On Saturday morning, we all listened to two panels, one on film and one on television. Heading up the film panel: Mark Bomback, (writer, Race to Witch Mountain), Matthew Greenfield (producer, The Good Girl), and Miguel Arteta (director, Youth in Revolt). On the television panel: Liz Garcia (producer/writer: Cold Case), David Kendall (producer, Growing Pains, Boy Meets World), Dan Shotz (producer, Jericho, Harper’s Island), and Evan Katz (executive producer, 24).
Everyone talked about their first projects, their most recent projects, and how they figure out a balance between commercialism and artistic achievement. Mark Bomback and Miguel Arteta framed two different ways to go about being a screenwriter. Bomback decided not to produce his own work, and instead have a career writing projects that others will shepherd to completion. He compared this process to being an architect: “It’s not your house, you’re not going to live in it.” Arteta, on the other hand, directs his own screenplays. His advice to writers: “Relax and realize – what is my experience?”
The television writers and producers talked about writing a spec script (a sample episode of a running television show) and an original pilot script. They agreed that writers are most likely to get hired off of the quality of their original pilot script, since most shows want to know what that writer is like, not how well they copy another writer’s style. Liz Garcia talked about getting a story about a biracial lesbian bootlegger couple onto Cold Case, and the freedom she has in a procedural to tell stories that would otherwise be too edgy for network TV. Needless to say, it made me want to watch that episode of Cold Case.
We pitch to 24’s Evan Katz and Mad About You producer Jeffrey Lane, with mixed results.