Post by Sirenna on Sept 13, 2004 20:50:40 GMT -5
Here's an article for those of us who like to write. It's in three parts due to space limitations. It's on the mothership but the writing and comments on production seem like CI. Be warned - it's LONG.
All The News That's Fit To Script
the apocrypha interview with scriptwriter/producer David Black
By Kitteridge
David Black started out as a journalist -- and it shows in his writing. For those who love early Law & Order episodes such as "The Reaper's Helper" and "God Bless The Children," you'll know what makes a great Black script -- tension, drama, and not too much good guy/bad guy stuff. As he says in this interview for apocrypha, what keeps things interesting is when you turn the script into an argument with yourself over an issue you're conflicted on. And, he notes that there's a lot to be said about the influence of Three's Company....
How did you get involved in Law and Order in the first place?
I did nine out of the first 13 [episodes] the first year, and seven out of the first nine the second year, and then the third year I left the show to make myself rich. I created The Cosby Mysteries, and a show with Tom Fontana, and some features, including The Confession, with Alec Baldwin and Amy Irving [and a small role with Chris Noth -- ed.].
Did you know Alec before you wrote the episode "Tabloid" with him?
Yeah, I've known Alec for years and years and years. I came back to the show [in 1998], just to continue the history, as a consulting producer. In the first two years there was not so much of a problem working out of New York, and a lot of places like you out [in L.A.] where they can look at you. I find, for a number of reasons, including the fact that I've got a son here I'd rather stay in New York, but for the sake of a show like Law & Order, if you're constantly walking around the streets of New York, first of all there are details, verisimilitude, you can put in, even if you come from New York to see changes year by year, and I get probably a good third of my ideas for either plot or character or location from New York, and also you just pick up dialogue on the streets. I remember the first year I did a lot of scripts with Robert Nathan. And at the beginning of that year, the first year of Law & Order, he said, "I don't know how to write street dialogue, I'm a middle-class kid" - actually we'd gone to college together, and also I'd gone to college with Ed Zuckerman who at one point was on the show [and] was an old old friend, from journalism days, so I brought a lot of people in.
Is that your background, journalism?
Well, I'm a novelist who did a lot of journalism to survive. I did maybe 200-250 articles and short stories, and now I'm up to ten books, I just published a new novel, but then when I went on Law & Order it was up to eight. And had a Pulitzer nomination for a book based on a series of AIDS articles I did for Rolling Stone, and I thought great, now I'll make a little money, and didn't, so...
Was that the about the origin of AIDS?
It was called "The Plague Years." It won the national magazine award, and the national science writers award, and I thought great, I'll make a little money and I didn't, so...I went to Hollywood. So I remember Nathan saying "I don't know how to write street dialogue," and I said, "Well, take two days off and ride the subways. Listen." And he came back and ended up writing some of the best dialogue on the show. Also, you should talk to Mike Struk, and Jerry Giorgio, who are two ex-homicide cops in New York. I had done a book on the "Murder at the Met" case with Mike and Jerry and got them both involved in the show. Jerry drove around with Chris Noth night after night after night and Mike vets all of the scripts, and both of them - a lot of the quality of the show comes from the attention they have given the show, because the show - I think any show like this, if you just do research, the show will get better and be better. A lot of people who write for TV and movies don't do research, or do perfunctory research, they don't - you know how much it takes to research an article.
You can stick your hands all the way in or you can skim the surface.
And I think if you stick your hands all the way in and you really research whatever you're writing about, it makes it more interesting because you can't make it up. There are details which have become commonplace on cop shows that have come from Law & Order because we did the research. I remember being at a crime scene with Jerry Giorgio, and having them fry up coffee grounds to kill the [death] smell, and now that's on - you see it on 100 TV shows a year.
That really wasn't part of TV before the show started.
No. And one of the things Law & Order has done, because of the reality, the research we do, is we've created hundreds of new conventions for the form - a reference to DD5s, a lot of coptalk stuff. And so I think - and it all comes from research and people, Bill Fordes out there and Mike Chernuchin, and a lot of the people on this show have backgrounds as lawyers. I don't think any of us have backgrounds as cops, but I was a police reporter for years and years. And I think also being in New York gave me an advantage, because New York is made up of many many worlds, Los Angeles is made up of somewhat fewer worlds.
Little fiefdoms, all connected by the highway.
[Laughs] But in New York you walk down the street and you know when you're moving from world to world because you're moving from music to music, and there's different music. So the mysteries that we did on Law & Order tended to also be explorations into subcultures and worlds.
Since you helped establish the show's format (outside the law/order template) by writing so much of the first few seasons, did you ever get told by Wolf or others "this is how we want to do the show, and write to this" or are you more or less responsible in a lot of ways for the structure of how the show works today?
Well, Dick had the original structure, the split form. The one thing - every writer on a show like this has a strength in bringing something - it's like a big stew...without the onions and the carrots and the celery it wouldn't taste as good. The two ingredients I brought to the show to make it tastier, one is just something that interests me in terms of the kind of drama I do, and I'm not saying I'm the only person who did it, but something which I tended to do heavily, I like crimes that grow out of conflict of realities. If you look at a lot of the scripts I did, like Pro Life/Pro Choice, the abortion clinic bombing -
Or the Mayflower Madam?
Well, yeah, there are two realities there. She has her version - it's, the world of sex for hire. There are certain moral choices, of her moral universe, which is different from the universe of the people who think you should police it. Reaper's Helper, assisted suicide - there are people who believe this is morally wrong, there are people who believe it is compassionate, and there's an episode I can't remember the name where - and there are a lot of episodes where even if your name is not on it you do journeyman work on it. But I think this one...there was a religious couple who...where their religion didn't allow them to get medical help for their child, and when they refuse it the child dies -
Isn't that "God Bless The Child"?
Yes, probably, and it was odd because when I was doing that, for me the drama came when people who believed in the reality of the immortal soul come up against a legal system which does not believe in the reality of the mortal soul or finds that irrelevant to the death of a child. And that creates conflict, which can create crime.
I remember how the hair was split on that, too - she was guilty because she didn't believe.
And my objection on that, and some of the struggle that you have when you have a show which finds realities coming into conflict and creating a crime is that you hit hot button issues, and I know on that episode if I had directed it, I would have made the parents more sympathetic. They were made to look a little bit crazy, and I remember in discussions I was saying that they're not crazy, someone said well, of course they're crazy, they believe more in the soul than in the body, and I said as a matter of fact, throughout history, the millenniums, more people have believed that there is an immortal soul than have not. And the same thing on the pro choice/pro life abortion clinic bombing - the drama was heightened if you can make the pro life people - give them a credible case. Whether or not I agree with their case is irrelevant, but you don't have to be crazy to say look, I believe there is a case to be made.
All The News That's Fit To Script
the apocrypha interview with scriptwriter/producer David Black
By Kitteridge
David Black started out as a journalist -- and it shows in his writing. For those who love early Law & Order episodes such as "The Reaper's Helper" and "God Bless The Children," you'll know what makes a great Black script -- tension, drama, and not too much good guy/bad guy stuff. As he says in this interview for apocrypha, what keeps things interesting is when you turn the script into an argument with yourself over an issue you're conflicted on. And, he notes that there's a lot to be said about the influence of Three's Company....
How did you get involved in Law and Order in the first place?
I did nine out of the first 13 [episodes] the first year, and seven out of the first nine the second year, and then the third year I left the show to make myself rich. I created The Cosby Mysteries, and a show with Tom Fontana, and some features, including The Confession, with Alec Baldwin and Amy Irving [and a small role with Chris Noth -- ed.].
Did you know Alec before you wrote the episode "Tabloid" with him?
Yeah, I've known Alec for years and years and years. I came back to the show [in 1998], just to continue the history, as a consulting producer. In the first two years there was not so much of a problem working out of New York, and a lot of places like you out [in L.A.] where they can look at you. I find, for a number of reasons, including the fact that I've got a son here I'd rather stay in New York, but for the sake of a show like Law & Order, if you're constantly walking around the streets of New York, first of all there are details, verisimilitude, you can put in, even if you come from New York to see changes year by year, and I get probably a good third of my ideas for either plot or character or location from New York, and also you just pick up dialogue on the streets. I remember the first year I did a lot of scripts with Robert Nathan. And at the beginning of that year, the first year of Law & Order, he said, "I don't know how to write street dialogue, I'm a middle-class kid" - actually we'd gone to college together, and also I'd gone to college with Ed Zuckerman who at one point was on the show [and] was an old old friend, from journalism days, so I brought a lot of people in.
Is that your background, journalism?
Well, I'm a novelist who did a lot of journalism to survive. I did maybe 200-250 articles and short stories, and now I'm up to ten books, I just published a new novel, but then when I went on Law & Order it was up to eight. And had a Pulitzer nomination for a book based on a series of AIDS articles I did for Rolling Stone, and I thought great, now I'll make a little money, and didn't, so...
Was that the about the origin of AIDS?
It was called "The Plague Years." It won the national magazine award, and the national science writers award, and I thought great, I'll make a little money and I didn't, so...I went to Hollywood. So I remember Nathan saying "I don't know how to write street dialogue," and I said, "Well, take two days off and ride the subways. Listen." And he came back and ended up writing some of the best dialogue on the show. Also, you should talk to Mike Struk, and Jerry Giorgio, who are two ex-homicide cops in New York. I had done a book on the "Murder at the Met" case with Mike and Jerry and got them both involved in the show. Jerry drove around with Chris Noth night after night after night and Mike vets all of the scripts, and both of them - a lot of the quality of the show comes from the attention they have given the show, because the show - I think any show like this, if you just do research, the show will get better and be better. A lot of people who write for TV and movies don't do research, or do perfunctory research, they don't - you know how much it takes to research an article.
You can stick your hands all the way in or you can skim the surface.
And I think if you stick your hands all the way in and you really research whatever you're writing about, it makes it more interesting because you can't make it up. There are details which have become commonplace on cop shows that have come from Law & Order because we did the research. I remember being at a crime scene with Jerry Giorgio, and having them fry up coffee grounds to kill the [death] smell, and now that's on - you see it on 100 TV shows a year.
That really wasn't part of TV before the show started.
No. And one of the things Law & Order has done, because of the reality, the research we do, is we've created hundreds of new conventions for the form - a reference to DD5s, a lot of coptalk stuff. And so I think - and it all comes from research and people, Bill Fordes out there and Mike Chernuchin, and a lot of the people on this show have backgrounds as lawyers. I don't think any of us have backgrounds as cops, but I was a police reporter for years and years. And I think also being in New York gave me an advantage, because New York is made up of many many worlds, Los Angeles is made up of somewhat fewer worlds.
Little fiefdoms, all connected by the highway.
[Laughs] But in New York you walk down the street and you know when you're moving from world to world because you're moving from music to music, and there's different music. So the mysteries that we did on Law & Order tended to also be explorations into subcultures and worlds.
Since you helped establish the show's format (outside the law/order template) by writing so much of the first few seasons, did you ever get told by Wolf or others "this is how we want to do the show, and write to this" or are you more or less responsible in a lot of ways for the structure of how the show works today?
Well, Dick had the original structure, the split form. The one thing - every writer on a show like this has a strength in bringing something - it's like a big stew...without the onions and the carrots and the celery it wouldn't taste as good. The two ingredients I brought to the show to make it tastier, one is just something that interests me in terms of the kind of drama I do, and I'm not saying I'm the only person who did it, but something which I tended to do heavily, I like crimes that grow out of conflict of realities. If you look at a lot of the scripts I did, like Pro Life/Pro Choice, the abortion clinic bombing -
Or the Mayflower Madam?
Well, yeah, there are two realities there. She has her version - it's, the world of sex for hire. There are certain moral choices, of her moral universe, which is different from the universe of the people who think you should police it. Reaper's Helper, assisted suicide - there are people who believe this is morally wrong, there are people who believe it is compassionate, and there's an episode I can't remember the name where - and there are a lot of episodes where even if your name is not on it you do journeyman work on it. But I think this one...there was a religious couple who...where their religion didn't allow them to get medical help for their child, and when they refuse it the child dies -
Isn't that "God Bless The Child"?
Yes, probably, and it was odd because when I was doing that, for me the drama came when people who believed in the reality of the immortal soul come up against a legal system which does not believe in the reality of the mortal soul or finds that irrelevant to the death of a child. And that creates conflict, which can create crime.
I remember how the hair was split on that, too - she was guilty because she didn't believe.
And my objection on that, and some of the struggle that you have when you have a show which finds realities coming into conflict and creating a crime is that you hit hot button issues, and I know on that episode if I had directed it, I would have made the parents more sympathetic. They were made to look a little bit crazy, and I remember in discussions I was saying that they're not crazy, someone said well, of course they're crazy, they believe more in the soul than in the body, and I said as a matter of fact, throughout history, the millenniums, more people have believed that there is an immortal soul than have not. And the same thing on the pro choice/pro life abortion clinic bombing - the drama was heightened if you can make the pro life people - give them a credible case. Whether or not I agree with their case is irrelevant, but you don't have to be crazy to say look, I believe there is a case to be made.