Answered raw tape
D 4 · C 4 · P 4 · Cm 3 3.85
Q Rounders example, like it's, this is the conversation that's happening around the movie, because people have ways of defining those things. I think that's a really big challenge. How do you sort of define it so that you can make sure that the narrative you want told your way, is that part of the point? I mean, in terms of how people perceive your work? Well, when you're a showrunner,
A Of a, a going concern, you're gonna get to prove it out or not prove it out, because you're making the show. And I will say, Certainly in the relationship we have with Showtime, all their notes are suggestions. And so Dave and I are getting to prove it out every episode. I will say we did. So, okay, there are a few other things. It's not bad thing to learn the mistakes people have made ahead of you. It's not bad to do research and know, well, what is the third rail in this situation, right? So if the third rail in the situation is don't go more than three percent over budget on a given episode without having conversations, that that's the That is the third rail. Then don't go, then, you know, don't be a jerk. You're in an incredibly lucky situation. Find a way to do what you have to do. But there are many other non-budgetary examples. So here's how a pilot works. When I lay this example out, there'll be parallels to your world. So, a pilot gets greenlit, they give you this amount of money to go make the pilot, and you're in, they've already approved the script, you cast the show together, so that's another one of these things where you're, um, trying to find a way to express your opinions, make sure you have the cast you want, while understanding we're in the real world, you're not gonna cast a complete unknown to play the lead, unless you have a bunch of other ways to say, wel…
AI assessment note: “all their notes are suggestions. And so Dave and I are getting to prove it out”
Answered raw tape
D 3 · C 3 · P 3 · Cm 2 2.85
Q Rounders example, like it's, this is the conversation that's happening around the movie, because people have ways of defining those things. I think that's a really big challenge. How do you sort of define it so that you can make sure that the narrative you want told your way, is that part of the point? I mean, in terms of how people perceive your work? Well, when you're a showrunner,
A Of a, a going concern, you're gonna get to prove it out or not prove it out, because you're making the show. And I will say, Certainly in the relationship we have with Showtime, all their notes are suggestions. And so Dave and I are getting to prove it out every episode. I will say we did. So, okay, there are a few other things. It's not bad thing to learn the mistakes people have made ahead of you. It's not bad to do research and know, well, what is the third rail in this situation, right? So if the third rail in the situation is don't go more than three percent over budget on a given episode without having conversations, that that's the That is the third rail. Then don't go, then, you know, don't be a jerk. You're in an incredibly lucky situation. Find a way to do what you have to do. But there are many other non-budgetary examples. So here's how a pilot works. When I lay this example out, there'll be parallels to your world. So, a pilot gets greenlit, they give you this amount of money to go make the pilot, and you're in, they've already approved the script, you cast the show together, so that's another one of these things where you're, um, trying to find a way to express your opinions, make sure you have the cast you want, while understanding we're in the real world, you're not gonna cast a complete unknown to play the lead, unless you have a bunch of other ways to say, wel…
AI assessment note: “in the relationship we have with Showtime, all their notes are suggestions.”
