FastLou

It is ridiculous they didn't seem too be having serious conversations about the stunt until they were mid-shooting. By that point the budget is virtually set. Plus Jason is too busy with a million things to fully charged nice trade. That shit should have been hashed out earlier and it's Everyone's fault if that didn't happen. But mostly the producers. Marc should have forced that decision well before it actually happened in the show and maybe it would have turned out more impressively.

Watching them totally change the tone in Shaker Heights during editing was indeed fascinating. Personally I'd watch a YouTube stream of them in the editing room eight hours a day for weeks, but I realize I am a freak. But I really do think there are about half as many episodes as could be entertaining for people less invested in the process than me. I'm sure there were a lot of other stories throughout beyond "Jason is uncompromising and Effie is difficult and frustrated."

I agree the crash was underwhelming and probably not what the stunt people expected. I was quite surprised we did not see them running the stunt several time w/o the final crash. There were several cars involved and they didn't seem to do any test runs. That might have helped make the final hit better, and if they did skip it, it would likely be due to time constraints. I obviously don't know the exact numbers but a day in a green screen studio would be MUCH cheaper than the process trailer. Almost certainly enough to buy a few junker cars. You'll notice the ones involved in the crash were very common and cheap. I would expect that when the editor is done what they got will look just fIne. It's all about the cuts and the sound and the reactions. If he got coverage. We don't know how many cameras he had (I maybe heard three in a previous episode) but we definitely didn't see them getting any close ups or alternate angles in the episode. Without those, there's nothing an editor can use to make it work. It would be nice to actually show a good physical smash, but as you said, not necessary to get the point across. If they have enough footage.

A comedy like this would normally come in at 90 - 110 minutes, so starting at 110 is actually a little short for a first assembly. Although I imagine Jason will think every moment is gold, so he won't be open to the kind of trimming one would normally do in post.

I cannot recall the lastt time I skipped a pitch entirely. I was Out as soon as those idiots walked in w/ the Dude shirts. I was proven right when the product turned out to be baby wipes for men who are too insecure to use baby wipes.

I am looking forward to this. Rebecca and Aline were talking about it but on the ScriptNotes podcast back when it was on Showtime. I think it had a different title then as well, but I could be mistaken.

I found a link in AV Club forums and posted it in the spoiler thread. The video answers who wins the Film/Digital fight.

I found this link in the AV Club comments: Look at about 1:15 in - he's clearly shooting a Panavision film camera.

As a couple people above noted, Effie probably doesn't have full authority to nix shooting on film. The EPs need to do that, and I simply do not understand why no one has yet. Directors are told no all the time on real movies and I wonder why Greenlight keeps pretending otherwise.

I wasn't exactly looking forward to this but I try to watch every pilot. I've never lasted more than a season or two for any Ryan Murphy show (except for Nip/Tuck because I hate myself). I felt pretty meh, not quite knowing what they were going for, right up until Ariana Grande died trying to tweet instead of scram for help and I Got It. This thing is ridiculous, offensive, beautiful nonsense. None of the characters speak or behave in any way like an actual human. Everyone is a potential suspect, though I'm betting Nasim Pedrad and her "90s trauma" is neck deep in it. I am kind of stunned this is on Fox and don't expect it to do well, especially after seeing all your comments. If it does happen to make it I desperately hope this is an anthology series like AHS because dragging out this mystery will absolutely kill the show.

I absolutely could not believe he tried to get his own script instead, I would have thought that was part of the contract, but if it's in good shape and can fit into the established budget and shoot schedule then I think the producers were right to agree. I doubt he has much interest now in getting rid of Jones now, as Pete Jones seems to be very open to his ideas and letting him share in the writing. The script they were originally ping to do wasn't Pete's either. Unless he's going to be a super dick about credit authorship. With the way they are collaborating it should end up with Mann getting Story By and Mann & Jones sharing Screenplay By with an & indicating they wrote together. I do kind of wonder which production company is stuck with owning or optioning Not Another Pretty Woman. He really needs to let shooting on film go. It's probably because he's just out of film school, and pretentious. Someone should explain he'd be way better off using that 300k for production instead of having to scrimp because he "needed" film for his movie people are going to watch on phones. Just lay out the rough budget - they already have estimates based on days, locations, cast, etc - and what he'd lose without that 300k.

After watching the episode I was willing to go along with Jason's selection as the best "filmmaker." Then I discovered all the top 20 submissions & the final Speed Dating projects were on YouTube. I watched all of these and IMO Jason's submissions were no where near the most technically competent, visually impressive, well written, or overall engaging in either category. Several of the original submissions like Pavement & the PTSD one blew me away. Killjoy, the magician, the summer swimming pool one, the "where do you want to eat" and others either impressed me technically or entertained me. ALL of which were IMO better than Jason's work. After watching al the available submitted material, and watching what we were shown of the interviews I see absolutely no logical explanation for this choice of winner. It makes no sense at all when looking @ someone that can work w/ the Farrellys to deliver a comedy. It makes no sense if you are choosing the most technically proficient director. Four or five of the submission are technically far more impressive than what Jason turned in . The Only reason i can accept is they thought he'd bring the most drama & be the best TV. I'm OK with that, but wish they'd be more upfront about it. Anyone who critically watches the submissions would discover Jason is middle of the pack in terms of both technical quality & story ideas.

Wow, I hadn't realized that HBO took every Best ______ Show. That is very impressive. I did very poorly in my pools. I guessed wrong where I thought they would recognize new shows. I guessed wrong where I thought they'd do a "lifetime award" except for Hamm. Many of the "professional" web prognosticators were wrong. But overall it was a good show,. It moved well and none of the bits dragged things down to much. Sandberg was funny & a little edgy without being in bad taste. (I'm a huge fan of offensive comedy but the Emmys isn't the place for that.) Overall I can't recall a year my predictions were so off but stil very much enjoyed it.

Never been a huge Mad Men fan, but I'm happy for Hamm to finally get the statue. Especially since I don't feel there was an especially strong field this year.

I only know Ray Parker Jr from Ghostbusters. I guess he's also a session musician. And we get at least the second True Detective diss I noticed. Considering the primary difference between the season is the director, I think we now know for sure who made the first season so magical.

Show vs Movie confusion. I think I've seen a couple instances so far of people being confused whether the Greenlight "cast" was talking about the TV Show or the Movie at various points. Part of the problem is that many people in the industry refer to everything as a Show. Especially if they're talking about what show they're on, or what show they worked with someone on. I have a feeling they may be doing that here, saying Show both when they're talking about Greenlight and the Movie. Or more likely, and pretty much supported by past seasons, they are almost never talking about the TV Show on camera. Especially about how things may be perceived. It is certainly confusing when we don't have the full conversation context due to editing.

The choice of director makes no sense if you go by nothing more than what they showed in the episode of the discussion in the room. However, it's inconceivable to me that they never discussed how it would play for the TV show. That's the only context in which the decision makes sense. In the room it was clear that the Farreley's 1) didn't like him 2) didn't want to work with him. They Must have been persuaded that it was best for the show. I would have liked it far more if they didn't pretend such a consideration didn't exist. Showing all the producers weigh the two things would be more interesting, and possibly lessen the outrage of those angry at the choice.

I think I saw somewhere that Erica did sell or option a decent number of things. I also discovered that the female directing finalist who was so into Shaker Heights has done a good bit of TV work since. So, maybe they went with the wrong director :) This season was definitely better on the production insider side, and the amateurs managed to screw this movie up in a completely different way than the first time.

Filmmaking Reminder #1 - DP's do not give a Fuck about time, and will take over your movie if you let them. As for the show I've been wanting to rewatch since I heard they were making a new season but couldn't find my DVDs. So, the second I read here the first two were finally on HBOGo I started watching. It was a bit frightening how old a 15 year old reality show looked, but still absolutely fascinating. I think most of the blame for the outcome goes to everyone that picked a cheesy Sunday School script and were surprised when that's what they got. The rest of the problems could have been avoided if the on-set producers (basically Pat and Jeff) had been empowered to say, "no." The first day the Petes fuck around with no shot list, you tell me they don't get to shoot the next day without one. When Jones decides to shoot baseball in the rain, you tell him you're moving the company to the cover set. Unless it's his money, the director is not God, they people paying for it (and their representatives) are. When the DP orders a 20ft crane and platforms to go in the lake, you tell him to get a ladder and find a way to deal with it. But, that wouldn't provide as much drama. It was pretty clear Chris Moore & the other executives decided before hand to let Pete Jones have WAY more control than a first time director would get in that situation w/o the reality show. They knew he'd screw up. They knew it would make for good TV. They probably knew the movies was likely to suck. Finally, I completely agree with Sarah the movie would simply not have been made w/o the 1st AD. I'd kill to read a nightly diary documenting his experience for that month.

I was very excited to see WOW because I've eaten at their truck a number of times here in Atlanta and it is delicious. But then they lost out to a complete train wreck. I hope they can find alternate funding for their restaurant.

I don't care much about Dr. Armand specifically, but the endless reality show sign-offs and cross-overs will never get old to me. Really the only characters I don't like are Oh Hello. I really hope we'll be seeing Publizity and Rich Dicks soon.

I am liking the new season so far but don't have many feelings yet about the cast. One thing however really stuck out: The LARPER - in his intro he said something like, "I am squire to Sir Somethingorother." So in his make believe Fantasy world, out of all the possible roles or characters, he Chose to play one that basically does nothing but fetch stuff and put on someone's armour? I suddenly have so many questions. Is he new, and has to work his way up to something better? If so, then claiming to be a hard core LARPER is disingenuous. Does no one like him and that is the only thing they will let him do? Is he so boring and unimaginative that is the best he can come up with? Is it some kind of submissive fetish? I really feel like I need some answers - perhaps I'll get some eventually.

Neither one of the owners seemed particularly on the ball. Becky seemed to want it more but of course most of the money was John's. It was Very strange that they seemed to do almost nothing during Marcus' absence - so many shows play loosely with the passage of time that I want to believe but have such a hard time. Particularly when the cameras just happened to catch them arguing at the exact moment Marcus returned. In general I'm so tired of these type of shows focusing on family drama over business savvy, but I know I'm tilting at windmills. Also - memo to Becky & John - wear some damn pants to your sales calls.

I found the early scene with Chris Moore saying he was still on the fence about working with Shane again, followed immediately by Shane being a whiny defensive baby, hilarious. Talk about a master class in how Not to take a creative meeting. At one pointed he said he wanted to add a beat to a scene. Everyone said, "fine, go ahead" and then he argued about it for fifteen minutes. They said yes! Stop selling! I had gained some respect for Shane by the time they wrapped, and he just threw it all away w/ the behavior we saw in post. I agree that it would have been nice to delve further into why both of these movies failed commercially, but I'm sure no one wanted to dwell on that too much.

I'm not sure how much you need in order to count it but there was definitely a slow whale-tail transition (I think) about halfway through.