TELEVISION
TELEVISION
A S S I G N M E N T S
A S S I G N M E N T S •
• For For the the screenwriter:screenwriter:
•
• In In this this chapterchapter, , Judd Judd discusses discusses the the differencesdifferences
bet
between ween a mova movie aie and a nd a TV TV show. Ashow. As as an en expxperieriment,ment,
consider the possibility of transforming your
consider the possibility of transforming your featurefeature
into a television show. What unresolved issues in your
into a television show. What unresolved issues in your
story—which simply can’t be explored in a two-hour
story—which simply can’t be explored in a two-hour
time frame—could be drawn out and examined across a
time frame—could be drawn out and examined across a
season of television? Looking at your story th
season of television? Looking at your story through thisrough this
lens, come up with a potential arc for a fir
lens, come up with a potential arc for a first season ofst season of
your movie-turned-TV show. Then create an outline for
your movie-turned-TV show. Then create an outline for
the episodes/
the episodes/steps in betsteps in between.ween.
•
• Reflecting Reflecting on on the the previous previous exercise, exercise, evaluate evaluate if if youryour
feature script is best served by the feature fi
feature script is best served by the feature film format.lm format.
Do you have a st
Do you have a strong enough resolution to your storyrong enough resolution to your story
for it to conclude at the end of t
for it to conclude at the end of the film? Or he film? Or are you moreare you more
interested in exploring nuances of character that might
interested in exploring nuances of character that might
require more time?
require more time?
TIPS
TIPS FORFOR
W
WRRIITTIINNGG
TELEVISION
TELEVISION
C H A P T E R R E V I E W
C H A P T E R R E V I E W Whi
While Judd le Judd is wis workorking ing on a on a projeproject, hct, he fre frequeequentlntly ty tururns ns to fto frieriends,nds,
colleagues, and hired gu
colleagues, and hired guns for ideas to make ns for ideas to make it better. Judd and hisit better. Judd and his
collaborators get together and listen to
collaborators get together and listen to a table read or watch a a table read or watch a cutcut
of the movie and brainstorm w
of the movie and brainstorm ways to improve the drama, jokes,ays to improve the drama, jokes,
and characters. For Jud
and characters. For Judd, this kid, this kind of collaboration is essential.nd of collaboration is essential.
Sometimes the funniest moments of the film are born in a
Sometimes the funniest moments of the film are born in a
roundtable
roundtable. On . On the other the other hand, sometimes the hand, sometimes the roundtableroundtable’s’s
feedback or ideas can be totally off t
feedback or ideas can be totally off the mark. Ultimately you havehe mark. Ultimately you have
to trust your in
to trust your instincts about which pieces of advice you take, andstincts about which pieces of advice you take, and
whi
which ch you lyou leave eave on ton the the table.able.
Getting notes on your wr
Getting notes on your writing can be haiting can be hard, and your first reactionrd, and your first reaction
may be to d
may be to dismiss the notes out of haismiss the notes out of hand. But it’nd. But it’s essential to s essential to learnlearn
to think t
to think through every note, no matter hohrough every note, no matter how painfuw painful, and to payl, and to pay
attention to similarities in
attention to similarities in criticism you receive from variouscriticism you receive from various
people. If you feel
people. If you feel insecure when insecure when receiving notes, rememberreceiving notes, remember—no—no
one is forcing a note on you. It’s your decision to take or leave a
one is forcing a note on you. It’s your decision to take or leave a
note. This mindset should empower you to b
note. This mindset should empower you to be open to othere open to other
people’s ideas.
people’s ideas.
When
When you you begbegin in to holto hold tad table rble reads eads for yfor your our scrscript, cipt, castasting ing is kis key.ey.
The wrong actor reading a part could make
The wrong actor reading a part could make your screenplay feelyour screenplay feel
like a b
like a bomb. Resist the urge to tear up your pages and instead tryomb. Resist the urge to tear up your pages and instead try
another actor. If you find that it’
another actor. If you find that it’s still not workis still not working, start rewriting.ng, start rewriting.
Maybe your characters need deeper e
Maybe your characters need deeper exploration, as was the casexploration, as was the case
wit
withhBridesmaidsBridesmaids..
The writing process doesn’t stop once you’re on set shooting your
The writing process doesn’t stop once you’re on set shooting your
script. Judd enco
script. Judd encourages you to thinurages you to think ahead to the editing room—k ahead to the editing room—
What
What exextrtra maa materterial ial wiwill ll you wyou want ant to hto have ave if if you you finfind td that hat thethe
scene isn’
scene isn’t working? Keep brait working? Keep brainstorming jokes or dinstorming jokes or different waysfferent ways
for the actors to perform a scene so that you don’
for the actors to perform a scene so that you don’t kick yourself t kick yourself inin
postproduction.
postproduction.
A S S I G N M E N T S
A S S I G N M E N T S •
• For For the the screenwriter screenwriter and and writer-writer-director:director:
•
• Set Set up a up a table table read read to to work work on yon your scripour script. Ret. Read yad yourour
script aloud, assigning par
script aloud, assigning parts to your fts to your friends and/oriends and/orr
cocreators
cocreators, and , and improve it beat for beat. improve it beat for beat. Cast your tCast your tableable
S U B C H A P T E R S
S U B C H A P T E R S
•
• Use Use Roundtables Roundtables to to Punch Punch Up Up YourYour Scripts
Scripts •
• Consider Consider All All Notes Notes OpenlyOpenly •
• Be Be the the Final Final ArbiterArbiter •
• Involve Involve People People Who Who UnderstandUnderstand You
You •
• Cast Cast Your Your TTable able Reads Reads CarefullyCarefully • Rewriting
• Rewriting BridesmaidsBridesmaids •
• Writing Writing Doesn’t Doesn’t Stop Stop Until Until thethe Movie Is Locked
Movie Is Locked