“Now, with regards to those rooms, you have showrunners that would only– a real showrunner, a good showrunner is only going to hire writers that they are going to get value out of in their room. Which means that if you are diversity hire and that’s all you’ve got going on you are of no value to a showrunner which means you are not going to get your ‘guaranteed hire’ over there. And I think that’s a good thing,”
[...]
“And I think everybody listening and gentlemen on the panel know those types of writers are not going to be lasting in this industry because they’re not qualified. And I think that’s great. I think that’s great that there’s less jobs for them because that gives me a better chance for having more job opportunities,”
[...]
“Let’s face it, a big part of the problem that we’ve had, especially with MCU of late, isn’t just the producers behind the scenes have gone nuts. It is also that the writers rooms are staffed with incompetence and general assorted activists. Many of whom would be these younglings, if you will, that come in not through merit but through other means, and produce a bunch of bulls**t.”
No me esperaba que todo el tema de huelga de escritores y demás haya hecho que salga a la luz y se combata la mala calidad de guiones convertidos a producciones sólo por ideologías (y que sí, toda obra contiene la ideología del escritor o del momento, o incluso puede estar hecho para representar una ideología, pero aquí hablamos de malos guiones que se hace realidad sólo por ser woke)
También me gusta que salga el tema de que lo que importa es el quién y no la dedicación/tiempo que le pone un escritor en exclusiva a un sobra
“If it’s not through merit, they’ve done something that’s made them hot in the moment and then you have basically the studios clamoring at them to work for them for writing. They overbook themselves or overstretch themselves. And then they end up becoming terrible because they’ve signed 9 deals that are due over the next year and a half or two years to turn in. Trying to write nine feature films in two years is a really difficult thing to do especially if they are going to be maintaining quality."
“And on top of that, you’re putting them out there, you’re getting notes back, you’re going back and forth, you’re dividing a lot of your time,” he noted. “This is the big red flag I’ve pointed out especially with Dave Callaham… He’s written Wonder Woman 1984, Zombieland 2, Mortal Kombat, and Shang-Chi. Those four movies alone came out within a year of each other and they were all terrible, but he was a hot ticket item writer for the studios.”
[...]
“Now, if we are going to have a little bit less, especially on the television side of thing, where they’re not going to be producing as many shows that has a benefit because it’s getting more into quality over quantity"
Aleluya!, queremos calidad!, no basura en cantidades industriales!!
“And on top of that maybe there’s a chance that you guys out there in the audience will actually start seeing other shows that are not being pushed solely by Disney and also some of the other networks. That would be a good thing because there’s probably a lot out there that you haven’t seen yet that might actually be of your fancy. So, it backfired against the woke. That’s great,”
Me gusta mucho que ahora la cantidad que ganen vienen directamente de la cantidad de suscriptores que consigue una serie, ahora importa que sea buena:
“Here’s the other part too, because of the new residual metric, the more money you get comes based on the fact that you have to obtain 20% of the subscriber viewership or more in order for you to make the most amount of money. So if you care about making money as a writer that means you have to make a good show.”
