Your opening section pays attention to Netflix, Amazon, Hulu, Crackle, and others who have produced television style content for the web. In what ways have these networks become game-changers in terms of what we think television is? In what ways are broadcast and cable networks responding to the alternative models they represent?
Many of the storytellers you interviewed spoke of the differences in producing series which are meant to be binged watched. What are some of the core insights to emerge about this new form of media consumption?
You map a complex media ecology throughout the book. How much movement is there between the different levels of media production? For example, many of us are watching Issa Rae, who you interviewed, bring Insecure onto HBO after years of being a web television producer. Are there things we can observe there which may help us anticipate further movements of this kind in the future?
Throughout, you have much to say about struggles over diversity, inclusion, and representation in the contemporary television landscape. This is clearly a core issue at the moment -- thus our recent Diversifying Entertainment conference. What did you hear from the industry insiders that might shed light on how they are thinking about this issue? In some ways, the question has to do with rapid expansion of minority-cast programming and its audience share over the past few seasons, but as you also note, some of the issue has to do with how under-represented minorities and women are both in front of and behind the camera. What factors are determining the speed with which these changes are taking place?
One of your section headings proclaims “niche is the new mainstream.” Is that true? How would you characterize the relationship today between niche and mainstream program? As the media market fragments, is there anything that can be characterized as mainstream programming?
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).