More on Why Reading Scripts is HARD, Damnit!

JIM HENSHAW has his own take on that Koo-Koo for Cocoa Puffs article I wrote about yesterday:

I've written a dozen pilots for US networks. Six made it to series. And the path from concept to final cut was always far from a smooth ride. William Goldman's Hollywood adage "Nobody Knows Anything" is never truer than in manufacturing a television pilot.

In some cases, the budget changed and key scenes had to be scrapped, shot more economically or completely re-imagined. Desired Actors became unavailable or were replaced after scene tests and the material had to be reworked to play to the strengths of the replacements.

Once or twice a secondary cast member shone and additional scenes were added to enhance their presence. Once or twice the reverse happened when a lead didn't live up to expectations.

From the first moment you watch dailies, the writers and producers become involved in a balancing act attempting to steer the pilot back to its original course and at the same time directly into the teeth of anything new and positive that's coming to light.

And from production designers to editors to composers, unforeseen elements were contributed to the vision or failed to deliver the desired result.

Of course, all of this was always accompanied and/or complicated by network notes. A development exec would be uncomfortable with a line reading and question an entire story arc. A VP of programming wouldn't like the lead actor's hair and demand some alternate choices. The company president might catch the latest blockbuster on the weekend and want a change in tempo or tone.

Once or twice somebody's kid would say something cute or hook into a new trend and we'd have to work that in.

The creation of a pilot is not unlike the gestation of any other living creature. The initial concepts of the participants are combined like strands of DNA. The nutrients of the talents consumed in the process begin to shape it, revealing its faults and strengths. Additional revisions are made to mend the missteps and facilitate what's working.

Even when the creatives and their network supervisors are "finished", the shaping of a pilot is still not done.

I was writing a pilot for CBS and meeting with my development exec on the afternoon they screened "Due South" for the first time. He was late getting back to the office and was obviously troubled. I asked what was bothering him. They'd liked the show, but some in the room had voiced concerns that the concept might insult Canadians. I'd already seen the pilot and didn't understand how that was possible.

"We make fun of all these Canadian institutions," he said, "The dog's named after one of your Prime Ministers." I assured him we'd find that funny.

I doubt my vote of confidence was a deciding one in getting "Due South" on the air. But given his uncertain mood that day, I've always wondered what would have happened if I'd suggested my countrymen would be offended.

Crazy, man. Who could be offended by Diefenbaker the Dog?