...Kinect, indie games and red rings.
"If there's anything in reality that's not fun, we will change it."
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Flightrisker wrote:The ones with the laugh track, yeah?
As a big fan of West Wing, Studio 60 and selected scenes from Sports Night I can't wait.
I've turned off all the avatars and crap, so don't expect me to be impressed by yours.
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faux_carnation wrote:The laughter track is annoying, but it isn't so terrible that it renders it unwatchable.
Just rewatched Studio 60, brilliant stuff (apart from the point where it becomes really obvious that he's cramming the whole story-arc into about 3 episodes), so very excited about this.
Is Sports Night worth importing?
Flightrisker wrote:Thanks!
Sold.
Can a mod change the ol' title?
Preferred Newsroom to The Newsroom though. Drop the "The" Aaron.
freedumb wrote:You say that like it's a bad thing...
Let me guess: it'll probably have lots and lots of snappy dialogue with people talking at incredibly fast speeds and bouncing off each other with quick comebacks and sharp retorts with some doing walk and talks down corridors towards the camera and away from the camera?
craigy wrote:Schlamme's last three shows have all been cancelled (Studio, Mr Sunshine, Pan-Am). Shame, I love the dizzying walking talking scenes.
Walk-and-talks probably won't be a directorial staple, as Thomas Schlamme isn't directing the show.
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Steam/PSN/XBOX: Razztafarai | 3DS: 1246-9674-8856
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I have no political sophistication or media sophistication, so if I was talking to Howard Kurtz or you, you could easily dismantle whatever argument I’m going to make. It is a layman’s amateur argument. Oftentimes, I write about people who are smarter than I am and know more than I do, and I am able to do that simply by being tutored almost phonetically, sometimes. I’m used to it. I grew up surrounded by people who are smarter than I am, and I like the sound of intelligence. I can imitate that sound, but it’s not organic. It’s not intelligence. It’s my phonetic ability to imitate the sound of intelligence.
When you’re writing this kind of show (Studio 60), it’s unforgiving. There’s just a much narrower margin of error than if you’re starting off with a dead body and ending up with the person who did it. If you’re going to be as high-handed with your premise and conceit as I am with these shows, you have to write it really well. And I didn’t with Studio 60. I didn’t, frankly, with Sports Night either.
You have to write when you’re not writing well. I wrote 88 episodes of The West Wing. One of them is going to be your 88th best. And I’m not good enough for my 88th best to be very good.
I stuck the tape in, and I did not get even 60 seconds into it before I had to shut it off. Not because it was great, not because it was less than great, but because it was like watching somebody make out with my girlfriend. Other than those 60 seconds, which I can’t even really recall, I’ve never seen seasons five through seven. I missed it terribly when I left. But it was the right thing to do.Also mentioned some interesting things about why being on HBO is so much better as a writer, some I knew others I hadn't really considered:
The stuff that I write doesn’t really work well as background music. You want people to watch it the way they’d watch a movie or a play. HBO’s audience is already conditioned to watch things that way.On why he's not on Twitter:
And there are no commercial breaks, so you’re not, every eight minutes, building to a sort of phony climax. Fewer episodes per season, so you’re able to do a better job on each episode. There’s another advantage that nobody ever talks about. It doesn’t sound like a big deal, but it is. And it’s end credits. Why are end credits a big deal? Because no matter what you write, the last moment is meant to resonate. Finally: All ten episodes will be completely finished before the first one airs. And what’s good about that is, you’re in the middle of a season, and you start hearing from everyone from your neighbor to your mother to critics, people who write about television. And you find yourself starting to write to change their minds. You can’t do that here—you’re all in. There can’t be any changes based on what anybody thinks.
I just don’t think I can do anything in 140 characters.You don't say
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