IS THE FIRST GROUP OF WOMEN-- OF
COURSE TINA FEY IS BRILLIANT.

IS THE FIRST GROUP OF WOMEN-- OF
COURSE TINA FEY IS BRILLIANT.

'CAUSE SHE HAS TO BE.

'CAUSE SHE HAS TO BE.

OF COURSE, LENA DUNHAM IS
BRILLIANT.

SHE HAS TO BE.

SHE HAS TO BE.

WHATEVER PEOPLE MIGHT THINK
ABOUT ME ONE WAY OR THE OTHER,

WHATEVER PEOPLE MIGHT THINK
ABOUT ME ONE WAY OR THE OTHER,

I'M GOOD AT THIS, I HAVE TO BE.

I'M GOOD AT THIS, I HAVE TO BE.

I'M GOOD AT THIS, I HAVE TO BE.

THE ONLY PROBLEM, IF THERE IS A,
UH,

THE ONLY PROBLEM, IF THERE IS A,
UH,

THE ONLY PROBLEM, IF THERE IS A,
UH,

THE ONLY PROBLEM, IF THERE IS A,
UH,

GENDER OR A RACIALLY-BASED
COMPONENT

GENDER OR A RACIALLY-BASED
COMPONENT

TO WHO GETS LET IN THE ROOM,

TO WHO GETS LET IN THE ROOM,

IT'S THE DECISION MAKER
BELIEVING SOMEHOW

IT'S THE DECISION MAKER
BELIEVING SOMEHOW

THAT BECAUSE YOU'RE A BLACK GUY

THAT BECAUSE YOU'RE A BLACK GUY

YOU CAN'T WORK WITH DREW CAREY,

YOU CAN'T WORK WITH DREW CAREY,

YOU CAN'T WORK WITH DREW CAREY,

BECAUSE HE'S A WHITE GUY.

DO I WANNA GET THE BLACK
AUDIENCE?

DO I WANNA GET THE BLACK
AUDIENCE?

ABSOLUTELY, BUT I'D JUST LIKE A
SHOT AT THE AUDIENCE, TOO.

ABSOLUTELY, BUT I'D JUST LIKE A
SHOT AT THE AUDIENCE, TOO.

■■■

■■■

■■■

I THINK ATTENDING COMIC-CON IS
EXTREMELY IMPORTANT,

I THINK ATTENDING COMIC-CON IS
EXTREMELY IMPORTANT,

ESPECIALLY FOR A GENRE SHOW LIKE
"SPARTACUS".

ESPECIALLY FOR A GENRE SHOW LIKE
"SPARTACUS".

ESPECIALLY FOR A GENRE SHOW LIKE
"SPARTACUS".

THE FIRST TIME WE CAME HERE, THE
RESPONSE WAS FANTASTIC,

THE FIRST TIME WE CAME HERE, THE
RESPONSE WAS FANTASTIC,

AND IT REALLY HELPED LAUNCH THE
SHOW.

AND IT REALLY HELPED LAUNCH THE
SHOW.

(people cheering)

(people cheering)

(people cheering)

THIS IS A LITTLE BIT LIKE A ROCK
CONCERT FOR A SHOWRUNNER.

THIS IS A LITTLE BIT LIKE A ROCK
CONCERT FOR A SHOWRUNNER.

THIS IS A LITTLE BIT LIKE A ROCK
CONCERT FOR A SHOWRUNNER.

(cheering, applause)

(cheering, applause)

WRITERS ARE OUT IN THE FOREFRONT
NOW,

WRITERS ARE OUT IN THE FOREFRONT
NOW,

JUST LIKE ACTORS AND DIRECTORS.

JUST LIKE ACTORS AND DIRECTORS.

PEOPLE, MORE THAN EVER,
UNDERSTAND

PEOPLE, MORE THAN EVER,
UNDERSTAND

HOW SHOWS ARE CREATED.

HOW SHOWS ARE CREATED.

AND YOU REALLY NEED TO NOT ONLY
PROMOTE YOUR SHOW,

AND YOU REALLY NEED TO NOT ONLY
PROMOTE YOUR SHOW,

YOU NEED TO REPRESENT YOUR SHOW.

(laughter)

(laughter)

SHOWRUNNERS WERE KIND OF
INVISIBLE UP UNTIL NOW,

UP UNTIL WE BRANDED OURSELVES.

YOU KNOW, THE OLD ADAGE IS
THERE'S ONLY ONE THING WORSE

THAN BEING TALKED ABOUT, AND
THAT'S NOT BEING TALKED ABOUT.

THAN BEING TALKED ABOUT, AND
THAT'S NOT BEING TALKED ABOUT.

AND SO, YES. DO I NEED A
PUBLICIST? YES.

AND SO, YES. DO I NEED A
PUBLICIST? YES.

DO I NEED TO TWITTER? YES. DO I
NEED TO BRAND MYSELF? YES.

DO I NEED TO TWITTER? YES. DO I
NEED TO BRAND MYSELF? YES.

DO I NEED TO BE KNOWN AS J.T.
INSTEAD OF JANET TAMARO?

DO I NEED TO BE KNOWN AS J.T.
INSTEAD OF JANET TAMARO?

YES, I PROBABLY DO.

YES, I PROBABLY DO.

(Moore) I THINK THAT GIVEN THE
ONLINE FANDOM COMMUNITY,

(Moore) I THINK THAT GIVEN THE
ONLINE FANDOM COMMUNITY,

THAT PEOPLE NOW HAVE A PLACE TO
GO TO

THAT PEOPLE NOW HAVE A PLACE TO
GO TO

TO SORT OF IMMERSE THEMSELVES IN
THE UNIVERSE

TO SORT OF IMMERSE THEMSELVES IN
THE UNIVERSE

OF A SHOW THAT THEY REALLY LIKE.

ON A CERTAIN LEVEL, YOU KIND OF
REQUIRE

ON A CERTAIN LEVEL, YOU KIND OF
REQUIRE

THE SHOWRUNNER TO BE PRESENT IN
THAT VENUE IN SOME FASHION.

THE SHOWRUNNER TO BE PRESENT IN
THAT VENUE IN SOME FASHION.

BECAUSE THE SHOWRUNNER
ULTIMATELY IS THE ONE

WHO HAS THE ANSWERS TO THE
QUESTIONS THAT PEOPLE HAVE.

WHO HAS THE ANSWERS TO THE
QUESTIONS THAT PEOPLE HAVE.

SO, THERE'S PROBABLY A CERTAIN
RISE IN CELEBRITY

SO, THERE'S PROBABLY A CERTAIN
RISE IN CELEBRITY

THAT GOES ALONG WITH THE
SHOWRUNNER.

THAT GOES ALONG WITH THE
SHOWRUNNER.

(Whedon) WHEN I STARTED OUT, THE
IDEA OF AN INTERNET COMMUNITY

(Whedon) WHEN I STARTED OUT, THE
IDEA OF AN INTERNET COMMUNITY

WAS A VERY, VERY FRESH IDEA.

WAS A VERY, VERY FRESH IDEA.

AND THE FACT THAT I WAS ABLE TO
WADE INTO THE MIDDLE OF THAT,

AND THE FACT THAT I WAS ABLE TO
WADE INTO THE MIDDLE OF THAT,

AND SO WERE MY WRITERS,

AND SO WERE MY WRITERS,

AND WHEN I WANTED TO, MY ACTORS,

AND WHEN I WANTED TO, MY ACTORS,

THAT WAS A NEW PHENOMENON.

AND TO BE ABLE TO WRITE AND HAVE
PEOPLE RECOGNIZE YOU,

AND TO BE ABLE TO WRITE AND HAVE
PEOPLE RECOGNIZE YOU,

AND BE ABLE TO SPEAK TO YOU
ABOUT IT,

IS MORE THAN A WRITER USUALLY
GETS.

(Lindelof) I THINK THE INTERNET
HAD TO EXIST IN ORDER TO SORT OF

(Lindelof) I THINK THE INTERNET
HAD TO EXIST IN ORDER TO SORT OF

CREATE THE STORY OF THE
SHOWRUNNER.

CREATE THE STORY OF THE
SHOWRUNNER.

CAN YOU IMAGINE IF DAVID LYNCH
HAD AN INTEREST IN

CAN YOU IMAGINE IF DAVID LYNCH
HAD AN INTEREST IN

AND ACCESS TO THE INTERNET WHEN
"TWIN PEAKS" CAME ALONG?

AND ACCESS TO THE INTERNET WHEN
"TWIN PEAKS" CAME ALONG?

I THINK THAT DAVID LYNCH
ABSOLUTELY WOULD HAVE BEEN

COMMUNICATING DIRECTLY WITH HIS
FANS.

PEOPLE WOULD HAVE KNOWN MUCH
MORE.

THERE WOULD HAVE BEEN A GREATER
SENSE OF AUTHORSHIP THERE.

(Abrams) THE INTERNET WAS SORT
OF JUST BECOMING

(Abrams) THE INTERNET WAS SORT
OF JUST BECOMING

A THING WHEN WE WERE DOING
"FELICITY".

YOU KNOW, ON SPECIALTY WEBSITES
WE WOULD SORT OF SEE

YOU KNOW, ON SPECIALTY WEBSITES
WE WOULD SORT OF SEE

EARLY STAGES OF CONSENSUS

EARLY STAGES OF CONSENSUS

OF WHAT PEOPLE WERE THINKING OF
EPISODES.

OF WHAT PEOPLE WERE THINKING OF
EPISODES.

AND IT REALLY DID BECOME CLEAR
TO ME

AND IT REALLY DID BECOME CLEAR
TO ME

THAT THIS WAS-- TV WAS BECOMING

THAT THIS WAS-- TV WAS BECOMING

A LITTLE BIT LIKE THEATER,

WHERE YOU WOULD PERFORM
SOMETHING,

AND ALMOST IN REAL TIME, YOU'D
BE HEARING

THE LAUGHTER OR THE APPLAUSE,

THE LAUGHTER OR THE APPLAUSE,

OR THE ABSOLUTELY PAINFUL
DEAFENING SILENCE.

OR THE ABSOLUTELY PAINFUL
DEAFENING SILENCE.

AND WHAT WAS KIND OF GREAT WAS
YOU COULD USE THAT

AND WHAT WAS KIND OF GREAT WAS
YOU COULD USE THAT

AS ONE OF YOUR TOOLS.

AS ONE OF YOUR TOOLS.

■■■

■■■

(Jane Espenson) I LOVE TWITTER,
I FEEL LIKE I WAS BORN TO TWEET.

(Jane Espenson) I LOVE TWITTER,
I FEEL LIKE I WAS BORN TO TWEET.

IT'S A WAY FOR ME TO SORT OF LET
PEOPLE KNOW WHO I AM.

IT'S A WAY FOR ME TO SORT OF LET
PEOPLE KNOW WHO I AM.

YOU CAN TELL WHEN THE FANS ARE
TRACKING THE STORY.

YOU CAN TELL WHEN THE FANS ARE
TRACKING THE STORY.

YOU CAN TELL WHEN THEY'RE
CONFUSED.

YOU CAN TELL WHEN THEY'RE
CONFUSED.

YOU DON'T WANT CONFUSED FANS.

YOU DON'T WANT CONFUSED FANS.

YOU CAN TELL WHEN THEY'RE BORED.
YOU DON'T WANT BORED FANS.

YOU CAN TELL WHEN THEY'RE BORED.
YOU DON'T WANT BORED FANS.

SO, IT DOES GIVE YOU A WAY TO
TAKE THE TEMPERATURE.

BUT, TWITTER CAN BE KIND OF
DANGEROUS.

BUT, TWITTER CAN BE KIND OF
DANGEROUS.

IF THE WRITERS OF "CHEERS" HAD
HAD TWITTER,

IF THE WRITERS OF "CHEERS" HAD
HAD TWITTER,

THEY WOULD HAVE BEEN BESIEGED BY
PEOPLE GOING

THEY WOULD HAVE BEEN BESIEGED BY
PEOPLE GOING

"GET SAM AND DIANE TOGETHER."

"GET SAM AND DIANE TOGETHER."

AND YOU KNOW, LIKE, SOMETIMES
WHAT THE FANS WANT

AND YOU KNOW, LIKE, SOMETIMES
WHAT THE FANS WANT

IS DIFFERENT THAN WHAT THEY
REALLY WANT.

(DeKnight) VERY RARELY DO I
INTERACT WITH THE VERY NEGATIVE
CRITICISM.

(DeKnight) VERY RARELY DO I
INTERACT WITH THE VERY NEGATIVE
CRITICISM.

(DeKnight) VERY RARELY DO I
INTERACT WITH THE VERY NEGATIVE
CRITICISM.

BUT, SOMETIMES THERE'S SOMETHING
SO EGREGIOUS

BUT, SOMETIMES THERE'S SOMETHING
SO EGREGIOUS

THAT I JUST HAVE TO COMMENT.

THAT I JUST HAVE TO COMMENT.

AND I'VE GOTTEN INTO A DUSTUP
TWICE NOW

AND I'VE GOTTEN INTO A DUSTUP
TWICE NOW

THAT I CAN THINK OF WHERE I
FOUND OUT LATER

THAT I CAN THINK OF WHERE I
FOUND OUT LATER

I WAS ACTUALLY IN A YELLING
MATCH

I WAS ACTUALLY IN A YELLING
MATCH

WITH LIKE A 12-YEAR-OLD.

WITH LIKE A 12-YEAR-OLD.

SOME SHOWS ARE MUCH BETTER
SUITED TO A DIGITAL PRESENCE

SOME SHOWS ARE MUCH BETTER
SUITED TO A DIGITAL PRESENCE

TO A WEB PRESENCE THAN OTHERS.

"LOST" IS PROBABLY THE BEST
EXAMPLE.

"LOST" FOUND ITSELF RIDING THIS
WAVE WHERE SUDDENLY

"LOST" FOUND ITSELF RIDING THIS
WAVE WHERE SUDDENLY

THEY REALIZED PEOPLE WANTED MORE
INFORMATION,

THEY REALIZED PEOPLE WANTED MORE
INFORMATION,

AND THEY WERE VERY SAVVY ABOUT
IT, AND THEY BEGAN

TO CREATE ALL SORTS OF BRANDED
MERCHANDISE,

TO CREATE ALL SORTS OF BRANDED
MERCHANDISE,

NOT JUST ON THE WEB-- THEY ALSO
HAD A GAME AND A BOOK.

NOT JUST ON THE WEB-- THEY ALSO
HAD A GAME AND A BOOK.

BUT, AT ONE POINT, CARLTON CUSE
SAID, "YOU KNOW,

"SOMETIMES I DON'T FEEL LIKE A
SHOWRUNNER,

I FEEL LIKE A BRAND MANAGER."

I FEEL LIKE A BRAND MANAGER."

(Lindelorf) THERE WAS THIS
DEMAND FOR US TO CONSTANTLY GET
OUT

(Lindelorf) THERE WAS THIS
DEMAND FOR US TO CONSTANTLY GET
OUT

AND EXPLAIN THINGS.

AND EXPLAIN THINGS.

AND WE FELT LIKE IF WE DENIED
OUR AUDIENCE,

AND WE FELT LIKE IF WE DENIED
OUR AUDIENCE,

IF WE BASICALLY SAID, "SORRY,
THE SHOW SPEAKS FOR ITSELF,

IF WE BASICALLY SAID, "SORRY,
THE SHOW SPEAKS FOR ITSELF,

AND WE'RE NOT GONNA TALK ABOUT
THE SHOW AT ALL,"

AND WE'RE NOT GONNA TALK ABOUT
THE SHOW AT ALL,"

THAT ACTUALLY WOULD HAVE HURT
THE SHOW.

THAT ACTUALLY WOULD HAVE HURT
THE SHOW.

AND SO, BY MAKING OURSELVES SORT
OF AVAILABLE,

AND SO, BY MAKING OURSELVES SORT
OF AVAILABLE,

ULTIMATELY SOMETIMES TO
CRITICISM AS WELL AS PRAISE

ULTIMATELY SOMETIMES TO
CRITICISM AS WELL AS PRAISE

ULTIMATELY SOMETIMES TO
CRITICISM AS WELL AS PRAISE

OR QUESTIONS OR ANYTHING, WE
FELT THAT

OR QUESTIONS OR ANYTHING, WE
FELT THAT

THAT WAS IN THE BEST INTEREST OF
THE SHOW.

THAT WAS IN THE BEST INTEREST OF
THE SHOW.

THAT EVOLVED TO, BY THE END OF
THE FIRST SEASON OF THE SHOW,

THAT EVOLVED TO, BY THE END OF
THE FIRST SEASON OF THE SHOW,

CARLTON AND I WERE ASKED TO DO A
SPECIAL

CARLTON AND I WERE ASKED TO DO A
SPECIAL

WHERE WE EXPLAINED "HERE ARE ALL
THE THINGS

WHERE WE EXPLAINED "HERE ARE ALL
THE THINGS

THAT YOU NEED TO KNOW IN ORDER
TO ENJOY THE FINALE."

THAT YOU NEED TO KNOW IN ORDER
TO ENJOY THE FINALE."

SO, SUDDENLY, I'M JUST A WRITER

SO, SUDDENLY, I'M JUST A WRITER

WHO OCCASIONALLY DOES INTERVIEWS
WITH THE PRESS.

AND THEN I TURN ON ABC, AND
THERE'S MY UGLY BALD HEAD,

AND THEN I TURN ON ABC, AND
THERE'S MY UGLY BALD HEAD,

AND THEN I TURN ON ABC, AND
THERE'S MY UGLY BALD HEAD,

YOU KNOW, TRYING TO EXPLAIN WHAT
THE BLACK ROCK IS.

YOU KNOW, TRYING TO EXPLAIN WHAT
THE BLACK ROCK IS.

AND CARLTON AND I JUST TURNED TO
EACH OTHER

AND SAID "HOW THE HELL DID THIS
HAPPEN?"

AND SAID "HOW THE HELL DID THIS
HAPPEN?"

■■■

■■■

(overlapping chatter)

(overlapping chatter)

(Espenson) WE ARE AT THE
FOREFRONT OF A NEW ERA,

(Espenson) WE ARE AT THE
FOREFRONT OF A NEW ERA,

AND IT IS AN ERA WITH SOME
REALLY DISTINCT DIFFERENCES

AND IT IS AN ERA WITH SOME
REALLY DISTINCT DIFFERENCES

FROM THE WAY TV HAS BEEN DONE
BEFORE.

FROM THE WAY TV HAS BEEN DONE
BEFORE.

WHEN WE STARTED "HUSBANDS", MY
FIRST THOUGHT WAS,

WHEN WE STARTED "HUSBANDS", MY
FIRST THOUGHT WAS,

"OKAY, WE PUT THIS UP ON THE
WEB, WE DEMONSTRATE

THERE'S AN AUDIENCE FOR THIS,
AND THEN TV WILL WANT IT."

THERE'S AN AUDIENCE FOR THIS,
AND THEN TV WILL WANT IT."

NOW, I REALIZE, LIKE, NO, WHY
WOULD WE WANNA GO THERE,

NOW, I REALIZE, LIKE, NO, WHY
WOULD WE WANNA GO THERE,

NOW, I REALIZE, LIKE, NO, WHY
WOULD WE WANNA GO THERE,

WHEN WE'VE DEMONSTRATED THERE'S
AN AUDIENCE FOR IT

WHEN WE'VE DEMONSTRATED THERE'S
AN AUDIENCE FOR IT

RIGHT WHERE IT IS?

RIGHT WHERE IT IS?

RIGHT NOW, WHAT THE INTERNET

RIGHT NOW, WHAT THE INTERNET

IS CAPABLE OF PROVIDING IS
GROWING.

IS CAPABLE OF PROVIDING IS
GROWING.

WHAT TV IS CAPABLE OF HOLDING
ONTO IS SHRINKING.

WHAT TV IS CAPABLE OF HOLDING
ONTO IS SHRINKING.

BUT, THEY HAVEN'T MET IN THE
MIDDLE

IN ANY SIGNIFICANT WAY.

IN ANY SIGNIFICANT WAY.

AT SOME POINT, I THINK THEY WILL
HAVE TO.

I FEEL LIKE WHAT I DO IS SECURE

I FEEL LIKE WHAT I DO IS SECURE

IN THAT I'M A WRITER, FIRST AND
FOREMOST.

IN THAT I'M A WRITER, FIRST AND
FOREMOST.

I'M GONNA WANT TO WRITE
SOMETHING FOR SOMEBODY

I'M GONNA WANT TO WRITE
SOMETHING FOR SOMEBODY

AND SOMEONE'S GONNA WANNA MAKE
IT.

AND SOMEONE'S GONNA WANNA MAKE
IT.

YOU KNOW, AND IF I AM WRITING
FOR SOMETHING

THAT'S JUST ON THE INTERNET, AND
WE'RE PERFORMING

LIKE JUST ON SOMETHING.COM,

LIKE JUST ON SOMETHING.COM,

IF I'M HAPPY DOING IT AND I CAN
FEED MY FAMILY,

IF I'M HAPPY DOING IT AND I CAN
FEED MY FAMILY,

I'M HAPPY DOING THAT, TOO.

I'M HAPPY DOING THAT, TOO.

(Espenson) WE CAN DO IT IN THE
WAY THE CONSUMER MOST WANTS IT.

(Espenson) WE CAN DO IT IN THE
WAY THE CONSUMER MOST WANTS IT.

GET IT DIRECTLY TO THEM, THEY
CAN HELP US FUND IT.

GET IT DIRECTLY TO THEM, THEY
CAN HELP US FUND IT.

THERE ARE A LOT OF PEOPLE
INVESTED IN A BIG TV SHOW.

THERE ARE A LOT OF PEOPLE
INVESTED IN A BIG TV SHOW.

THERE ARE A LOT OF PEOPLE
INVESTED IN A BIG TV SHOW.

WEBSHOW, YOU'RE INVESTED IN IT,

WEBSHOW, YOU'RE INVESTED IN IT,

JUST-- WHICH IS FANTASTIC.

JUST-- WHICH IS FANTASTIC.

THE PROFUSION OF PLATFORMS OF
CHANNELS OF DISTRIBUTION,

THE PROFUSION OF PLATFORMS OF
CHANNELS OF DISTRIBUTION,

IT'S ALL KIND OF EXPLODING, AND
IT USED TO BE

IT'S ALL KIND OF EXPLODING, AND
IT USED TO BE

THAT YOU COULD UNDERSTAND I
THINK THE TELEVISION UNIVERSE

AS A SOLAR SYSTEM, AND THE SUN
WAS BROADCAST TELEVISION--

AS A SOLAR SYSTEM, AND THE SUN
WAS BROADCAST TELEVISION--

THE THREE OR FOUR NETWORKS-- AND
EVERYTHING ELSE

WAS A SATELLITE THAT TRAVELED
AROUND THE SUN.

AND THAT CLEARLY NO LONGER IS
THE MODEL.

AND THAT CLEARLY NO LONGER IS
THE MODEL.

THE SUN HAS EXPLODED.

AND THERE ARE A LOT OF LITTLE
SOLAR SYSTEMS BEING SET UP,

AND THERE ARE A LOT OF LITTLE
SOLAR SYSTEMS BEING SET UP,

AND THE IDEA THAT WE'LL EVER
HAVE A COHERENT WHOLE

LIKE THAT AGAIN, I'M NOT SURE WE
WILL.

■■■

■■■

■■■

(TV) ...RIGHT NOW-- THERE HE IS.

HE'S UP THERE IN HIS PRIVATE G-6
AND HE'S COMING HERE,

HE'S UP THERE IN HIS PRIVATE G-6
AND HE'S COMING HERE,

TO OUR TINY COMPANY UP IN HIS
FAT FUCKING BELLY.

TO OUR TINY COMPANY UP IN HIS
FAT FUCKING BELLY.

SO, WHAT WE NEED TO DO, DOUGLAS,

IS WE NEED TO GET ADAM???

IT'S A LITTLE BIT HEARTBREAKING
BEING IN THE EDITING ROOM,

BECAUSE THERE'S ONLY SO MUCH YOU
CAN MAKE BETTER.

BECAUSE THERE'S ONLY SO MUCH YOU
CAN MAKE BETTER.

THERE ARE REALLY SO MANY THINGS

THERE ARE REALLY SO MANY THINGS

THAT YOU HAVE TO BE ON TOP OF ON
THE DAY THAT YOU'RE SHOOTING

THAT YOU JUST, YOU KNOW, PAY FOR
IN THE EDITING ROOM.

THAT YOU JUST, YOU KNOW, PAY FOR
IN THE EDITING ROOM.

WHAT DID YOU THINK ABOUT THE
IDEA OF BREAKING IT UP

WHAT DID YOU THINK ABOUT THE
IDEA OF BREAKING IT UP

INTO TWO SECTIONS, ONE AFTER TEN

AND ONE AFTER 13?

'CAUSE I WATCHED IT LAST NIGHT
LIKE A, YOU KNOW,

'CAUSE I WATCHED IT LAST NIGHT
LIKE A, YOU KNOW,

LIKE A THIRD GRADER-- NO, IT WAS
TOTALLY...

I WAS LIKE, "WOW, THAT'S COOL!"

I WAS LIKE, "WOW, THAT'S COOL!"

'CAUSE I'VE BEEN WRITING SO MANY
EPISODES,

'CAUSE I'VE BEEN WRITING SO MANY
EPISODES,

I HAVE NOT SPENT ENOUGH TIME IN
HERE.

I HAVE NOT SPENT ENOUGH TIME IN
HERE.

SO NOW, I'M DOING A LOT OF
CATCHING UP.

(TV) JUST LIKE THIS ONE, AND
TELL THEM HOW TO FIX THEIR SHIT.

(TV) JUST LIKE THIS ONE, AND
TELL THEM HOW TO FIX THEIR SHIT.

WELL, THIS WEEK IT'S US. RIGHT,
JEANNIE?

WELL, THIS WEEK IT'S US. RIGHT,
JEANNIE?

WELL, THIS WEEK IT'S US. RIGHT,
JEANNIE?

BOTH "THE CHICAGO CODE" AND
"TERRIERS" BEING CANCELLED

BOTH "THE CHICAGO CODE" AND
"TERRIERS" BEING CANCELLED

WERE HARD, IN THAT I THOUGHT
WE'D MADE GOOD SHOWS.

WERE HARD, IN THAT I THOUGHT
WE'D MADE GOOD SHOWS.

I GET THAT IF YOU MAKE SOMETHING
THAT ISN'T GOOD,

IT'S-- IT'S GONNA FAIL.

THE HARD THING ABOUT HOLLYWOOD
IS THAT GOOD THINGS

CAN FAIL, TOO.

WHEN "THE SHIELD" WAS IN THE
MIDDLE

OF ALL ITS CRITICAL ACCLAIM, I
KNEW THAT NOT EVERYTHING

OF ALL ITS CRITICAL ACCLAIM, I
KNEW THAT NOT EVERYTHING

WOULD GO THAT WAY.

WOULD GO THAT WAY.

SO, FOR ME, I WAS LIKE, OKAY
"THE SHIELD"

SO, FOR ME, I WAS LIKE, OKAY
"THE SHIELD"

KIND OF GIVES ME PERMISSION TO
FAIL AT THIS POINT.

KIND OF GIVES ME PERMISSION TO
FAIL AT THIS POINT.

KIND OF GIVES ME PERMISSION TO
FAIL AT THIS POINT.

AND FAIL, I DID.

AND FAIL, I DID.

(laughing) UM...

(laughing) UM...

YOU KNOW, I MADE THE SHOWS I
WANTED TO MAKE.

YOU KNOW, I MADE THE SHOWS I
WANTED TO MAKE.

WE HAD A HORRIBLE NAME FOR
"TERRIERS".

WE HAD A HORRIBLE NAME FOR
"TERRIERS".

WE NEVER COULD PROPERLY EXPLAIN
TO AN AUDIENCE

WE NEVER COULD PROPERLY EXPLAIN
TO AN AUDIENCE

WHAT THAT SHOW WAS GONNA BE.

WHAT THAT SHOW WAS GONNA BE.

"CHICAGO CODE" CERTAINLY HAD ITS
SHOT.

"CHICAGO CODE" CERTAINLY HAD ITS
SHOT.

GOT A BIG PREMIERE, THE NIGHT
AFTER THE SUPER BOWL.

GOT A BIG PREMIERE, THE NIGHT
AFTER THE SUPER BOWL.

GOT A LOT OF ADS DURING THE
SUPER BOWL.

GOT A LOT OF ADS DURING THE
SUPER BOWL.

I CAN'T SAY THAT ANYBODY SCREWED
US.

I CAN'T SAY THAT ANYBODY SCREWED
US.

SELF DOUBT CREEPS IN, NOT ABOUT
MY ABILITY

SELF DOUBT CREEPS IN, NOT ABOUT
MY ABILITY

TO MAKE WHAT I THINK A GOOD SHOW
IS,

TO MAKE WHAT I THINK A GOOD SHOW
IS,

BUT WHERE ARE MY TASTES ALIGNING
UP TO AMERICA'S TASTE?

BUT WHERE ARE MY TASTES ALIGNING
UP TO AMERICA'S TASTE?

BUT WHERE ARE MY TASTES ALIGNING
UP TO AMERICA'S TASTE?

I'VE LEARNED THE LESSON AS A
SHOWRUNNER

I'VE LEARNED THE LESSON AS A
SHOWRUNNER

THAT YOU CAN CONTROL THE THINGS
YOU CAN CONTROL.

THAT YOU CAN CONTROL THE THINGS
YOU CAN CONTROL.

AND UNFORTUNATELY, YOU CAN'T
CONTROL

300 MILLION PEOPLE AND WHAT
DIAL--

300 MILLION PEOPLE AND WHAT
DIAL--

YOU KNOW, WHAT CHANNEL THEY TURN
THE DIAL TO EVERY NIGHT.

YOU KNOW, WHAT CHANNEL THEY TURN
THE DIAL TO EVERY NIGHT.

ANY TIME YOU DO ANYTHING AND YOU
PUT IT OUT THERE

AND IT FAILS, UH, IT'S OF COURSE

A DEPRESSING THING.

A DEPRESSING THING.

"UNDERCOVERS" IS AN ESPECIALLY
PAINFUL DISAPPOINTMENT.

"UNDERCOVERS" IS AN ESPECIALLY
PAINFUL DISAPPOINTMENT.

I SORT OF DID THE SHOW BECAUSE I
WANTED TO

I SORT OF DID THE SHOW BECAUSE I
WANTED TO

DO WHAT THE STUDIO THAT I WORK
WITH WANTED.

DO WHAT THE STUDIO THAT I WORK
WITH WANTED.

THEY WERE LOOKING FOR A SHOW
THAT WAS IN THAT VEIN.

THEY WERE LOOKING FOR A SHOW
THAT WAS IN THAT VEIN.

AND THAT'S NOT REALLY A GOOD
REASON TO DO IT.

SECONDLY, I REMEMBER BEING AT
THE EMMYS ONE YEAR

AND JUST SEEING AN AMAZING ARRAY
OF WHITE PEOPLE.

AND JUST SEEING AN AMAZING ARRAY
OF WHITE PEOPLE.

IT WAS JUST REALLY THE WHITEST
ROOM I'D EVER SEEN.

AND THE IDEA OF, WELL, IF WE'RE
GONNA CAST THIS SHOW,

AND THE IDEA OF, WELL, IF WE'RE
GONNA CAST THIS SHOW,

MAYBE WE SHOULD LOOK FOR ACTORS
OF COLOR, LIKE, WHY NOT?

MAYBE WE SHOULD LOOK FOR ACTORS
OF COLOR, LIKE, WHY NOT?

MAYBE WE SHOULD LOOK FOR ACTORS
OF COLOR, LIKE, WHY NOT?

WHAT KILLS ME IS, INSTEAD OF IT
BEING A SHOW

WHAT KILLS ME IS, INSTEAD OF IT
BEING A SHOW

THAT SAID "LOOK, YOU KNOW,

THAT SAID "LOOK, YOU KNOW,

LEADS OF COLOR EQUALS SUCCESS,"

LEADS OF COLOR EQUALS SUCCESS,"

IT WAS YET ANOTHER EXAMPLE OF
THAT NOT WORKING.

IT WAS YET ANOTHER EXAMPLE OF
THAT NOT WORKING.

(kids playing)

(kids playing)

SOME SHOWS YOU DO, IT'S JUST A
JOB.

SOME SHOWS YOU DO, IT'S JUST A
JOB.

THIS IS LITERALLY MY LIFE.

IT'S EXTREMELY PERSONAL.

IT'S EXTREMELY PERSONAL.

PEOPLE SEEM TO LIKE IT WHEN THEY
SEE IT.

PEOPLE SEEM TO LIKE IT WHEN THEY
SEE IT.

SO, IT'S FRUSTRATING THAT YOU
FEEL LIKE

SO, IT'S FRUSTRATING THAT YOU
FEEL LIKE

IF YOU COULD JUST GET IT IN
FRONT OF PEOPLE,

IF YOU COULD JUST GET IT IN
FRONT OF PEOPLE,

I KNOW WE DID A GOOD JOB, YOU
KNOW,

I KNOW WE DID A GOOD JOB, YOU
KNOW,

YOU'RE GOING TO LIKE IT.

YOU'RE GOING TO LIKE IT.

■■■

■■■

■■■

THAT WAS THE PARTY STORE BACK
THERE.

AND THIS IS, UH, ANDRE
BRAUGHER'S

AND THIS IS, UH, ANDRE
BRAUGHER'S

CHARACTER'S HOUSE, AND LISA GAY
HAMILTON,

CHARACTER'S HOUSE, AND LISA GAY
HAMILTON,

WHICH I GUESS THEY STILL HAVE
MOST OF THE SET DRESSING UP.

WHICH I GUESS THEY STILL HAVE
MOST OF THE SET DRESSING UP.

WE WRAPPED THE DAY AFTER OUR
SHOW PREMIERED.

WE WRAPPED THE DAY AFTER OUR
SHOW PREMIERED.

WE WRAPPED THE DAY AFTER OUR
SHOW PREMIERED.

SO, WE HAD THE PREMIER ON
DECEMBER 6TH,

SO, WE HAD THE PREMIER ON
DECEMBER 6TH,

AND I WAS DRIVING TO THE SET ON
DECEMBER 7TH

AND I WAS DRIVING TO THE SET ON
DECEMBER 7TH

FEELING REALLY GREAT 'CAUSE THE
PREMIERE WAS REALLY GOOD.

FEELING REALLY GREAT 'CAUSE THE
PREMIERE WAS REALLY GOOD.

IT'S GONNA BE THE LAST DAY WITH
THE CREW WHERE WE ALL

GET TO HAVE A GOOD TIME AND I
WAS REALLY HOPING

TO GET SENT THE RATINGS ON MY
PHONE,

TO GET SENT THE RATINGS ON MY
PHONE,

AND THAT I COULD GO, "OH, LOOK,
HEY,

WE DID GREAT, EVERYBODY!"

WE DID GREAT, EVERYBODY!"

AND, SO WE'RE WORKING FOR A FEW
HOURS,

AND, SO WE'RE WORKING FOR A FEW
HOURS,

AND THEN THE RATINGS CAME IN.

AND THEN THE RATINGS CAME IN.

AND I LOOKED AT MY PHONE AND
SAID,

AND I LOOKED AT MY PHONE AND
SAID,

"I'M NEVER GONNA SEE THESE
PEOPLE EVER AGAIN."

(laughing) 'CAUSE IT WAS--

(laughing) 'CAUSE IT WAS--

IT WAS NOT-- NOT VERY GOOD.

UM, SO THEN, I RECOVERED.

UM, SO THEN, I RECOVERED.

(laughing) AND, UH...

(laughing) AND, UH...

WE'RE NOT DEAD, BY ANY STRETCH
OF THE IMAGINATION.

WE'RE NOT DEAD, BY ANY STRETCH
OF THE IMAGINATION.

WE'RE PROBABLY GOING TO BE OKAY.

BUT, IT WAS-- IT WAS A BAD
NUMBER.

BUT, IT WAS-- IT WAS A BAD
NUMBER.

IT WAS A VERY BAD NUMBER.

IT WAS A VERY BAD NUMBER.

AND IT-- IT FEELS BAD, BECAUSE
YOU--

AND IT-- IT FEELS BAD, BECAUSE
YOU--

AND IT-- IT FEELS BAD, BECAUSE
YOU--

EVERYBODY ON THE SHOW WORKED SO
INCREDIBLY HARD,

EVERYBODY ON THE SHOW WORKED SO
INCREDIBLY HARD,

EVERYBODY ON THE SHOW WORKED SO
INCREDIBLY HARD,

AND THEY'RE HELPING YOU MAKE THE
THING THAT YOU WANNA MAKE.

AND THEY'RE HELPING YOU MAKE THE
THING THAT YOU WANNA MAKE.

AND ALL YOU WANNA DO IS GIVE
THEM GOOD NEWS.

AND ALL YOU WANNA DO IS GIVE
THEM GOOD NEWS.

AND ALL YOU WANNA DO IS GIVE
THEM GOOD NEWS.

AND SO, YOU'RE JUST-- IT WAS A
HUGE WHOLE SEASON OF WORK

AND SO, YOU'RE JUST-- IT WAS A
HUGE WHOLE SEASON OF WORK

AND SO, YOU'RE JUST-- IT WAS A
HUGE WHOLE SEASON OF WORK

COMING DOWN TO ONE STUPID EMAIL

GOING, "WELL, SORRY," YOU KNOW?

GOING, "WELL, SORRY," YOU KNOW?

I MIGHT LOVE A SHOW, AND JUST
WANT SO BADLY

I MIGHT LOVE A SHOW, AND JUST
WANT SO BADLY

TO BELIEVE THAT IT CAN MAKE IT.

BUT, THE PEOPLE WITH WHOM I WORK
WILL CORRECTLY

BUT, THE PEOPLE WITH WHOM I WORK
WILL CORRECTLY

(chuckling) AND USUALLY GENTLY,
SAY TO ME,

"HEY, LOOK AT THIS.

"HEY, LOOK AT THIS.

NO, WE KNOW YOU BELIEVE IN IT,
BUT..."

NO, WE KNOW YOU BELIEVE IN IT,
BUT..."

AND YOU KNOW, THAT'S WHERE THIS
BECOMES A BUSINESS,

AND YOU KNOW, THAT'S WHERE THIS
BECOMES A BUSINESS,

AND THE RIGHT BUSINESS DECISION
AFTER THAT POINT,

AND THE RIGHT BUSINESS DECISION
AFTER THAT POINT,

THERE'S A LOT OF MONEY INVOLVED.

THERE'S A LOT OF MONEY INVOLVED.

NEEDLESS TO SAY, "THAT DIDN'T
WORK," IT HURTS.

NEEDLESS TO SAY, "THAT DIDN'T
WORK," IT HURTS.

AND THAT'S THE SINGLE WORST
PHONE CALL.

AND IN THIS CASE, TO HAVE TO
CALL A SHOWRUNNER

AND IN THIS CASE, TO HAVE TO
CALL A SHOWRUNNER

WITH WHOM YOU'VE FORMED A
RELATIONSHIP, AND SAY,

WITH WHOM YOU'VE FORMED A
RELATIONSHIP, AND SAY,

"HEY, ROAD'S OVER. WE TRIED.

"HEY, ROAD'S OVER. WE TRIED.

YEAH, WE'RE CANCELLING IT."

YEAH, WE'RE CANCELLING IT."

IT SUCKS, YOU KNOW?

IT SUCKS, YOU KNOW?

IT SUCKS, YOU KNOW?

■■■

■■■

■■■

(man) ANOTHER ROUND OF APPLAUSE
FOR THE CAST AND CREW OF
"FRINGE".

(man) ANOTHER ROUND OF APPLAUSE
FOR THE CAST AND CREW OF
"FRINGE".

(cheering)

(cheering)

■■■

■■■

YEAH, WHEN IT'S OVER...

YEAH, WHEN IT'S OVER...

YEAH, WHEN IT'S OVER...

I'LL-- I'LL BE SAD.

I'LL-- I'LL BE SAD.

IT'S GONNA BE VERY DIFFICULT.

IT'S GONNA BE VERY DIFFICULT.

IT'S LIKE YOU'RE GIVING AWAY,
YOU KNOW, AN APPENDAGE.

IT'S LIKE YOU'RE GIVING AWAY,
YOU KNOW, AN APPENDAGE.

BECAUSE IT IS A VERY GOOD SOURCE

BECAUSE IT IS A VERY GOOD SOURCE

OF COMMUNICATION FOR ME, YOU
KNOW?

OF COMMUNICATION FOR ME, YOU
KNOW?

AND UM, I'M GONNA MISS HIM.

AND UM, I'M GONNA MISS HIM.

SO, I FIND MYSELF, EVEN RIGHT
NOW, UM,

SO, I FIND MYSELF, EVEN RIGHT
NOW, UM,

SO, I FIND MYSELF, EVEN RIGHT
NOW, UM,

YOU KNOW, REWRITING SCENES THAT
ARE PERFECTLY GOOD.

YOU KNOW, REWRITING SCENES THAT
ARE PERFECTLY GOOD.

YOU KNOW, BECAUSE-- 'CAUSE IT'S
NOT THE SAME FEELING.

LIKE, IN ANY OTHER SEASON,
YOU'RE LIKE,

LIKE, IN ANY OTHER SEASON,
YOU'RE LIKE,

"OH! OKAY, NEXT, YOU KNOW,
FINISHED,

"OH! OKAY, NEXT, YOU KNOW,
FINISHED,

STAMP, YOU KNOW, GONE," YOU
KNOW, AND THEN YOU GET

TO EDIT IT AND YOU SEE IT AND
THEN IT GOES ON THE AIR.

YOU'RE KIND OF RELIEVED, TO BE
HONEST,

YOU'RE KIND OF RELIEVED, TO BE
HONEST,

THAT THE NEXT SCRIPT HAS BEEN
FINISHED,

THAT THE NEXT SCRIPT HAS BEEN
FINISHED,

BECAUSE YOU KNOW IT'S ALWAYS
CREEPING BEHIND YOU GOING,

BECAUSE YOU KNOW IT'S ALWAYS
CREEPING BEHIND YOU GOING,

"I'M GONNA CATCH YOU, I'M GONNA
CATCH YOU."

"I'M GONNA CATCH YOU, I'M GONNA
CATCH YOU."

UM, THERE'S NONE OF THAT THIS
YEAR, THAT'S ALL GONE.

UM, THERE'S NONE OF THAT THIS
YEAR, THAT'S ALL GONE.

AND IT'S ALL, UM,

AND IT'S ALL, UM,

"OH, THIS IS SO TERRIBLY SAD."

"OH, THIS IS SO TERRIBLY SAD."

"OH, THIS IS SO TERRIBLY SAD."

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(Lindelof) WE HAD THIS VERY
PROFOUND MOMENT OF REALIZATION,

(Lindelof) WE HAD THIS VERY
PROFOUND MOMENT OF REALIZATION,

WHICH IS THE SAME YEAR THAT WE
WERE GONNA DO OUR END POINT

WAS THE YEAR THAT THE "SOPRANOS"
FINALE AIRED.

SO, CARLTON AND I BOTH WATCHED
THE "SOPRANOS" FINALE

SO, CARLTON AND I BOTH WATCHED
THE "SOPRANOS" FINALE

AND WE WERE IN NEW YORK AT THE
TIME, AND WE HAD

A SPEAKING ENGAGEMENT THE NEXT
MORNING.

A SPEAKING ENGAGEMENT THE NEXT
MORNING.

AND, WE JUST WERE COMPLETELY
BLOWN AWAY

AND, WE JUST WERE COMPLETELY
BLOWN AWAY

BY HOW AWESOME THE "SOPRANOS"
FINALE WAS.

BY HOW AWESOME THE "SOPRANOS"
FINALE WAS.

AND THE NEXT MORNING, WE GOT UP,
WE STARTED TALKING ABOUT IT,

AND THEN WE WENT INTO THIS ROOM
WITH ALL THESE OTHER PEOPLE,

AND WE WERE LIKE, "DID YOU SEE
THE 'SOPRANOS' FINALE

AND WE WERE LIKE, "DID YOU SEE
THE 'SOPRANOS' FINALE

LAST NIGHT?" AND THEY WERE LIKE,

"YEAH, WASN'T IT A COP-OUT?"

AND WE LOOKED AT EACH OTHER AND
SAID "WE'RE FUCKED."

AND WE LOOKED AT EACH OTHER AND
SAID "WE'RE FUCKED."

AS FAR AS GETTING BACK INTO TV,

AS FAR AS GETTING BACK INTO TV,

I FEEL LIKE THERE'S A CERTAIN
LEVEL OF EXPECTATION

I FEEL LIKE THERE'S A CERTAIN
LEVEL OF EXPECTATION

THAT IS DEFINITELY GONNA BE
PLACED ON WHATEVER I DO NEXT.

THAT IS DEFINITELY GONNA BE
PLACED ON WHATEVER I DO NEXT.

WHEREAS BEFORE, I THINK I WOULD
HAVE BEEN A LITTLE MORE

FOOT-LOOSE AND FANCY FREE AND
SAID,

"OH, LET'S TRY THIS OUT," OR
"LET'S TRY THAT OUT."

"OH, LET'S TRY THIS OUT," OR
"LET'S TRY THAT OUT."

NOW, I'M LIKE-- I'M KIND OF, YOU
KNOW, HOLDING MYSELF

NOW, I'M LIKE-- I'M KIND OF, YOU
KNOW, HOLDING MYSELF

TO A VERY HIGH STANDARD FOR WHAT
IS GONNA BE THE IDEA

TO A VERY HIGH STANDARD FOR WHAT
IS GONNA BE THE IDEA

THAT I KINDA TAKE AND RUN WITH.

THAT I KINDA TAKE AND RUN WITH.

EVERY PROJECT THAT SUDDENLY
WE'RE INVOLVED IN,

EVERY PROJECT THAT SUDDENLY
WE'RE INVOLVED IN,

OR THAT I SAY YES TO,

OR THAT I SAY YES TO,

IS POTENTIALLY ANOTHER, YOU
KNOW, HOUR I'M SPENDING

IS POTENTIALLY ANOTHER, YOU
KNOW, HOUR I'M SPENDING

NOT WITH MY FAMILY,

YOU KNOW, ANOTHER HALF HOUR OR
WHATEVER.

BUT, THERE'S A WONDERFUL THING
ABOUT RUNNING A SERIES.

BUT, THERE'S A WONDERFUL THING
ABOUT RUNNING A SERIES.

IT'S AN EVOLVING, ORGANIC,
LIVING THING.

IT'S AN EVOLVING, ORGANIC,
LIVING THING.

BEING A PRODUCER BUT NOT A
SHOWRUNNER,

I CAN KIND OF FROM AFAR OBSERVE
THIS THING,

I CAN KIND OF FROM AFAR OBSERVE
THIS THING,

AND AT TIMES, BE GRATEFUL THAT
I'M NOT HAVING TO DO THAT.

AND AT TIMES, BE GRATEFUL THAT
I'M NOT HAVING TO DO THAT.

BUT, I WOULD BE LYING TO YOU IF
I DIDN'T SAY

I MISS THAT JOB, AND BEING THERE
AND DOING THAT.

I MISS THAT JOB, AND BEING THERE
AND DOING THAT.

AND SO, ONE DAY, I WOULD LOVE

TO BE ABLE TO DO THAT AGAIN, IF
THEY'LL HAVE ME.

(Kelley) THE FUN OF TELEVISION
IS THAT IT WORKS AT SUCH A PACE

THAT YOU WRITE SOMETHING ON, YOU
KNOW, THE FIRST OF THE MONTH

THAT YOU WRITE SOMETHING ON, YOU
KNOW, THE FIRST OF THE MONTH

AND THEN IT'S AIRING IN A MONTH.

AND THEN IT'S AIRING IN A MONTH.

IT'S VERY-- YOU DON'T REALLY
HAVE--

IT'S VERY-- YOU DON'T REALLY
HAVE--

I MEAN, MILLIONS OF PEOPLE ARE
SEEING IT.

I MEAN, MILLIONS OF PEOPLE ARE
SEEING IT.

IT'S THAT URGENCY THAT'S SO
EXCITING

IT'S THAT URGENCY THAT'S SO
EXCITING

AND-- AND RARE FOR ANYONE TO BE
ABLE TO DO.

AND-- AND RARE FOR ANYONE TO BE
ABLE TO DO.

AND-- AND RARE FOR ANYONE TO BE
ABLE TO DO.

AND SO, YEAH, I DO-- I DO LOVE
WHAT I DO.

AND SO, YEAH, I DO-- I DO LOVE
WHAT I DO.

THERE'S TIMES WHERE I WISH I
COULD SLEEP A LITTLE MORE.

THERE'S TIMES WHERE I WISH I
COULD SLEEP A LITTLE MORE.

IT'S HARD, YOU SACRIFICE A LOT

IT'S HARD, YOU SACRIFICE A LOT

WHEN YOU ARE IN CHARGE OF SO
MANY THINGS.

WHEN YOU ARE IN CHARGE OF SO
MANY THINGS.

AND ULTIMATELY, I WOULD LOVE TO
BE ABLE TO GIVE AWAY

AND ULTIMATELY, I WOULD LOVE TO
BE ABLE TO GIVE AWAY

SOME OF MY RESPONSIBILITIES OR
SHARE THEM A LITTLE BIT

SOME OF MY RESPONSIBILITIES OR
SHARE THEM A LITTLE BIT

BETTER THAN I DO ALREADY.

BETTER THAN I DO ALREADY.

AND I THINK THAT FOR A LOT OF
SHOWRUNNERS,

AND I THINK THAT FOR A LOT OF
SHOWRUNNERS,

RIGHT OR WRONG, THE AMOUNT OF
CONTROL THAT YOU HAVE

RIGHT OR WRONG, THE AMOUNT OF
CONTROL THAT YOU HAVE

RIGHT OR WRONG, THE AMOUNT OF
CONTROL THAT YOU HAVE

IN THESE SITUATIONS IS WHAT
MAKES THINGS

IN THESE SITUATIONS IS WHAT
MAKES THINGS

FEEL SPECIAL TO AN AUDIENCE.

FEEL SPECIAL TO AN AUDIENCE.

(Chris Downey) IT USED TO BE
THAT YOU'D GET THE SHOW

(Chris Downey) IT USED TO BE
THAT YOU'D GET THE SHOW

UP UNTIL YOU WANTED TO PUT A GUN
IN YOUR MOUTH,

UP UNTIL YOU WANTED TO PUT A GUN
IN YOUR MOUTH,

AND THEN YOU WOULD FIND THESE
MAGICAL SHOWRUNNERS

AND THEN YOU WOULD FIND THESE
MAGICAL SHOWRUNNERS

WHO WOULD COME IN WHO WERE KIND
OF--

WHO WOULD COME IN WHO WERE KIND
OF--

WE LIKE TO CALL THEM SORT OF
LIKE HOSPICE WORKERS,

WE LIKE TO CALL THEM SORT OF
LIKE HOSPICE WORKERS,

WHO KIND OF LIKE FEED THE SHOW

WHO KIND OF LIKE FEED THE SHOW

AND GIVE IT PAIN RELIEVING
MEDICINE.

AND GIVE IT PAIN RELIEVING
MEDICINE.

OH, OH, OH, IS THAT SEASON
SEVEN?

OH, OH, OH, IS THAT SEASON
SEVEN?

THAT IS SEASON SEVEN, ISN'T IT?
THAT'S RIGHT, YEAH!

THAT IS SEASON SEVEN, ISN'T IT?
THAT'S RIGHT, YEAH!

IT'S PALLIATIVE OF CARE FOR YOUR
SHOW AS IT SLOWLY--

IT'S PALLIATIVE OF CARE FOR YOUR
SHOW AS IT SLOWLY--

THE LIFE EBBS FROM IT, AND THEN
IT DIES.

THE LIFE EBBS FROM IT, AND THEN
IT DIES.

AND NOW, I THINK THERE'S A LOT
MORE

CRADLE-TO-THE-GRAVE SHOWRUNNERS.

CRADLE-TO-THE-GRAVE SHOWRUNNERS.

CRADLE-TO-THE-GRAVE SHOWRUNNERS.

YOU TRY TO MAKE THEM TILL YOU
THINK

YOU TRY TO MAKE THEM TILL YOU
THINK

MAYBE YOU CAN'T MAKE ANY MORE
GOOD ONES.

YEAH, OR YOU KNOW-- LOOK, OR
PEOPLE STOP WATCHING.

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■■■

AT ONE POINT EARLY ON IN MY
CAREER,

AT ONE POINT EARLY ON IN MY
CAREER,

I WAS WORRIED THAT I HAD RUN OUT
OF IDEAS.

I WAS WORRIED THAT I HAD RUN OUT
OF IDEAS.

YOU KNOW, I THOUGHT, WELL, WHAT
IF THAT'S IT?

YOU KNOW, I THOUGHT, WELL, WHAT
IF THAT'S IT?

WHAT IF THE WELL IS DRY?

TEN, ELEVEN YEARS LATER,

I'M FACED WITH THE OPPOSITE
PROBLEM,

I'M FACED WITH THE OPPOSITE
PROBLEM,

IS I HAVE SO MANY PROJECTS UP ON
MY PROJECT BOARD,

IS I HAVE SO MANY PROJECTS UP ON
MY PROJECT BOARD,

THAT I LOOK AT THEM AND REALIZE
I'M GONNA GO TITS UP

BEFORE I GET ALL THIS STUFF OUT
THERE.

THEN I STARTED THINKING, WELL,
THERE'S NOTHING TO SAY

THEN I STARTED THINKING, WELL,
THERE'S NOTHING TO SAY

THAT I HAVE TO DO ALL OF THIS.

I WOULD LOVE TO FOLLOW THE PATH
OF-- OF A J.J. ABRAMS.

I WOULD LOVE TO FOLLOW THE PATH
OF-- OF A J.J. ABRAMS.

I WOULD LOVE TO FOLLOW THE PATH
OF-- OF A J.J. ABRAMS.

HE'S SOMEONE THAT I DEFINITELY
LOOK UP TO,

HE'S SOMEONE THAT I DEFINITELY
LOOK UP TO,

ON NOT ONLY A CREATIVE LEVEL,
BUT ON A BUSINESS MODEL.

ON NOT ONLY A CREATIVE LEVEL,
BUT ON A BUSINESS MODEL.

TO GET TO A LEVEL WHERE YOU CAN
HAVE

MULTIPLE SHOWS ON TELEVISION,

WHERE YOU CAN CO-CREATE SHOWS
WITH THE WRITERS

WHERE YOU CAN CO-CREATE SHOWS
WITH THE WRITERS

YOU'VE WORKED WITH AND LOVE,

YOU'VE WORKED WITH AND LOVE,

AND YOU CAN ALSO HAVE A FEATURE
CAREER.

AND YOU CAN ALSO HAVE A FEATURE
CAREER.

I THINK THAT IS-- THAT IS THE
IDEAL THING TO SHOOT FOR.

I THINK THAT IS-- THAT IS THE
IDEAL THING TO SHOOT FOR.

I THINK THAT IS-- THAT IS THE
IDEAL THING TO SHOOT FOR.

WHAT, ARE THESE FANS?

(overlapping chatter)

IT IS AN INCREDIBLY DIFFICULT
BUSINESS TO BREAK INTO,

IT IS AN INCREDIBLY DIFFICULT
BUSINESS TO BREAK INTO,

ESPECIALLY FOR PEOPLE LIKE ME.

ESPECIALLY FOR PEOPLE LIKE ME.

I DIDN'T GROW UP IN HOLLYWOOD.

I DIDN'T GROW UP IN HOLLYWOOD.

I GREW UP IN A TINY LITTLE TOWN
IN SOUTH JERSEY.

I GREW UP IN A TINY LITTLE TOWN
IN SOUTH JERSEY.

I COULD NOT HAVE BEEN FURTHER
FROM THE HOLLYWOOD DREAM.

I COULD NOT HAVE BEEN FURTHER
FROM THE HOLLYWOOD DREAM.

UH, BUT I HAD ALWAYS WANTED TO
MAKE THAT HAPPEN.

UH, BUT I HAD ALWAYS WANTED TO
MAKE THAT HAPPEN.

UH, BUT I HAD ALWAYS WANTED TO
MAKE THAT HAPPEN.

AND, YOU KNOW, IT'S KIND OF A--

AND, YOU KNOW, IT'S KIND OF A--

ALMOST A 1940'S "GEE WHIZ" KIND
OF SPEECH,

ALMOST A 1940'S "GEE WHIZ" KIND
OF SPEECH,

BUT, YOU KNOW, IF YOU FOLLOW
YOUR DREAMS

BUT, YOU KNOW, IF YOU FOLLOW
YOUR DREAMS

AND YOU NEVER GIVE UP, YOU WILL
GET WHAT YOU WANT.

AND YOU NEVER GIVE UP, YOU WILL
GET WHAT YOU WANT.

IT MAY NOT BE HOW YOU EXPECT IT.

IT MAY NOT BE HOW YOU EXPECT IT.

IT MAY NOT BE IN THE TIMEFRAME
YOU EXPECT IT.

IT MAY NOT BE IN THE TIMEFRAME
YOU EXPECT IT.

BUT, YOU WILL MAKE IT.

BUT, YOU WILL MAKE IT.

(cameras clicking)

(cameras clicking)

WHEN I WAS FRESH OUT OF COLLEGE,
I REMEMBER A JOB INTERVIEW

WHERE SOMEBODY SAID "WHERE DO
YOU SEE YOURSELF

IN FIVE YEARS?" AND I THOUGHT,

YOU KNOW, I DON'T KNOW WHAT I'M
HAVING FOR LUNCH.

SO, THAT'S NOT A QUESTION I'LL
ANSWER.

WHERE DO I SEE MYSELF? WHERE DO
I SEE THIS SERIES?

I THINK THAT THIS IS A SERIES
THAT HAS

THE ABILITY TO GO FOR A LONG
TIME.

TNT IS A GREAT NETWORK TO BE ON.

TNT IS A GREAT NETWORK TO BE ON.

AND THEY'RE NOT LOOKING TO KNOCK
YOU OFF THE CHESS BOARD.

I'M VERY HAPPY TELLING THESE
STORIES RIGHT NOW.

I'M VERY HAPPY TELLING THESE
STORIES RIGHT NOW.

BUT, I THINK, IF YOU SAID TO ME,

"YOU'RE GONNA DO THIS FOR THE
NEXT EIGHT YEARS OF YOUR LIFE,"

I WOULD THINK, "REALLY?"

AND I SHOULD BE GOING "OH, YAY!"

THAT'S WHERE I SHOULD BE, AND
MAYBE AFTER I'VE HAD

SOME SLEEP AND A VACATION I'LL
THINK,

"YEAH, EIGHT MORE YEARS!"

"YEAH, EIGHT MORE YEARS!"

BUT, RIGHT NOW, I'M THINKING
"NO, EIGHT MORE YEARS?

BUT, RIGHT NOW, I'M THINKING
"NO, EIGHT MORE YEARS?

DO YOU KNOW MANY THAT IS?"

DO YOU KNOW MANY THAT IS?"

WHEN THE SHOW GOT CANCELLED, UM,

WHEN THE SHOW GOT CANCELLED, UM,

THERE WAS A VERY PROTRACTED
PERIOD AFTERWARDS

THERE WAS A VERY PROTRACTED
PERIOD AFTERWARDS

THERE WAS A VERY PROTRACTED
PERIOD AFTERWARDS

WHERE I BOTH WAS HAPPY

WHERE I BOTH WAS HAPPY

TO HAVE ANOTHER PROJECT TO
DISTRACT ME

AND I WAS HAVING A LOT OF
TROUBLE

FORGETTING "MEN OF A CERTAIN
AGE".

I WAS WRITING MY PILOT, AND AT
THE SAME TIME,

I WAS WRITING MY PILOT, AND AT
THE SAME TIME,

I'M ON THE PHONE TRYING TO SEE

I'M ON THE PHONE TRYING TO SEE

IF "MEN OF A CERTAIN AGE" CAN GO
TO ANOTHER-- ANOTHER NETWORK.

IF "MEN OF A CERTAIN AGE" CAN GO
TO ANOTHER-- ANOTHER NETWORK.

IT'S LIKE YOUR GIRLFRIEND'S IN A
COMA,

IT'S LIKE YOUR GIRLFRIEND'S IN A
COMA,

BUT THEY'RE GOING, "HEY, YOU
WANNA GO ON SOME DATES?"

BUT THEY'RE GOING, "HEY, YOU
WANNA GO ON SOME DATES?"

AND WHEN YOU'RE ON THE DATE, I
GUESS AT SOME POINT,

AND WHEN YOU'RE ON THE DATE, I
GUESS AT SOME POINT,

YOU FORGET MAYBE FOR A FEW
MINUTES,

YOU FORGET MAYBE FOR A FEW
MINUTES,

AND THEN YOU COME BACK HOME AND
GO,

AND THEN YOU COME BACK HOME AND
GO,

"OH, STILL IN A COMA.

"OH, STILL IN A COMA.

"IT'D BE NICE IF YOU GOT OUT OF
THE COMA

SO I DON'T HAVE TO GO ON THE
DATES."

I DON'T KNOW WHY I JUST DID THAT
AS WOODY ALLEN.

IT WAS REALLY-- PLEASE CUT THAT,
ALL OF THAT.

IT WAS REALLY-- PLEASE CUT THAT,
ALL OF THAT.

(laughing)

(laughing)

I WENT INTO MY DEAL WITH 20TH
CENTURY FOX.

I WENT INTO MY DEAL WITH 20TH
CENTURY FOX.

THEN THAT STARTED.

SO, THAT WAS THE BEGINNING OF,
"OKAY, TIME TO MOVE ON."

SO, THAT WAS THE BEGINNING OF,
"OKAY, TIME TO MOVE ON."

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HERE'S WHAT'S GONNA HAPPEN.

I'M OLD, I'M 53. NO ONE WILL
CALL ME.

I'M OLD, I'M 53. NO ONE WILL
CALL ME.

NO ONE WILL WANT ME TO BE A
SHOWRUNNER.

NO ONE WILL WANT ME TO BE A
SHOWRUNNER.

AND THEN THE QUESTION WILL BE
WILL I GO WRITE A BOOK?

AND THEN THE QUESTION WILL BE
WILL I GO WRITE A BOOK?

AND THEN THE QUESTION WILL BE
WILL I GO WRITE A BOOK?

WILL I GO WORK FOR ONE OF THE
PEOPLE

WILL I GO WORK FOR ONE OF THE
PEOPLE

WHO HAVE COME UP PAST ME?

WHO HAVE COME UP PAST ME?

I DON'T KNOW THE ANSWER TO ANY
OF THOSE THINGS,

I DON'T KNOW THE ANSWER TO ANY
OF THOSE THINGS,

BECAUSE RIGHT NOW, I CAN NOT SEE
PAST CHRISTMAS.

BECAUSE RIGHT NOW, I CAN NOT SEE
PAST CHRISTMAS.

BUT, YOU KNOW, I'M SUPPOSED TO
BE AN ENGLISH PROFESSOR

IN CANADA, AND I'M ALREADY
HAVING MORE FUN

THAN-- THAN I WAS SUPPOSED TO.

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■■■

■■■

FIRST OF ALL, I WANT A SHOW

FIRST OF ALL, I WANT A SHOW

WITH AN AFRICAN-AMERICAN LEAD TO
DO WELL.

WITH AN AFRICAN-AMERICAN LEAD TO
DO WELL.

WITH AN AFRICAN-AMERICAN LEAD TO
DO WELL.

ESPECIALLY DON CHEADLE, 'CAUSE
HE--

ESPECIALLY DON CHEADLE, 'CAUSE
HE--

NOBODY DESERVES IT MORE THAN
HIM.

NOBODY DESERVES IT MORE THAN
HIM.

THEN I'D LIKE TO KEEP MAKING THE
SHOW, 'CAUSE IT'S--

THEN I'D LIKE TO KEEP MAKING THE
SHOW, 'CAUSE IT'S--

I FEEL LIKE IT'S FUN AND IT'S
GOOD.

I FEEL LIKE IT'S FUN AND IT'S
GOOD.

AND, YOU KNOW, I HOPE PEOPLE
WILL WATCH IT.

AND, YOU KNOW, I HOPE PEOPLE
WILL WATCH IT.

SO, UM...

SO, UM...

SO, UM...

YEAH, I'M NERVOUS, FOR SURE.

YEAH, I'M NERVOUS, FOR SURE.

(overlapping chatter)

(overlapping chatter)

THANK YOU.

I'M SO EXCITED TO BE SHOWING YOU
GUYS THIS SHOW.

I'M SO EXCITED TO BE SHOWING YOU
GUYS THIS SHOW.

I DIDN'T KNOW THAT I WANTED TO
MAKE A SHOW

I DIDN'T KNOW THAT I WANTED TO
MAKE A SHOW

ABOUT MANAGEMENT CONSULTANTS, I
DIDN'T--

ABOUT MANAGEMENT CONSULTANTS, I
DIDN'T--

BUT, UM, WE'VE TRIED VERY HARD
TO HIDE THAT FACT

BUT, UM, WE'VE TRIED VERY HARD
TO HIDE THAT FACT

IN THE MARKETING OF IT, AND ALSO
HIDE THE FACT

THAT IT'S ABOUT RICH ASSHOLES.

NO OFFENSE TO ANYBODY IN THE
ROOM.

NO OFFENSE TO ANYBODY IN THE
ROOM.

I'M EMBARRASSED TO SAY THAT I
FEEL GREAT ABOUT IT.

I'M EMBARRASSED TO SAY THAT I
FEEL GREAT ABOUT IT.

I USUALLY WANT TO PICK THINGS
APART.

BUT, I ACTUALLY REALLY FEEL GOOD
ABOUT IT.

BUT, I ACTUALLY REALLY FEEL GOOD
ABOUT IT.

(applause)

(applause)

THE BIGGEST CHALLENGE MAKING THE
SHOW

IS ENCOUNTERING MYSELF EVERY DAY

IS ENCOUNTERING MYSELF EVERY DAY

AND WHAT I'M CAPABLE OF,

AND WHAT I'M CAPABLE OF,

AND KIND OF STRETCHING THE
LIMITS OF WHAT YOUR TALENT IS

AND KIND OF STRETCHING THE
LIMITS OF WHAT YOUR TALENT IS

AND WHAT YOUR EXPERIENCE IS.

AND THANKFULLY, I'VE DONE IT A
COUPLE TIMES,

SO I-- I'VE MADE A LOT OF BIG
MISTAKES.

SO I-- I'VE MADE A LOT OF BIG
MISTAKES.

AND SO, I CAN-- THINK I'VE
LEARNED A LOT FROM THOSE.

AND SO, I CAN-- THINK I'VE
LEARNED A LOT FROM THOSE.

AND SO, I CAN-- THINK I'VE
LEARNED A LOT FROM THOSE.

THIS IS A MAJOR TIME COMMITMENT.

THIS IS A MAJOR TIME COMMITMENT.

IT'S BEEN, YOU KNOW, A BIG CHUNK
OF MY LIFE

IT'S BEEN, YOU KNOW, A BIG CHUNK
OF MY LIFE

FOR THE LAST YEAR.

FOR THE LAST YEAR.

BUT, I WOULD HAPPILY DO IT AGAIN

BUT, I WOULD HAPPILY DO IT AGAIN

IF I GOT THE CHANCE, FOR SURE.

IF I GOT THE CHANCE, FOR SURE.

IT'S AMAZING TO GET TO JUST DO
IT RIGHT ONCE, YOU KNOW?

IT'S AMAZING TO GET TO JUST DO
IT RIGHT ONCE, YOU KNOW?

IT'S AMAZING, TOTALLY WORTH IT.

IT'S AMAZING, TOTALLY WORTH IT.

IT'S AMAZING, TOTALLY WORTH IT.

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