Listen: Writer, Executive Producer And Goldman Sachs discussed on Masters in Business
"The big bang theory. He has been with the show pretty much from the very beginning right through the season finale, which is taking place in may twenty nineteen. He was also a writer at third rock from the sun, Dave gach welcomes Bloomberg. Thank you, very well. So you have a really fascinating history. How did you start out writing for third rock from the sun? How did that come about? And for some of you who may be a little younger that was a show with John Lithgow in and Joseph, Gordon. Levitt was a pretty popular sitcom, and it stay. How'd you find your way there? Well, I, I had to learn that you could be a sitcom writer that was a job. You didn't know that we're in Connecticut. I loved watching television, but I never thought about who wrote that stuff who was filming that stuff. What was that business? Like. And so when I was a senior in high school there's a guy who just had graduated from college, and he came back and he taught for a year my school, and we ended up doing a little radio station nothing like this recording studio. And we did a little show there with another teacher. And it was these guys are hilarious and it was sitting around like this and just making each other laugh. And he then left that year to go to film school and within a year and a half, he was a writer on. Cheers. So I stayed in touch, his name's rob long and a couple of years later, he was executive producer of cheers. So as I thought about going to college and being a lawyer doing whatever in the back of my mind, I always remembered what he described being sitcom writer was like, which is sitting around in a room with ten people were funnier than any of your friends and trying to make them laugh and write a little play and put it on TV and your grandparents can watch it, and that children with a few million ideally, along with a few million other people, and so. There were a bunch of other things I thought about doing, but ultimately after an interview at Goldman Sachs for the with the fixed income division, where I said, you know what I'm going to be a sitcom site, moved to Los Angeles should know the fixed income desk at Goldman Sachs, those guys are hilarious that meeting was unbelievable, because I put on my uncles, I didn't have a seat at my uncle's tweed suit in the middle of August. And I went down there to Wall Street and I sat and talked to this, the, and I literally didn't know what fixed income once, you know, you're just like you go to jail. You get enrolled. To fix it. And I remember her saying. When was the last time you read the Wall Street Journal, and I said, well, honestly has been pretty crazy. Time for me twenty two. I don't have a job. She's like, I can't leave you're going to Goldman Sachs and having a meeting and you haven't read the Wall Street. Journal's like well, like, like I said things with me, my girlfriend, too crazy. So that didn't work. Offered me a job. In fact. Yeah. And then but that's the really liked you sound like a bad start winning interview strategy. Yes, listen. I apologize but things a cre-. Do you have any other questions things and so see? So the way you get into the old way of getting into Hollywood and being TV writers you write you wrote sample scripts. And then you try to get an agent in that agent gets you a job on during staffing season now. That's spec process has changed. It has changed a lot. The first thing that's changed. Is that people don't write old shows like you would write a friend. If you wanted to get on a show when friends is on you'd read a sample, France, and then that would show you weren't applying to friends. Ideally, the people friends would never read it, it would just be okay. I know this guy can write in the voice of other characters can be a team player on staff. And now what everybody wants is an original. And so there so that process has changed. And in fact, now, I teach classes USC, and I recommend that people just shoot stuff and make it and have a trail video video make make it's hard to get anybody to read anything. But if I said to, you will you one hundred and twenty page screenplay or you watch my two minute video, you might watch nineteen video, but from that two minute video, you'd get a sense of. Hey, this guy he knows how to write and there's a direct even if he's in it, he's, he's pretty funny. I'll take a meeting, then I'll read the script. So there's a the technology that allowed people to break in new way. But for me it was the old fashioned way. It was get a get an agent, a writing partner at the time, and he and I went and met, Bonnie and Terry Turner, who the creators of the show. They're married. They're wonderful. And we had one of those just great meetings where we left him after third sign. Right. And then we got. Hired at the end of the first season. And how that ran a good couple of seasons. Yes for six years. Right. We started as staff writers and on the last year, we were the executive producers insurance with Christine Zander. So let's break these titles down because they're interesting executive producer Showrunner, everybody kind of knows what a writer is what's the show runner do. So their way to think about it is that there are people who make suggestions and are people who decide so the show, runner, decides, and all the other writers were pitching, how did this, and you might start as a staff writer, and then become a story editor executive story at our co producers supervising producer executive producer, but those are different steps of virtually the same thing, which is still in the room you're still pitching and hopefully you're getting paid a little bit. More as you go up the way and eventually the show, runner is the person who ultimately is responsible for saying, they're the managing partner of the show. Exactly. And, you know the way I think about TV development is really. In that VC model, which is where you you write a pilot. And that's a business plan say, we think we're going to be able to make two hundred widgets these funny shows, but we need some money to we need some angel investing to make a pilot. And then you make that first pilot network says, okay, go ahead and do that. And then you maybe get your series. That's your first season. Right. And then you have to get the second season and Thursdays, and in the old days by the fourth season you could syndicate, and that would be your IP L coming up. We continue our conversation with Dave gach executive producer"