When was the last time anyone you know spoke of television as “a vast wasteland”? Certainly, television today is as vast as ever was, actually probably 100 times more so, but there more outstanding television series available to us each week can we possibly could watch.
Some are describing the current moment is the era of peak television or the age of too much great TV. A complex set of factors have contributed to wave after wave of creative experimentation, often involving idiosyncratic personalities, genre bending narrative strategies, and appeals to niche audiences. First premium cable and then streaming platforms challenged the dominance of broadcast and basic cable, pushing innovation outward even to the most conservative players. The challenge has become directing attention and ensuring access to all of the innovative new content.
Neil Landau’s TV Outside the Box offers an essential guide to the opportunities and risks facing the creative industry at the current moment. Longtime industry insider as well as a professor at the UCLA Cinema School, Landau seemingly had access to anyone and everyone he wanted to talk to. The book includes cogent, concise, lively and thoughtful interviews with network executives and show runners alike. Right now, the book provides the back story we need to understand what’s happening with this expansive medium and in the future, the book will be time capsule that preserves a transitional moment in television history. What I would give to have an equally vivid snapshot of television’s innovators in the 1950s or 1980s.
I was lucky enough to have lunch with Landau in the fall and was immediately taken by the depth of his knowledge and passion for television as a medium. We spent the entire meal tossing off one new title after another as if playing Stump the Band. This guy knows everyone, watches everything. He understands the contours of this changing landscape like no one else I have ever met. The interview that follows will give you some simple taste of his insights into contemporary television culture.
Landau is working with UCLA’s Denise man and I plan for the next Transforming Hollywood event, coming up in early May. Watch here for further details coming soon.
You seem to have been able to interview all of the key players reshaping television at the current moment. Can you provide us some sense of the scope of different players represented in the book? What can you share of the process of getting all of these folks to speak with you?
TV Outside the Box traces the contours of what you describe as “the revolution.” What characterizes the dramatic shifts in the nature of television, its content, its platforms, and its audiences your book seeks to document? What were some of the first signs that a revolution in television was taking place?
You characterize appointment television as an anachronism. I’ve argued that appointment television is giving way to engagement television, which places more emphasis on the choices that audiences make about when, where, and how they chose to watch television. Engagement has been a buzz word of the industry and crops up often across your interviews. What insights can you share about the ways television producers and executives are thinking about engagement?
Neil Landau teaches in the M.F.A. screenwriting and producing programs and serves as the associate director of screenwriting for television at UCLA TFT. His writing credits include the 1991 teen comedy feature Don’t Tell Mom the Babysitter’s Dead, starring Christina Applegate; the Pax TV series Twice in a Lifetime; MTV’s Undressed; CBS’ The Magnificent Seven; Fox’s Melrose Place; Nickelodeon’s The Secret World of Alex Mack; ABC’s Doogie Howser, M.D.; and one-hour drama pilots for CBS, ABC, Warner Bros., Disney, Lifetime and Freemantle. Landau’s 2012 3D animated feature Tad: The Lost Explorer (Las aventuras de Tadeo Jones) earned him a Spanish Academy Goya Award for Best Adapted Screenplay. He is currently working on its sequel, as well as the screenplay for Paramount’s upcoming 3D animated feature Capture the Flag. He is also working on a new animated film, Sheep & Wolves, for Wizart Animation (The Snow Queen), slated for a 2016 release. In 2013, Landau’s original screenplay, Flinch, was optioned by Avenue Pictures’ multi-award-winning producer Cary Brokaw (Closer, The Player, Angels in America, Shortcuts, Drugstore Cowboy). From 2004-2007, Landau worked as a script consultant for Sony Pictures Television International (2004-2007). In 2010, he consulted on the Goya-award-winning Lope (for Warner Bros. and El Toro Pictures, Spain) and Bruc (El Toro/Universal Pictures). He has also worked extensively with screenwriter/director David Koepp (Jack Ryan: Shadow Recruit, Angels & Demons.) Landau is the author of the bestselling book 101 Things I Learned in Film School (Grand Central Publishing, 2010). Focal Press has published his new books, The Screenwriter’s Roadmap (2012) and The TV Showrunner’s Roadmap (2014).