The below is a re-broadcast of my interview with Pamela Douglas from December 2, 2014.
Please join us this December 8th at Noon PST for this free 30 minute webinar by Pamela Douglas. Who's Going to Win the Future of TV? You are. Whether you’re trying to break into the exhilarating world of television, or you’re a working writer-producer seeking to update and expand, this is your chance to find out what’s happening and how you can take advantage of the new opportunities. Space is limited! Please click here to register.
Pamela Douglas's book The Future of Television from Michael Wiese Productions can be ordered here.
Dave Watson: TV has been around about seventy, eighty years now?
Pamela Douglas: Though the technology was developed a century ago, people didn't start watching television until after World War II. In the 1950s it became the medium for molding public opinion that it has been ever since, in its many forms.
DW: So why does the future seem hazy?
PD: It isn’t hazy. It’s brilliant, and if people feel confused, that’s the sense of being in a whirlwind, or staring into bright lights. Television has become the place for artists to explore character development and story telling in innovative ways, and that’s why it’s so bright. Now, if you’re asking if the multi-verse of opportunities can be overwhelming, yes, I agree with that. In fact, that’s why I subtitled my book “Your Guide to Creating TV in the New World.”
Right now we’re in the moment right after a big bang. Our current era has been called “The Great Convergence.” That refers to melding the Internet with all other forms ranging from traditional broadcast networks through cable and everything on the web. Suddenly, a global audience (and creators around the world) have access to populations never reached before -- hundreds of millions of eyes watching on more kinds of outlets than ever before. The change in quantity has led to a change in quality. This evolution of television has been developing since its start and it has deep roots in society.
DW: Leading back to its invention.
PD: Yes. Philo T. Farnsworth was one of the pioneers who invented what he called “tele-vision,” which is a combination of terms meaning distant sight, the ability to communicate with people far away. He believed that if we see people who are different from ourselves, people around the world might develop empathy for each other. So, from the very beginning, television was considered an agent of change – a potential force for the betterment of humanity. Of course, so many kinds of shows have aired on television since Farnsworth’s era that no single statement applies to everything, except the idea of the power of the medium itself.
DW: You discuss the power of serialized stories, and reach deep into human history with the ancient story of Scheherazade. Later you quote Writers Guild executive Chuck Slocum, who says, “TV is everything that is not a feature film.”
PD: I use those two examples because TV has become so encompassing. Some people who aren't aware of what has developed think television is a box in the living room. When I mention my book The Future of Television, a few have responded, “What future?” That’s so out-of-touch that at first I was stumped for a response. Those same people may be watching plenty of television, but they’re viewing on all kinds of devices -- computer, mobile phone, iPad, game boxes, flat screens of various sizes, or even a console in a room in their house. It’s all television. The quality that keeps audiences coming back is the connection with characters through a “long narrative.” That distant viewing of intimate storytelling is the essence of television wherever and however it is viewed.
DW: While features, as far as I know, still take time to release internationally. I just finished Lynda Obst’s book Sleepless in Hollywood. At one point she says, “Where are the characters? They’re on TV.” You agree?
PD: Yes, absolutely. Serialized story-telling needs to have depth so that “reveals” about characters continue consistently over a long narrative. I just saw Olive Kitteredge. It was four hours. HBO told the writers who adapted the novel to make it whatever length the material warranted. That’s one example of freedom in formats we see widely. We’re a long way from the old network models. With House of Cards and Orange is the New Black, Netflix invested in thirty-nine hours worth of story for each show, during which layers of characters gradually surface. Those are examples of outstanding writing, and there are plenty of others. Your readers might also check out Outlander on Starz, created by Ron Moore who was also responsible for the great 2005 series Battlestar Galactica. On Showtime, look at the story-telling innovations in The Affair. The list of high quality writing on television today is long.
DW: Does the future seem murky, or at least uncharted for network TV?
PD: Everything is happening at once and anything anybody says is likely to be true, somewhere at some point. So, yes, the "old world” of network television has had to re-evaluate what works in “the new world.” All four of the big networks are smart enough to understand their markets and how fierce the competition is. Often, episodes of current network shows are quickly available on Amazon. CBS just started streaming. This doesn't mean people stop watching; only that content is available in different avenues.
All is in flux now as everything goes to streaming. One question is whether cable TV will continue to exist. Why spend money for subscriptions to 1,000 channels when you only watch ten? Now that HBO has decided to stream all its shows starting in 2015, many other cable networks will follow.
DW: You touch on net neutrality, one week after Obama said he was all for it.
PD: The challenge to a free and open Internet is a threat to everyone. “Net Neutrality” is the policy that the Internet is like any other utility and it should be neutral to any content. Unfortunately, the powerful Internet Service Providers (ISPs) such as AT&T, Time Warner, and Verizon want to separate the Internet into fast and slow lanes, based on charging more for better transmission. Many observers consider this a kind of extortion, where those who can afford quality Internet would pay more for it, and everyone else, including makers of independent web series would be left out because of poor quality and long times to download content. People who are opposed to this double tier plan also warn that these giant telecoms could “censor” content as they pick and choose what quality of service you get, even what you can access at all. To many writers, producers and filmmakers, this potential for censoring ideas, art, and any entertainment is frightening. I’m gratified that the President is on the side of creative interests and protecting Internet freedom. The ultimate decision is not up to him, though, and we’re awaiting rulings from the FCC. We’re at a wonderful time of broadening creative opportunities in television not shutting them down.
DW: What’s your favorite cinematic moment?
PD: My inspirations come from life. No one should imitate what’s on the screen. The Wire (on HBO) was brilliant in terms of honesty, and Breaking Bad (on AMC) is another example of great character-based writing. So much brilliance is available everywhere on television now.
Clip: The Wire
Please join us this December 8th at Noon PST for this free 30 minute webinar by Pamela Douglas. Who's Going to Win the Future of TV? You are. Whether you’re trying to break into the exhilarating world of television, or you’re a working writer-producer seeking to update and expand, this is your chance to find out what’s happening and how you can take advantage of the new opportunities. Space is limited! Please click here to register.
Pamela Douglas's book The Future of Television from Michael Wiese Productions can be ordered here.
Dave Watson: TV has been around about seventy, eighty years now?
Pamela Douglas: Though the technology was developed a century ago, people didn't start watching television until after World War II. In the 1950s it became the medium for molding public opinion that it has been ever since, in its many forms.
DW: So why does the future seem hazy?
PD: It isn’t hazy. It’s brilliant, and if people feel confused, that’s the sense of being in a whirlwind, or staring into bright lights. Television has become the place for artists to explore character development and story telling in innovative ways, and that’s why it’s so bright. Now, if you’re asking if the multi-verse of opportunities can be overwhelming, yes, I agree with that. In fact, that’s why I subtitled my book “Your Guide to Creating TV in the New World.”
Right now we’re in the moment right after a big bang. Our current era has been called “The Great Convergence.” That refers to melding the Internet with all other forms ranging from traditional broadcast networks through cable and everything on the web. Suddenly, a global audience (and creators around the world) have access to populations never reached before -- hundreds of millions of eyes watching on more kinds of outlets than ever before. The change in quantity has led to a change in quality. This evolution of television has been developing since its start and it has deep roots in society.
DW: Leading back to its invention.
PD: Yes. Philo T. Farnsworth was one of the pioneers who invented what he called “tele-vision,” which is a combination of terms meaning distant sight, the ability to communicate with people far away. He believed that if we see people who are different from ourselves, people around the world might develop empathy for each other. So, from the very beginning, television was considered an agent of change – a potential force for the betterment of humanity. Of course, so many kinds of shows have aired on television since Farnsworth’s era that no single statement applies to everything, except the idea of the power of the medium itself.
DW: You discuss the power of serialized stories, and reach deep into human history with the ancient story of Scheherazade. Later you quote Writers Guild executive Chuck Slocum, who says, “TV is everything that is not a feature film.”
PD: I use those two examples because TV has become so encompassing. Some people who aren't aware of what has developed think television is a box in the living room. When I mention my book The Future of Television, a few have responded, “What future?” That’s so out-of-touch that at first I was stumped for a response. Those same people may be watching plenty of television, but they’re viewing on all kinds of devices -- computer, mobile phone, iPad, game boxes, flat screens of various sizes, or even a console in a room in their house. It’s all television. The quality that keeps audiences coming back is the connection with characters through a “long narrative.” That distant viewing of intimate storytelling is the essence of television wherever and however it is viewed.
DW: While features, as far as I know, still take time to release internationally. I just finished Lynda Obst’s book Sleepless in Hollywood. At one point she says, “Where are the characters? They’re on TV.” You agree?
PD: Yes, absolutely. Serialized story-telling needs to have depth so that “reveals” about characters continue consistently over a long narrative. I just saw Olive Kitteredge. It was four hours. HBO told the writers who adapted the novel to make it whatever length the material warranted. That’s one example of freedom in formats we see widely. We’re a long way from the old network models. With House of Cards and Orange is the New Black, Netflix invested in thirty-nine hours worth of story for each show, during which layers of characters gradually surface. Those are examples of outstanding writing, and there are plenty of others. Your readers might also check out Outlander on Starz, created by Ron Moore who was also responsible for the great 2005 series Battlestar Galactica. On Showtime, look at the story-telling innovations in The Affair. The list of high quality writing on television today is long.
DW: Does the future seem murky, or at least uncharted for network TV?
PD: Everything is happening at once and anything anybody says is likely to be true, somewhere at some point. So, yes, the "old world” of network television has had to re-evaluate what works in “the new world.” All four of the big networks are smart enough to understand their markets and how fierce the competition is. Often, episodes of current network shows are quickly available on Amazon. CBS just started streaming. This doesn't mean people stop watching; only that content is available in different avenues.
All is in flux now as everything goes to streaming. One question is whether cable TV will continue to exist. Why spend money for subscriptions to 1,000 channels when you only watch ten? Now that HBO has decided to stream all its shows starting in 2015, many other cable networks will follow.
DW: You touch on net neutrality, one week after Obama said he was all for it.
PD: The challenge to a free and open Internet is a threat to everyone. “Net Neutrality” is the policy that the Internet is like any other utility and it should be neutral to any content. Unfortunately, the powerful Internet Service Providers (ISPs) such as AT&T, Time Warner, and Verizon want to separate the Internet into fast and slow lanes, based on charging more for better transmission. Many observers consider this a kind of extortion, where those who can afford quality Internet would pay more for it, and everyone else, including makers of independent web series would be left out because of poor quality and long times to download content. People who are opposed to this double tier plan also warn that these giant telecoms could “censor” content as they pick and choose what quality of service you get, even what you can access at all. To many writers, producers and filmmakers, this potential for censoring ideas, art, and any entertainment is frightening. I’m gratified that the President is on the side of creative interests and protecting Internet freedom. The ultimate decision is not up to him, though, and we’re awaiting rulings from the FCC. We’re at a wonderful time of broadening creative opportunities in television not shutting them down.
DW: What’s your favorite cinematic moment?
PD: My inspirations come from life. No one should imitate what’s on the screen. The Wire (on HBO) was brilliant in terms of honesty, and Breaking Bad (on AMC) is another example of great character-based writing. So much brilliance is available everywhere on television now.
Clip: The Wire
