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Farewell Stephen Colbert

Farewell Stephen Colbert

Which brings us to tonight’s word: End of an era.

There are very few times when the expression “end of an era” is really deserved.
This is one of them. At least, for me.

From Even Stevpehn (or is it Even Stephven?) to The Colbert Report, I basically grew up on Stephen Colbert (TM) (not to be confused with Stephen Colbert). Yes, that sounded dirty.
In the 9+ years the show has (or should I say had) been on the air, I have never missed a single of the 1,447 episodes.

Longtime readers of this blog also know how much I care for the show. In fact, one of my earliest post (over six years ago!) was a simple embed of one of my favorite all-time bits: “Charlene (I’m Right Behind You)”.
There have been several other posts on the subject (like yet another Charlene song).

Right this moment, I don’t have profound things to say about Stephen Colbert (TM) or The Colbert Report that haven’t been said better this past week (and over the years).
Maybe one day, after having processed the end of The Report, I’ll write a piece that’s a little bit deeper or enlightening (yeah, right).

But I just wanted to post something tonight because, well–

I’m going to fucking miss this show.

I’m going to miss the political and cultural satire (duh).
I’m going to miss the amazingly eclectic choice of guests.
I’m going to miss Better Know a District, Cheating Death, Colbert Platinium, the ThreatDown, Yawhweh or No Way, Thought for Food, Tip of the Hat, Wag of the Finger, the Atone Phone–all the other hilarious segments. Too many to count.
I’m going to miss the annual unveiling of his portrait.
I’m going to miss the On Notice board.
I’m going to miss Charlene.
I’m going to miss The Word.

Above all though, I’m going to miss Stephen Colbert (TM).

He’s immortal now, so maybe we’ll see him return to our screens (Highlander reboot anyone?).
In the meantime, we’ll have to be content with The Late Show. I already posted back in April my mixed feelings about the death of Stephen Colbert (TM) in favor of the CBS spot.
It’s way too early to tell what kind of show it will be, but it certainly won’t be The Colbert Report.
That show is gone. The Wikipedia entry replacing “is” with “was”.

I salute you Stephen Colbert (TM). Thank you for 17 years of you.

And that’s the word.

Until next time, I’ll see you in health!

You die a brand or live long enough to become an IP

You die a brand or live long enough to become an IP

Like many ooga chaka-ers out there, I saw Marvel’s Guardians of the Galaxy (and am now feverishly digging through obscure Wikipedia entries to claim irritation about Cosmo‘s portrayal in the movie). The very positive box-office results brought a discussion surrounding its supposed “surprising success” linked to its “unknown IP” (not the Internet kind). Both claims are worth the look.

First off, Guardians of the Galaxy is the first fun big-budget movie in a sea of depressingly dark fares. It’s arguably even lighter than the first Iron Man, which had “good people” dying in it. That movie was a relief, so I wouldn’t call this success surprising (albeit well-deserved).

As for the second part–the “unknown IP”–there needs to be a little more conversation.
Intellectual properties are something “people” have been complaining about. “It’s an invasion! All these adaptations, sequels, remakes, reboots, requels! Nothing original is being created!” The truth is Hollywood has been IPeeing all over for quite a while now. Remember Ridley Scott’s Monopoly? I do.
I won’t bore you with the “nothing is original” freshman argument since mine is other: all creative endeavors need to be branded (or from an existing IP–which is merely branding in another way). At least in the 21st century. And this isn’t about marketing 101, or a cynical way of looking at something creative. It’s about the increased importance of branding relating to writers and what they create.

A good example of this evolution is Breaking Bad, which premiered around the WGA strike. I and three other people watched the first season during the good ol’ days of 2008. I’m a hipster that way.
In the span of half a decade, it evolved into a bona fide IP. The show has spawned countless merchandising items (who doesn’t own a Pollos Hermanos t-shirt?), a Colombian remake, and an upcoming spin-off. Would you have yelled at Vince Gilligan five years ago for creating an “IP”? Hell no. Incidentally, Gilligan has become himself a brand, with CBS reviving his long-dead pilot Battle Creek.

What about a recent feature project that seems neither branded, or from an IP?
The same week I went to guard the galaxy, there was another flick that had just come out: Richard Linklater’s Boyhood.
Clearly not a known intellectual property (unless you’re talking about Tolstoy’s Boyhood–but who the hell is going to make a trilogy of biopics?).
Yet, Boyhood is branded. It’s a Richard Linklater film.
Boyhood Portraits

To me, Linklater is as clear of a brand as any other known film-maker. It may not be as clear-cut to you as Michael Bay’s explosions, or J.J. Abrams’ lens-fest, but you know what you’re getting with a Linklater movie: naturalism.

Brands are to flavor (or execution) what IP is to content. And don’t think I pulled “flavor” out of my ass.
Quoting Nicole Perlman, Guardians of the Galaxy‘s original writer, about James Gunn’s arrival on the movie:

We didn’t collaborate, they brought in James Gunn with his ideas, he was the director and added his “James Gunn flavor” and a few characters and worked off my script.

Guardians Key Art Group
Like a lot of film projects, the original writer ends up being rewritten (you can read more on the Guardians authorship case over here). For better or worse, the idea is always to add (or replace in some cases) a perspective. Hopefully, the idea is not to take away from a project, but to add to it.
Which brings me back to the movie’s “unknown IP”.

Guardians may not have been a hot well-known property a few years back, but arguably neither were most of the MCU’s Avengers (to non-comic readers). Despite this, how many variations of the teams (and its members) have there been in comic book history? Many.
There’s a clear reason why Marvel has been selecting writer-directors for most of their features. They’re trying to give a definite, clear stamp on a character’s take. They want someone’s perspective, vision, to drive the MCU’s version of that character. They want the audience (and the industry) to know what they’re getting, one way or the other. See: Joss Whedon.
The studio is trying to find people to mesh with, but more importantly find people that can carry that vision with their brand.

“Brands” and “IPs” may seem like marketing terms, but it’s the reality we live in. Not because it’s the cheap way out, but because projects need to be distinctive. It’s a crowded media place. Just run walk saunter linger over to San Diego Comic-Con to see for yourself.
And that’s my overlying point: as a writer, you should carry an identifiable vision. So what defines it? When you go out and talk about (or pitch) your project, what do you brand it (or you) as? Whether you want it or not, that’s probably how your agent and/or manager are trying to sell you.
I’m not saying it’s a good thing. I’m not saying it’s a bad thing. I’m saying it’s just a thing to be aware of. Something that still should not detract you from your creative process (even if that sounds counter-intuitive). It can add to it. Perhaps clarify a single direction or path for your project. Maybe you were struggling to find the right tone, or potential market. But that’s step two.

No project lives in the ether. Your pilot will need to be identified as something. This isn’t meant to be a depressing fact. Breaking Bad was described as “Mr. Chips becomes Scarface”. For a few viewers in its first season, it was even just known as “Hal cooking some meth”. If it had been canceled prematurely, that’s probably what the world would have remembered. Instead, it thrived for years and ended as a hit. You die a brand, or you live long enough to become an IP.

Profiles of Television: Kiyong Kim – TV Writing Fellow

Profiles of Television: Kiyong Kim – TV Writing Fellow

Profiles of Television is an ongoing interview series showcasing the variety of professionals in the TV industry, from writers and producers, to those in development, representation, and post-production. These are the many talents involved in television, and the personal journeys behind them.

Today’s guest is Kiyong Kim. A multi-talented comedy writer, he had the opportunity of working through two amazing fellowships (Nickelodeon and NBC’s Writers on the Verge) as well as currently participating in the CAAM mentorship program.
Let’s see what he has to say.

The Medium

First things first: why the television calling?
Originally, I wanted to write features. I had a writing teacher who suggested I try writing for TV, which I had no interest in until The Office came out. It was different, and I felt like I really got that show and the sense of humor. There was a sadness to the show that I really liked.
Around the same time, someone I knew got into the Nickelodeon Writing Fellowship. Until then, I didn’t know these fellowship programs even existed. I saw that as an entryway into television that didn’t really exist for features, and I thought I should try.

Three words to describe what you write.
Comedy without heart? Though I’m trying to add some to the pilot I’m working on now.

Three words to describe how you write.
Structured, because I like outlines. Slow, with pilots. And then—what is one word to describe when you’re on the verge of quitting? Whatever that word would be is the third word. Despair?

Name—
—the television series that has influenced you the most:
The Simpsons for the sense of humor. I’ve been watching it from the beginning and I still see the latest episodes, even in season 20-something. It influenced a lot of people. What it did really well was make good use of the medium of animation, unlike something like King of the Hill which could have basically been live-action.
And again, The Office as the show for making me actually want to write for TV.

—the one episode of television that defines you:
I don’t know if it defines me, but I thought about it a lot, and that Red Wedding episode of Game of Thrones was something else. I saw those YouTube videos of people freaking out while watching that one crazy scene at the end. People started crying, screaming, and throwing things at the TV. Seriously, people don’t react like that when people die in real life. It was a great reminder at how much impact a story can have.

—the television episode that impressed you the most:
Recently, the season finale of Silicon Valley was pretty amazing. Before that, the ‘Chaos Theory’ episode of Community.

—the show you wish was still on the air:
I liked Happy Endings. I was disappointed it got cancelled.

—the show you would never publicly admit to watching, except right now:
SpongeBob Squarepants.

—the show you wish you had worked on:
Friends. It’s still funny. I watch reruns now and it holds up. So many shows since then have tried to recapture that. Each character was so distinct and likeable.
Kiyong Kim Smiling

The Journey

What has been, so far, your journey in the television industry?
I did web design for years and years despite never wanting to do web design. On nights and weekends, I was making short films and was thinking of writing and directing a feature soon. Around that time someone I knew entered the Nickelodeon Fellowship.
I had meant to write a spec for a while, so I wrote one for The Office. I made it to the finalist round but didn’t get in that year. The next, I tried again, and got in.
I learned a lot at Nickelodeon but didn’t get staffed. The following year, I got into the NBC Writers on the Verge program, which was about four months long. Again, noting happened. I had to go back to doing design.
This year, I got into the CAAM Fellowship, where they assign mentors individually to each of the fellow. I was lucky enough to get the person I wanted, Kourtney Kang (How I Met Your Mother). She’s helping me with my pilot and it’s been great.

What is the hardest thing about being a television writing fellow?
There’s a lot of pressure since you feel like you’re so close. Both times I felt like it was my chance, but nothing happened. Of course, there are never any guarantees in the industry, even for people already staffed or repped. Their shows get canceled or they don’t get asked back. That’s just the nature of the business.
At some point, I had to seriously ask myself—Is that something I can live with forever? Is the uncertainty something I can accept? Because if not, I should just quit now and save myself the aggravation. Since I’m a masochist, I’m still going.

What is the easiest thing about being a television writing fellow?
There’s nothing easy. There are lots of really short deadlines, trying to impress the right people, trying to push yourself, or being good in the room. Luckily, all the other writers were supportive of each other. Everyone was extremely talented, and generous.

What is the biggest takeaway from your experience in the fellowships?
For Nickelodeon, it was how much the non-writing stuff matters. Presentation, pitching yourself, egos, the politics of things, and even how luck is involved.
For NBC, the biggest takeaway was that I need to speak up more in the room.

Can you talk about the CAAM mentorship process?
It’s been about a month since Kourtney and I started. When we met up, I pitched her two pilot ideas, and she liked one of them, so that’s the one I’m working on. I fleshed out the story, figured out the characters, and am ready to start outlining.
Having someone with so much experience give notes is incredible, especially in the early stages when you’re trying to figure out the conceptual stuff of how the show will work. I’m very grateful for this opportunity.

What is your day-to-day like?
I have my full-time day job. 40-50 hours a week, fairly regular. So then I have to write on nights and weekends, which is difficult. But I do remind myself that even on a show, I’d have to work on my own projects nights and weekends. Luckily, I also have my writing group, which meets every other week right now. That’s been a life-saver—receiving notes, pitching ideas, all the free therapy.

Who do you look up to in the television industry?
I love Greg Daniels. The Office, Parks & Recreation. He also did animation with King of the Hill and The Simpsons. That’s a pretty ridiculous resume.

What is the ideal job you would like to ultimately have?
Running my own show, which is probably what everybody wants. Or just writing for a good show with people you can get along with. Can’t really ask for more than that.

When people from outside the industry ask what you do, what do you tell them?
Currently, I probably don’t mention that I write, just the web design since that’s how I pay the bills.

What is your best professional advice to someone who wants to do what you do?
Well, I don’t feel qualified to give “professional” advice because I’m not a professional writer. I got into a couple fellowships, but I’m not staffed or even repped.
However, what I’m personally trying to do is to have solid writing samples, and meet people who will read my writing. Between writing and networking, I’d probably give more priority to the writing. A sub par writing sample read by the right people isn’t really going to help you.

What is your best personal advice to someone who wants to do what you do?
Give up now. [laughs] Why would you do this to yourself unless you had to? There are so many other, easier ways to make money. When I took the Nick Fellowship, it was huge pay-cut for me. Logically it made no sense. No sane person would do this. If there’s anything else you want to do, do that instead. If you’re cursed like me where you have to write, then prepare to be in it for the long haul.

What is your next step?
I’m finishing this pilot, and hopefully Kourtney will like it. Ideally, the pilot will lead to me getting representation, and then hopefully staffed.
After that, I’ve been wanting to try some sci-fi, either as a low-budget feature to direct, or as a pilot script. I also want to try to pitch an animated show at Nick, Disney and Cartoon Network. I met people while I was at the Nick Fellowship, and I went to art school for illustration, so I think animation would be something I’d be good at.

Any last words?
Don’t make excuses. Don’t blame your lack of success on others. Get feedback from others; it’s hard to be objective about your own work. Be prolific. Finish things.

—

Many thanks to the wickedly talented Kiyong Kim!

You can follow him on his personal blog of creative pursuits, where he chronicles his own television journey. He is also on Twitter.