"Part of me is very cranky that I felt I had to go the States to reach a larger Canadian audience. The Canadian audience on Judging Amy or Bones is higher than any Canadian show I worked on, and they were some successful Canadian shows. I don't know who to aim that crankiness at, that I had to become an ex-pat, to live in LA, to reach a Canadian audience. I don't understand it at all."
in the WGA-MBA, they are no longer called bibles, they are called formats. I think the change in wording is significant and we should opt for that here. A format is a general blueprint, not a paint-by-numbers document. Perhaps it is time for the WGC to educate the industry and initiate that change in the IPA.That is, in simple terms, a Rockstar point.
Hoselton confirmed that House doesn't have a show bible, a document that supposedly collects the known facts of the series. "It's sort of a joke," he revealed. "Every now and then, somebody will say 'Where does Wilson live?' 'I don't know, it's in the bible.' "
Greenstein suggested show bibles are not particularly common or useful, given the collective memory of the writing staff and the availability of episodes and scripts online. "If there's one on Desperate Housewives, I haven't seen it." In fact, he hasn't read a bible for any of his shows. "It's probably a useful tool if you're a freelancer," he shrugged. "But the series bible to me is a relic of pre-Internet days. It's not necessarily a tool we worry about."
Pretty much every US showrunner I've spoken with over the past few years has echoed this sentiment, that TV series bibles are a thing of the past. There might be a pitch document that gives character overviews and the gist of the show and where it all might go, but once it gets rolling the 'bible' really only lives in the writers room and showrunner's head.
But here in Canada for some reason, bibles continue to be a broadcaster-required necessary evil. I suppose it helps the execs maintain some control over the creative process ("That can't happen, it's not in the bible!"), but it can truly stifle the natural progression of things.
Good TV series don't happen according to a hard and fast pre-designed plan...they evolve. Of course you need a jumping off point, but once production begins, actor chemistry develops and character relationships take on a life of their own...pitches that sounded great don't end up that way on the page...arcs that felt right don't play out as well as expected....budget crunches require a bottle show or a lot of studio shooting...and then there's the audience response to take into account. And by that I don't mean listening to the screeching of the Internet fan boy/girls...I mean getting a sense of what viewers are responding to once shows go to air (what they are digging and what they aren't) and then applying it to future episodes.
And most importantly, there's 'the rooms' response to produced episodes. If you are any good as a creative, you should be able to recognize if something is working or not. But that can't happen if the season is being mapped out in minute detail from beginning to end prior to filming even beginning. And if it wasn't working, it'd be so painful to keep adhering to the bible because someone upstairs kept saying you had to...and by upstairs I don't mean God, though some may see themselves that way.
In theory, the piece offers up a look behind the scenes at the TV story of ad men in the early '60s from one of the guys behind "The Sopranos." But writer Alex Witchel, whose husband Frank Rich wrote an equally vapid, keep-the-story-at-arm's-length-at-all-times piece on the adult film industry years ago, just doesn't get it. "Mad Men" is man porn--the pornography of manhood--and not in the pejorative sense. At its heart, "Mad Men" works not because it's about the culture of ad execs in the sixties; it works because it's a fantasy about the time before feminism, when men were men, period. "Mad Men" works for the same set of reasons that "The Sopranos" worked--by painting gender roles in black and white--and the result of transgressing into this bawdy, martini-ed, lying, cheating, dirty, loving life is pleasure.
The shortcomings of "Mad Men" are few and far between, but what it lacks it lacks because it isn't hard enough, likely because it's on AMC, not HBO. Either way, men will take their pleasures where they find them. Anything's better than listening to the endless stream of static coming from the mouths of 21st century women who can't decide if they're feminists or freaks.
Like Lenny Bruce — whom he idolized and who helped him get his first agent — Carlin saw the stand-up comic as a social commentator, rebel and truthteller. He challenged conventional wisdom and tweaked the hypocrisies of middle-class America. He made fun of society's outrage over drugs, for example, pointing out that the "drug problem" extends to middle-class America as well, from coffee freaks at the office to housewives hooked on diet pills. He talked about the injustice of Muhammad Ali's banishment from boxing for avoiding the draft — a man whose job was beating people up losing his livelihood because he wouldn't kill people: "He said, 'No, that's where I draw the line. I'll beat 'em up, but I don't want to kill 'em.' And the government said, 'Well, if you won't kill people, we won't let you beat 'em up.'"Most famously, he talked about the "seven words you can never say on television," foisting the verboten few into his audience's face with the glee of a classroom cut-up and the scrupulousness of a social linguist. While his brazen repeating of the "dirty" words caused a sensation (and prompted a lawsuit that eventually made it to the Supreme Court, resulting in the creation of the "family hour" on network television), his intention was not just to shock; it was to question our irrational fear of language "There are no bad words," said Carlin. "Bad thoughts. Bad intentions. And woooords."
Fuzzy language and fuzzy thinking were always among Carlin's favorite topics. He marveled at oxymorons like "jumbo shrimp" and "military intelligence," and pointed out the social uses of euphemism: "When did 'toilet paper' become bathroom tissue'? When did house trailers become 'mobile homes'?" He reminisced about his class-clown antics and Catholic upbringing in the rough Morningside Heights section of New York City. He took on all the taboos, even the biggest one, God. How could the Almighty be all-powerful, mused Carlin, since "everything he ever makes ... dies."
IT'S ABOUT SO much more than those seven words you can never say on television, though that in and of itself might have been enough.
Italian, they're Puerto Rican and African American. Anyway, Carlin did a fundraiser for them -- and it wasn't quite a performance. But it was cerainly an appearance. He name checked nuns by name, and kibitzed, and it was part routine but really part reminiscence. You got to see a bit of the heart of the man, I thought. Maybe you didn't notice that as much when he was raging. But it was there. And like a lot of cynics, I don't think it was ever very far from his sleeve.
