'Hollywood, The Sequel,' Episode 11:'Inside a Shifting Paradigm with Screenwriter Akiva Goldsman, Casting Director David Rubin, Indie Filmmaker Ana Lydia Monaco'

The Frame


Welcome to our podcast. It's where we ask some of the entertainment industry's brightest minds how? Hollywood. Might reinvent itself as it comes out of the pandemic Akiva Goldsman is a screenwriter director and producer his TV credits include star Trek Picard, but he's best known for his Oscar winning screenplay for a Beautiful Mind, you probably saw that movie in a theatre. Remember what that was like Goldman's current project is the feature film Tom. Clancy's without remorse and he says he's not really worried about where audiences are gonna see it well, I press controversial or not and pretty platform agnostic there's delight in going out to see a thing In staying home to see if and for me. I want. is on it that want to watch it I'm interested in the most people welcoming Hicks and possible and. I'm interested in it being in the place where could be best present. And that to me can be one place both places up leads not neither place I still not ready for just to exist by iphone but I. I don't know whether things have to be one thing or. Does that mean that we're at a point where all of the assumptions that the industry has followed can be challenged. There's so many institutionalized ways about how things are done like movies playing theaters for three months before they hit streaming video on demand sites that TV show has to shoot a pilot and a network has to sign off on it before it goes into production when you think about what could and maybe should be different going forward. Even in the back of your mind, you start put together kind of a a wishlist of how things could be different that make a lot more sense. Well I do think John that. In the old days, you know probably the first time you and I sat together, we both had hair. There was really this hard boundary between the two. I think. Fundamentally, there's been this interesting exchange of talent now and quality has risen absurdly. In television, you know e is in equal measure up a profoundly successful narrative delivery system. It. Is also additionally now sort of advantaged this idea of an eight hour there. You know from a writer's of View Holy? Shit, I mean who doesn't want that like wait I told the story in two or I can tell eight. Or Ten or thirty will that starts to create a whole other set of. Expectations and opportunities. It's funny because if you think about movies starting out, there were Saturday morning serials threats. So why should we in fact have? Serialized motion pictures just as we also have close Dan did television objects are streaming objects like I think the war we become flexible and break these boundaries that I think were actually based on production needs and limitations that no longer exists I think that suddenly we have this fluid idea of what interchange is you think on the other side of this there are companies and maybe talent agencies studios. Movie Theater chains that we know by name that won't be around I mean is there going to be you know some consolidation? Are Some people not GonNa make it out of this intact will I honestly believe we were even before this at a point where? Things would have to consolidate sooner than later. That you know that there's so many different just streaming systems, for example, that at a certain point they would have to. Find. A way to eat each other orders or each other or become part of each other. I think that we are. Experiencing Paradigm Shifts. You're actually we're living. And I think one that he's always true when you're. In a paradigm shift is you can't quite see it because you're in. You'd think you're holding a piece of ledge above your head but in fact, my inverted, you might be heading straight down that route might be pulling the bottom. It's impossible to see from the inside. I don't know how the world doesn't change I. Don't know how. Things don't react and respond to this in a way that creates a different landscape. I do also believe that. People want entertainment that this is always. That somehow to be distracted to be transported to inspired. To have the opportunity to. You know as they laugh or cry or in our time especially to. Remember what it feels like to be empathetic to learn. From other experiences like that's GonNa be out there somehow how we craft it no. Writers are always trying to process what's going on in the world, and sometimes there's a long lag between what they're thinking about what they're talking about what they're obsessing over and when that's reflected in new scripts. Given that lag are you starting to reassess the kinds of stories that you wanna tell I mean, is there a way to take a show like picard and maybe even in a vague way start writing about what we're going through now I don't know there's a pandemic plot that fits star Trek but are you starting to think about allegories and metaphors for what's happening now that you can apply to some fictional stories? Yes I think the very first thing that's happening is almost Intellectual betting process, which is not necessarily about what were making the what we Right. How will that feel like I? For example, think there will be. For a period of time, a cognitive dissonance when you watch a movie with crowds, seats feel it sometimes when I'm watching A. Home now. You know so I, think that that's starting to change our experience what we see. You Know I. Find that science fiction is more flexible when it comes to allegory. and. So. Often. You will find Star Trek for example that you know. Issues plagues have been the the watchword of the episode or the. I think that. Like nine eleven. It's GonNa take second to set. we're still in the midst of. On New York. On that day and

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