I like her advice. It's always illuminating. When she was listing off medical shows, my brain took a hard left: "... and absolutely *none* of these are like Scrubs!" Lol
Was in Pam Douglas' class at USC 15 years ago, and thanks to her I had a good career. Listen to every word she says! (And thank you Film Courage for giving her time on your channel!)
"Amen Sista... Amen" I was writing a play... and I cried at this certain scene, to this day if I read it, I cry. Later my daughter read it... and was so mad at me.. because she didn't want to CRY.. but she did. Write what hurts... be real
Thanks Im writing a pilot now and its really good! But my lord it is terribly, painfully, agonizing! I mean you have to account for a season and most likely multiple seasons in just the pilot
I'm going through the same thing! It's such a complex task. Constantly zooming in and out, planting the right amount of seeds, weaving theme through every event, etc... It's truly one of the most cognitively demanding things I've ever done, but so fun and so rewarding.
I can well believe that industry producers reject writers for 'dishonest' writing, but it seems the real irony is that many Hollywood movies & TV shows - especially in the last 10 years - feel 'dishonest' and insincere nonetheless, probably due to rewrites and the interference of too many different voices, combined with special effects and set pieces designed to distract the audience from questioning how or why we got from one set piece to another.
@@lajmoneyyoung Not in all the endless sequels, reboots and remakes we've been getting. They are very cynical, with contrived plot points and annoying characters, or else utterly bland and devoid of imagination. For example: Star Wars, Marvel, DC, Ghostbusters, He-Man & Cowboy Bebop, Disney 'live action' remakes, Buzz Lightyear, Tomb Raider, Terminator, Transformers, Star Trek, Fantastic Beasts, Dr Who, GoT, Rings of Power, The Matrix, Robocop, Charlie's Angels, Ocean's 8, The Hustle, Flatliners, Total Recall, The Mummy, Fast and Furious and its spin offs, Godzilla etc.
Ms. Douglas is right and her high caliber perspective is rare. The audience must believe in the world they're viewing with their hearts & minds, but the director is the one whose gut decides on the actors' final takes.
Thank you for this, and every interview you've ever recorded. I doubt there is a more impactful source out there that has tracked and kept these heartfelt messages expressed by the creative titans you've gifted us with!
Hi József, thank you for your support. (We may have just thanked you on Patreon 😊). We're doing our best. We've been fortunate to record a lot of great interviews recently so we have a lot more to share. Our best to you and your creative work!
She's right about this. If you write about politics, race, or religion, the theme must be about some philosophical conflict that is deeper or more fundamental than secterarian differences. You can write about your own background or even childhood, but include what hurts or creates struggle. Struggle-mire (conflict) It does sound a bit like she's suggesting overwriting, though.
She's so right about the excessively detailed worldbuilding in potential fantasy shows... You've got no idea the amount of pilots and scripts I've read which I know from the beginning it'll never be produced because it's so damn impossible to bring it to reality on a limited budget. There are some projects better left as novels or even in-universe tales rather than audiovisual projects
Blade Runner certainly has a unique world, but I don't think that is entirely down to the script. You have a director who went to art college, with a background in tv/commercials, the creative choices taken to hide the fact it was shot on the studio backlot, Syd Mead's futurism, Trumbull/Dryer's effects, and Vangelis' haunting score. And on top of all that, the actors rewriting their dialogue, grumpy from shooting night after night, and finally, Ridley Scott lost his younger brother shortly before production (which convinced him to take on the project to distract himself) and no doubt contributed to the deeper existential themes. Not to mention Alan Ladd Jr. backing the whole thing on instinct, just as he did with the original Star Wars.
Haha, this is uncanny especially the opener. I was just thinking about the feature film I am currently writing and how it seems to have so many tragic moments. I've been critiquing myself on how to have a balance on the script while also studying the best films ever made that are similar to mine. Thank you Pamela :)
Writing is kinda in my blood. Been coming up with lots of TV ideas (more than movies) for most of my life and will soon turn them into pilots. Personally, I always wanted to tell a story through my vision.
In 2005, I tried writing a pilot to a horror/suspense drama, expecting that it would not pay off directly, but rather indirectly. Here I am, 17 years later, after having shelved the pilot. I just now realized that I never touched it again. No wonder my subsequent writing hasn't gone anywhere. I feel like my pilot is emblematic of my abilities: stalled.
There's probably nothing wrong with your writing, it's the procrastination/fear that takes over. Having written two books, I can say the battle never goes away.. I'm almost always shelving my stuff.
Well, I don't know what kind of writer you are, but some writers will often return to an earlier unfinished project and rewrite it. I expect after 17 years of more life, you would probably write it a totally different way than you did then. It might be an interesting (or fun) exercise to re-read it, rewrite it from scratch, and compare the two. It's not uncommon to hear about authors or writer/directors who returned to an idea they shelved or abandoned. Most 'successful' writers that I've heard speak say that they learn from every finished project, so perhaps you learned things from the pilot that you've just taken for granted?
@@devincahoon830 Edward Norton is touting a new algorithm which hedges the bets on protects such as Linoleum Blownapart about a punk singer obsessed with Napoleon Bonaparte because they were both born on the same day 200 years apart August 15th
Hello Film Courage, I wanted to give you all a suggestion for a possible interview? I just saw Hear no evil, See no evil, and I thought that it would be amazing if you could interview Earl Barret, one of the screenwriters. Of course, I dont know if he wants to, but I think it would be a very informative interview!
Question Below: For the past 2 months since I got out of grad school on summer break, I've been working on my Passion Project's Pilot. I just feel like it's something I need to have if I ever do get that miracle Offer. (I've got other scripts of course) Seems like everyday, I'm restructuring and reworking it but I've got something positive to say about the superhero comics/genre and maybe one day I'll get to. (I'm making a PG 13 Cartoon) Question: When you write a pilot, should you just creativily go all out with everything you have Or should you restrain yourself so you seem reasonable and the script seems possible. In my 1st act, There's suppose to be this flashy scene where the team shows off their powers in an performance-like manner, but instead of scripting it i just described the feel & purpose of scene because without knowing the resources, production vaule or the animation restrains the moment kept changing and I couldn't figure out what to make it.
The pilot will be rejected if it seems like a novel or personal diary. You need to script the scene, but you can play it safe with the things that will need special effects and resources. In the pilot you have to promise the best of your plot and characters, while not asking for grand locations and / or extreme special effects. You most certainly shouldn't "go all out with everything you have" (because, what will remain to show later?), while at the same time the pilot shouldn't feel like it's hesitating, in a storytelling matter. Special effects aren't storytelling so this should be the last to concern you. If you manage to deploy a set of interesting characters on a captivating plot, all the rest are not important. But in general, try and keep the budget low, meaning no big scale battles, no extreme special effects, not too many action scenes where doubles might be needed, not too many extras or crowds, not very exotic locations, and not too many animals (horses etc) because they cost a lot to maintain in a show.
Just my opinion, I haven't written pilots, but I think the thing to consider with the 'flashy scene' is what is your intention? The audience might theoretically be distracted, but if there's no deeper substance to it, it will be forgettable. If you have a clear intention on the purpose, and how it develops the characters/setting/plot, focus on that. And then try to bring out that deeper substance in 3 or 4 different versions of that scene - for 3 or 4 different budgets. Then go with the one that feels the most meaningful and imaginative (i.e. something that feels fresh, like a new angle on a tired trope). Or try listing 20 different ways you could do the scene. By the time you've exhausted all the obvious options, you might come to something that feels more real. If your script is read by anyone with the power to make it a reality, they will probably want you to rewrite lots of details the way they want it anyway, and then for the show you'll probably be with a room full of writers. I think if it speaks to them on an emotional level, they will find a way to take the essence of it and shoot it based on the budget. I think the problem comes when people write scripts with what would be expensive set pieces to produce that just don't engage the reader enough. I think writers worry too much about doing something flashy to keep the reader/audience captivated. The hook and stakes can be 'small' and still keep the reader reading if we care about the character(s).
@@maracarlisle Thanks, although I should have mentioned it was for a PG13 Cartoon and I was thanking of making it a two part Pilot. But OK focus on the characters and setup a decent storyline.
All movies are Predictable and its all because of the midpoint. The all hope is lost moment. I know whatever the hero wants will appear to be lost in the middle of the film. In pixar its always 2 character fight then seperate then 5 minutes later they come back together. They should get rid of the midpoint.
Writing to never get your work made is the dumbest thing in 2022. Writing is cool but eventually you have to get your work made. Even if you have to raise the money or use your own. There is no greater satisfaction.
What nonsense. You should not write anything with idea it will not be made. Before you write you need to know you gona write something the will be made. You need to do anything and write in a way that it will b made or stay in bed and find some other job
"The writer is the first dreamer among many dreams." Brilliant, Ms. Douglas. Thanks for great advice.
I like her advice. It's always illuminating.
When she was listing off medical shows, my brain took a hard left: "... and absolutely *none* of these are like Scrubs!" Lol
Was in Pam Douglas' class at USC 15 years ago, and thanks to her I had a good career. Listen to every word she says! (And thank you Film Courage for giving her time on your channel!)
She is right, write something, only you can tell. In my opinion, authenticity is the key.
"Amen Sista... Amen"
I was writing a play... and I cried at this certain scene, to this day if I read it, I cry.
Later my daughter read it... and was so mad at me.. because she didn't want to CRY.. but she did.
Write what hurts... be real
“For one thing they’ll get better.”
Very very very true!
Thanks Im writing a pilot now and its really good! But my lord it is terribly, painfully, agonizing! I mean you have to account for a season and most likely multiple seasons in just the pilot
I'm going through the same thing! It's such a complex task. Constantly zooming in and out, planting the right amount of seeds, weaving theme through every event, etc... It's truly one of the most cognitively demanding things I've ever done, but so fun and so rewarding.
@@LandOfSteez Yes! Exercise and strawberries helps me do it!
Good luck to you both. I hope you have a lot of success
This woman is my hero!!!!! Wow!!❤️🔥❤️🔥❤️🔥❤️🔥
I'm with this lady, she knows what she's talking about.
I can well believe that industry producers reject writers for 'dishonest' writing, but it seems the real irony is that many Hollywood movies & TV shows - especially in the last 10 years - feel 'dishonest' and insincere nonetheless, probably due to rewrites and the interference of too many different voices, combined with special effects and set pieces designed to distract the audience from questioning how or why we got from one set piece to another.
I think the last 10 years has been pretty successful honestly. Game of thrones, Handmaids tale, Homeland. All very sincere writing
I disagree there is alot of honesty just subliminal in some ways* most of the time so I get your point ...
@@lajmoneyyoung Not in all the endless sequels, reboots and remakes we've been getting. They are very cynical, with contrived plot points and annoying characters, or else utterly bland and devoid of imagination.
For example: Star Wars, Marvel, DC, Ghostbusters, He-Man & Cowboy Bebop, Disney 'live action' remakes, Buzz Lightyear, Tomb Raider, Terminator, Transformers, Star Trek, Fantastic Beasts, Dr Who, GoT, Rings of Power, The Matrix, Robocop, Charlie's Angels, Ocean's 8, The Hustle, Flatliners, Total Recall, The Mummy, Fast and Furious and its spin offs, Godzilla etc.
Ms. Douglas is right and her high caliber perspective is rare. The audience must believe in the world they're viewing with their hearts & minds, but the director is the one whose gut decides on the actors' final takes.
Thank you for this, and every interview you've ever recorded.
I doubt there is a more impactful source out there that has tracked and kept these heartfelt messages expressed by the creative titans you've gifted us with!
Hi József, thank you for your support. (We may have just thanked you on Patreon 😊).
We're doing our best. We've been fortunate to record a lot of great interviews recently so we have a lot more to share. Our best to you and your creative work!
I love this lady. Go Pamela..
She's right about this. If you write about politics, race, or religion, the theme must be about some philosophical conflict that is deeper or more fundamental than secterarian differences. You can write about your own background or even childhood, but include what hurts or creates struggle.
Struggle-mire (conflict)
It does sound a bit like she's suggesting overwriting, though.
Pamela Douglas is the best writer i read 📖
She's so right about the excessively detailed worldbuilding in potential fantasy shows...
You've got no idea the amount of pilots and scripts I've read which I know from the beginning it'll never be produced because it's so damn impossible to bring it to reality on a limited budget. There are some projects better left as novels or even in-universe tales rather than audiovisual projects
Blade Runner certainly has a unique world, but I don't think that is entirely down to the script. You have a director who went to art college, with a background in tv/commercials, the creative choices taken to hide the fact it was shot on the studio backlot, Syd Mead's futurism, Trumbull/Dryer's effects, and Vangelis' haunting score. And on top of all that, the actors rewriting their dialogue, grumpy from shooting night after night, and finally, Ridley Scott lost his younger brother shortly before production (which convinced him to take on the project to distract himself) and no doubt contributed to the deeper existential themes. Not to mention Alan Ladd Jr. backing the whole thing on instinct, just as he did with the original Star Wars.
What a wonderful interview!
thank you so much for this awesome and honest advice!!!🙂
Haha, this is uncanny especially the opener. I was just thinking about the feature film I am currently writing and how it seems to have so many tragic moments. I've been critiquing myself on how to have a balance on the script while also studying the best films ever made that are similar to mine. Thank you Pamela :)
Please interview Kevin Smith. You're a great interviewer and he has many insights into the industry.
so inspiring
What is your favorite part of this interview?
Writers need to tap into what they must say.
As writers, we must avoid imitating what has been successful elsewhere and tap into our inner selves.
Her voice
Write what hurts. E.g, death of Robb stark in GOT. It still hurts till today.
The call to honesty, authenticity and sincere expression of oneself.
Writing is kinda in my blood. Been coming up with lots of TV ideas (more than movies) for most of my life and will soon turn them into pilots. Personally, I always wanted to tell a story through my vision.
Kendrick, we can encourage a creative. May all the stars line up for you. its well deserved .
@@PHlophe thanks!
These Rock!
“That’s you’re obligation to the universe and to you’re self”.
03:40 to 03:50 was hilarious and absolutely true!
In 2005, I tried writing a pilot to a horror/suspense drama, expecting that it would not pay off directly, but rather indirectly.
Here I am, 17 years later, after having shelved the pilot. I just now realized that I never touched it again. No wonder my subsequent writing hasn't gone anywhere. I feel like my pilot is emblematic of my abilities: stalled.
There's probably nothing wrong with your writing, it's the procrastination/fear that takes over. Having written two books, I can say the battle never goes away.. I'm almost always shelving my stuff.
Well, I don't know what kind of writer you are, but some writers will often return to an earlier unfinished project and rewrite it. I expect after 17 years of more life, you would probably write it a totally different way than you did then. It might be an interesting (or fun) exercise to re-read it, rewrite it from scratch, and compare the two. It's not uncommon to hear about authors or writer/directors who returned to an idea they shelved or abandoned. Most 'successful' writers that I've heard speak say that they learn from every finished project, so perhaps you learned things from the pilot that you've just taken for granted?
I’m writing the Novelization for a television series called Linoleum Blownapart
about Reincarnation B-Movies & Punk Rock
I’d watch that!
@@devincahoon830 Edward Norton is touting a new algorithm which hedges the bets on protects such as Linoleum Blownapart about a punk singer obsessed with Napoleon Bonaparte because they were both born on the same day 200 years apart
August 15th
I LOVE YOU LOVE IT
Cheers Leonardo!
The nightmare of "episode 900 of some action-fantasy-blockbuster adventure" is exactly why I write original television scripts.
Hello Film Courage, I wanted to give you all a suggestion for a possible interview? I just saw Hear no evil, See no evil, and I thought that it would be amazing if you could interview Earl Barret, one of the screenwriters. Of course, I dont know if he wants to, but I think it would be a very informative interview!
Question Below:
For the past 2 months since I got out of grad school on summer break, I've been working on my Passion Project's Pilot.
I just feel like it's something I need to have if I ever do get that miracle Offer. (I've got other scripts of course)
Seems like everyday, I'm restructuring and reworking it but I've got something positive to say about the superhero comics/genre and maybe one day I'll get to.
(I'm making a PG 13 Cartoon)
Question:
When you write a pilot, should you just creativily go all out with everything you have Or should you restrain yourself so you seem reasonable and the script seems possible.
In my 1st act, There's suppose to be this flashy scene where the team shows off their powers in an performance-like manner, but instead of scripting it i just described the feel & purpose of scene because without knowing the resources, production vaule or the animation restrains the moment kept changing and I couldn't figure out what to make it.
The pilot will be rejected if it seems like a novel or personal diary. You need to script the scene, but you can play it safe with the things that will need special effects and resources. In the pilot you have to promise the best of your plot and characters, while not asking for grand locations and / or extreme special effects.
You most certainly shouldn't "go all out with everything you have" (because, what will remain to show later?), while at the same time the pilot shouldn't feel like it's hesitating, in a storytelling matter.
Special effects aren't storytelling so this should be the last to concern you. If you manage to deploy a set of interesting characters on a captivating plot, all the rest are not important. But in general, try and keep the budget low, meaning no big scale battles, no extreme special effects, not too many action scenes where doubles might be needed, not too many extras or crowds, not very exotic locations, and not too many animals (horses etc) because they cost a lot to maintain in a show.
Just my opinion, I haven't written pilots, but I think the thing to consider with the 'flashy scene' is what is your intention? The audience might theoretically be distracted, but if there's no deeper substance to it, it will be forgettable. If you have a clear intention on the purpose, and how it develops the characters/setting/plot, focus on that. And then try to bring out that deeper substance in 3 or 4 different versions of that scene - for 3 or 4 different budgets. Then go with the one that feels the most meaningful and imaginative (i.e. something that feels fresh, like a new angle on a tired trope). Or try listing 20 different ways you could do the scene. By the time you've exhausted all the obvious options, you might come to something that feels more real.
If your script is read by anyone with the power to make it a reality, they will probably want you to rewrite lots of details the way they want it anyway, and then for the show you'll probably be with a room full of writers. I think if it speaks to them on an emotional level, they will find a way to take the essence of it and shoot it based on the budget. I think the problem comes when people write scripts with what would be expensive set pieces to produce that just don't engage the reader enough. I think writers worry too much about doing something flashy to keep the reader/audience captivated. The hook and stakes can be 'small' and still keep the reader reading if we care about the character(s).
@@maracarlisle
Thanks, although I should have mentioned it was for a PG13 Cartoon and I was thanking of making it a two part Pilot.
But OK focus on the characters and setup a decent storyline.
All movies are Predictable and its all because of the midpoint. The all hope is lost moment. I know whatever the hero wants will appear to be lost in the middle of the film. In pixar its always 2 character fight then seperate then 5 minutes later they come back together. They should get rid of the midpoint.
only create world building that the story is going through, so anything outside of the path, is not created
and Scrubs is its own world too lol
Writing to never get your work made is the dumbest thing in 2022. Writing is cool but eventually you have to get your work made. Even if you have to raise the money or use your own. There is no greater satisfaction.
just make your books into pilots so then you have both 📘
1st pilot down.
4 more to go.
How to "differentiate" your work from the work of others? By being DIFFERENT! Not by playing Johnny Copy-Cat.
this was sobering
What nonsense. You should not write anything with idea it will not be made. Before you write you need to know you gona write something the will be made. You need to do anything and write in a way that it will b made or stay in bed and find some other job
“The writer is the first dreamer among many dreams.” - Pamela Douglas
Ty❤️🩹❤️🩹❤️🩹