You and your interview subjects have a lot to say about genre across the book. Is genre still important as a means of marketing specific programs and targeting specific audiences? Are new genre categories emerging in this era of experimentation and differentiation? What genres do you see as most characteristic of the current television environment?
Alongside genre there is the question of format. At places, you and your subjects suggest that the procedural will die out with the generation which grew up on the broadcast networks. Why has serial television become so central to the new media economy and ecology you are documenting here? And what do we make of the return of anthology series, such as Black Mirror, or of series with short story arcs, such as American Crime Story and American Horror Story?
One of the bigger surprises in recent years has been a resurgence of radio formats and genres through podcasts. Can we see the success of Serial and its successors as a byproduct of the same sea changes in production, distribution, and consumption you discuss here primarily in terms of television?
Critics describe these breakthrough programs as possessing distinctive voices or perspectives, a shift that we can see as closely associated with the rise of the Showrunner as a kind of television auteur. Many of the folks you interview are showrunners, so what insights might we get from reading the book about the emergence of author-based television production?
Several of the new players you discuss in this book are moving away from the pilot process that shaped old television production. Is this a good thing or a bad thing? Why?
Neil Landau (’85), 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).