A Quote by Josh Gad

When you're doing a pilot, you're doing it in this bubble that almost works against the creative impulse. You don't have time to get to know the actors first, and you have three writers, as opposed to a room full of writers.
There are professional negotiators working for the writers and the actors, but basically you've got the writers and actors negotiating against businessmen. That's why you get rhetoric.
If you are a certain kind of hands-on learner and have been in a writers room and know how scripts get made, and you know what pre-production is, then mostly it's making sure the actors get what they need, and you are providing creative oversight while allowing room for everyone else to own the material, too.
A lot of what you're seeing these characters go through is something that either is a story one of the actors told in the writers' room or one of the writers themselves told in the writers' room.
In company with people of your own trade you ordinarily speak of other writers' books. The better the writers the less they will speak about what they have written themselves. Joyce was a very great writer and he would only explain what he was doing to jerks. Other writers that he respected were supposed to be able to know what he was doing by reading it.
We have a full writers' room, and with something like 'MyMusic,' we've scripted it out with professional writers. There is some very basic improv from the actors, but everything is very to the letter, so it's easy to edit down to an episode. There are fun little things an actor might throw in there.
It takes awhile for writers to get to know actors rhythms, not just as actors, but what they bring to the characters. I think it takes a few episodes for the writing room to catch up to the actors and vice versa.
Lots of shows are written completely in the writer's room. And I wouldn't say 'The Walking Dead' is that way. There are three levels to it. There's us in the room. The writers going off by themselves. And me working with the writers on a finished script.
I think that comes with a collaboration with the writers. I think that we get cast in edgier roles because we are a little more offbeat, so people - as we get to know the writers, and as the writers get to know us, they start to write around us more, and that's why I think the pilot is not always the best way to get to experience a new television show, because we're fitting ourselves into these characters. Whereas as the show evolves, they're writing the characters for us and for our strengths and weaknesses.
My first time up to bat as a showrunner, what I did was hire an all-Latinx writers room. And it's a diverse Latinx writers room - we have an Afro-Dominican and Texicans and Chileans. It's diverse within its Latinidad.
What's great is that a lot of us are playing so against type in this, and it's awesome. All of the writers put faith in the fact that we know what we're doing. We have creative freedom, and it's awesome. I think it all worked out. Everybody on the show is so good.
On 'Mr. Robot,' because I run the writers' room and know every decision behind every line of dialogue, I'm able to be nimble and adapt with the scripts and the moments. I never have to question what I'm doing as I'm directing the actors or going through the scenes.
When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.
If you're doing an hour-long show, you're working movie hours, doing a 12-15-hour day. We work three or four hours a day, and get every third or fourth week off to give the writers time to write. It's the cushiest job in Hollywood.
I know of three ways to recognize another writer: Writers are shamelessly nosy. Writers tell good stories, even about dumb old, daily things. On most writers, the earmarks of thrift, if not outright povery, are evident.
When you're in a band with three writers, three great writers, you only get one third of the writer thing. So that's the whole reason that I did a solo career. And that's, you know, when I told Fleetwood Mac I was going to do that, they were of course terrified that I would do that record and then that I would quit.
Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.
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