[The following interview also appears on the official Adopt a Writer site.  Even though the Writers Strike has ended, this project will continue to support the WGA by highlighting writers and their experiences; putting faces to the names we see scrolling by in television and film credits.]

As someone who loves and works with music, I was tremendously
honored and excited to be given the opportunity to interview David Leaf for Adopt a Writer. As I prepared
to speak with this amazing music historian and writer, I popped in my Brian Wilson Presents SMiLE CD and
re-read David’s eight page liner note introduction.

David Leaf is the king of pop culture and music
retrospectives. He is one of the Peabody Award-winning writers of the 9/11
telethon “America:
A Tribute to Heroes,” for which he also received an Emmy nomination, and he won
a Writers Guild award in 2003 for “The Kennedy Center Honors: A Celebration of
Performing Arts.”  In addition, David is a
documentary filmmaker: he wrote/directed/produced the Grammy-nominated “Beautiful
Dreamer: Brian Wilson and the Story of SMiLE,” and co-wrote/co-directed/produced
“The U.S. vs. John Lennon.”

David has been called ‘Brian Wilson’s biographer,’ and he’s authored
the books The Beach Boys and the
California Myth and The Bee Gees: The
Authorized Autobiography.  He received
a Grammy nomination for “Best Historical Recording” for writing the books that
accompanied The Pet Sound Sessions
4-CD boxed set, which he also produced.

In addition to the WGAW, David Leaf is a member of the Authors
Guild, The National Academy of Recording Arts and Sciences, ASCAP, The Society
of Professional Journalists and the Academy of Television Arts & Sciences.  He even gets to vote annually for the Rock
& Roll Hall of Fame.

1.      
At what point in your life did you
realize that you wanted to be a writer?

I always told stories. 
I just didn’t start writing them down until I was about 13.  I’m lucky in that I believe I was born with a
certain ability to glibly synthesize information and tell a story.  What my high school history teacher used to
call “BS.”   In junior high, I was writing about sports for
the school paper and was even sports editor of the Latin newspaper. In school, I
was a class clown.  Or at least I thought
I was funny. 

2.       How were you first introduced to Brian Wilson, in what was to become a
lifelong friendship?

For my college newspaper, I had written an article about
Brian.  That was inspired by reading
about his roller coaster of a life in Rolling Stone.  At that time, I was inspired by the work of
Edward R. Murrow, and thought I could be a crusading journalist.  So I decided that I wanted to write a book and
tell the real story of Brian Wilson’s life.   

I met him just after moving to California. 
I was shooting baskets with a friend at a local YMCA in 1976. Brian walked onto the court with his cousin,
who asked us if we wanted to play 2-on-2 with him.  What really makes this story even more unbelievable
is that his cousin was an NBA player.  

Anyway, a few years later, when I wrote and published my biography
of him, we weren’t friends at that point. Thanks to some friends of his, who
wanted me to have a better understanding of what he was really like, I’d gotten
the chance to spend a little time around him while I was writing the book.   Through the 1980s, I continued to see him
around town.  Ironically, given what
inspired your ‘adoption’ of me, it was during the WGA strike in 1988 that I got
a job at Warner Brothers Records that put me into regular contact with
Brian.  So it was around then that we began
to develop a friendship.

3.      
Are there any writers who have had
an influence on your careers?  Who are
your mentors in this industry?

For sports writing (which is how I started), Larry Merchant.
For journalism, Pete Hamill.  Both wrote
for the New York Post, which had an amazing, diverse collection of columnists
when I was a kid.

As for authors – Kurt Vonnegut.  To me, his world view was essential, letting
me know it was okay to see things differently than conventional wisdom would
suggest.  And of course, I’m the cliché:  J.D. Salinger. 
In fact, the first chapter of The
Beach Boys and the California Myth opens with a quote from The Catcher in the Rye.

I guess if I had a mentor, although he would have laughed at
the idea, you could say my comedy writing mentor was Greg Fields. Working with him
was like getting a Masters in comedy writing. He was extremely influential for
me, teaching me how to spend every minute in the office making comedy out of
life, teaching me that nothing was off limits when it came to comedy. He knew
how to make everything funny without being mean. I think he was an extraordinarily
talented comedy writer.

4.      
How long have you been a member of
the Writers Guild of America?

For just over twenty years now. I wrote my first spec
features and spec sitcoms in the early/mid-1980s.  Then, I earned my WGA membership in 1987 writing
a Beach Boys anniversary special for ABC television. A year after that, I got
hired as a staff writer on The New Leave
it to Beaver.

5.      
How did the Writers Strike affect
your current development deals and projects?

Being on strike and picket line felt like being inside a
TiVO and waiting for someone to hit play. Everything was in suspended
animation. It was a frustrating yet unavoidable situation for everybody. I had
spent most of last year writing, developing and pitching, and I guess the way
it affected my current deals was to bring everything to grinding halt.  Now we all hope to reignite the momentum that our
projects had. 

6.      
What level of involvement with the
Writers Strike did you have? Were you out on the picket lines? How often were you able to participate? Can you describe that experience?

I was on strike in 1988, but it was different back then in
terms of organization and membership involvement; we only picketed sporadically.
This time, it was very well organized. I was on a specific team with a specific
assignment, 4 days a week for four hours a day.  From my point of view, it was very important
to be on the line every day.  And from
the team I was on, there were about a half dozen regulars who walked together
and became friends. It was like being in a writers’ room, without any deadlines
or scripts to write. It was a very good support system during what were tough
times for everyone.

Unless you’re on staff on a show, you probably don’t spend that
much time with writers. Being on the picket line provided the opportunity to
reconnect with other people trying to do same things you were; writing,
selling, pitching, developing, etc.  We
had some great days out there and were lucky with the terrific weather in California. We’d tell
each other stories, talk about the business and the creative part of writing.
It was a positive part of the strike – the sense of being in it together. 

Another positive thing was that we were able to walk and
talk with some of our own writing heroes; major screenwriters, legendary TV
writers like Allan Burns (Mary Tyler
Moore), Jay Tarses (The Bob Newhart
Show), Ken Levine (M*A*S*H, Cheers
& Frasier) and writers from The Simpsons.
It was a community of writers and ideas. 


Unlike the strike in 1988, we felt like we were working
together in battle. We were on strike; that’s where we should have been, out on
the picket lines.  We didn’t start the
fight or pick it, but once we were in it…we were in it for the duration. 

7.       How did you become involved with FremantleMedia, the company
responsible for shows like American Idol?
Can you reveal any details about your future plans with them?

I was approached a few years ago to work on a multi-part History
of Rock and Roll project. We’re still developing it and hope to get it made
sometime soon. They contacted me after Beautiful
Dreamer appeared on the BBC, and I was flattered to be considered by them for
such a prestigious project.  And there’s
a production from my company that’s “in the works” that they’ll be
distributing.

8.      
Your long list of credits as a
writer/producer of music specials for television is very impressive, from
benefit and live concerts to pop culture icon profiles. You’ve covered artists
and performers as varied as Elvis, Frank Sinatra, Christopher Reeve, Billy
Joel, the Marx Brothers, the Bee Gees, Jonathan Winters and Nat King Cole. Do
you approach an opportunity to write for and about these particular individuals
as an admirer, as a writer, or both?

For me, the idea usually starts in the same place—what is it
about these artists that I love and think is important for others to know about?
 I then figure out how to tell their
story using their work to speak for themselves, which is essential when the
artist is no longer with us.

I don’t ignore sensational aspects of an artist’s life, but
my focus is more on the artist and how they created their art. Naturally, their
private life will come into the story as it affects their work, but it won’t
come into the story unless it’s relevant. In some senses, I’m a fan and
proselytizer, but more than anything else, I consider myself a storyteller. I
ask myself, what is the most important story I can tell about that particular
artist, a story that you as a viewer need to know.  Watching these retrospectives, if you are a
fan, you might get a deeper understanding and love for the artist. If you’re
not a fan, you might become one. Or at least come to respect the artist.  The goal is to experience their art and at
the same time, enhance your appreciation of their work.  I want to keep the focus on where the art came
from, but also get the artists to reveal something about themselves.   Most of all, I make the show I would want to
watch. 

9.      
Besides specials and awards show,
your career as a primetime television writer for series has been sporadic; a
staff writer on The New Leave It to
Beaver from 1988-1999 and Party of
Five and Beverly Hills 90210 retrospectives. Were sitcoms and primetime dramas just
not your cup of tea?

Not at all.  I’ve
always been a big TV addict, I love sitcoms and one-hour dramas. I started as
staff writer on The New Leave it To
Beaver in mid-February of 1988, but within three weeks the industry went on
strike. When the strike was over, I did one full season of that show.

That was just about my favorite job of all time, being on
staff on a sitcom. I would love to do it again in the future. You’re paid to reveal
your ‘inner smartass.’ There is nothing more fun that trying to make people
laugh all day long.

10.   Now that the Writers Strike is over, do you look forward to a
normal life of writing and producing again? 
Is there a specific project that you’ve been itching to return to?

I
don’t know if there is any such thing as normal life for a writer.  The last four months, however, have been very
abnormal.  During this strike, I shut
down for the first time in a very long time. The only writing I did was e-mail.
But the reality is that in the blink of an eye, many of us went from ‘striking
writer’ to ‘unemployed writer.’  It’s
very strange. But we are all pretty excited that we can get back to it.  We’re all going to have to readjust, but we
are all anxious to put this behind us and get back to where we were before the
strike started.

 

There
are two projects in particular that I want to reignite ASAP. One is a feature
spec, the first draft of which I finished just before the strike started.  I can’t wait to take that out into the
marketplace.

I’m
really proud of it.  I think writers often
feel that ‘this is the best work I’ve ever done.’  But this is a script that really ties
together everything I want to do as a writer, and hopefully someone out there
will see that and also see the movie I see.
 

The
other is a feature spec pitch that I sold. I am looking forward to my agent
completing the deal so I can start outlining and writing it.
 

But
I’ve learned not to predict what’s next in my writing career, because I certainly
didn’t plan my career to go the way it went. I didn’t plan to become a director
and yet I became one.

I
didn’t set out to make retrospectives, but I’ve done a lot of them. I didn’t
plan to spend lots of time developing and pitching as a producer, but that is
what I’ve done.

 

I
came to L.A. to
write sitcoms and write movies.  Last year,
with the developing/pitching/writing I did, I was back in touch with ‘pure’ writing.
 Even the picketing had that effect.  I feel much more like a writer today than I
did a year ago.

I would like to thank David for participating in this interview,
and for sharing some of his incredible experiences! He was very generous with his time and information, and it was a real pleasure to speak with him at length about writing, television and music.

Read More

Later this week, I hope to publish an interview with award-winning writer/producer/director David Leaf, which I conducted on behalf of Adopt A Writer. Even though the Writers Strike has ended, this fantastic project will continue to support the writers by highlighting their careers and many accomplishments.

This week’s Lost blog will be postponed; due to Valentine’s Day, my weekly Thoughts & Theories post will appear on Friday night rather than Thursday after the new episode. In the meantime, be sure to check out a new weekly installment on my other blog called Character Spotlight, as well as a new Lost contest (for a chance to win a season of the show on DVD).

Set your TiVO – Matt Nathanson will be performing on Jimmy Kimmel Live this Friday night (2/15)!  Here is a link to his appearance on Conan a few weeks ago.

I am aiming to blog the Oscars live on Sunday, February 24 in two parts: snarky red carpet commentary, followed by instant reactions to winners, losers and speeches.

Stay tuned!

Read More

If the writers approve the terms of the deal and vote to end the strike this week, below is a glance at how the rest of the 2008 television season looks, by show (series that I watch or have been asked about; all speculative at this point).

I
could have simply posted links to this information from several online
sources, but what fun would that be? Besides, I don’t think anyone
reading this really cares about the future of Aliens in America.

Let’s start with my favorite, and then return to alphabetical:

Lost: Six pre-strike episodes remain; potential for SIX more this year!

24: Returning 01/09

30 Rock: New episodes as early as April or May

Big Shots: Canceled

Bionic Woman: Canceled

Bones: Four pre-strike episodes will air beginning 4/14

Boston Legal: New episodes as early as April or May

Brothers & Sisters: Last pre-strike episode airs this Sunday; shooting additional episodes this Spring

Chuck: No new episodes until Fall

The Closer: New season will air this summer

Cold Case: New episodes as early as April or May
 
Criminal Minds: New episodes as early as April or May

CSI (all versions): New episodes as early as March or April

Desperate Housewives: New episodes as early as April or May

Dirty Sexy Money: No new episodes until Fall; 3 remaining pre-strike episodes being retooled

ER: No word

Friday Night Lights: No new episodes to air; future TBD

Gossip Girl: New episodes as early as April or May

Grey’s Anatomy: New episodes as early as April or May

Heroes: No new episodes until Fall

House: New episodes as early as April or May

How I Met Your Mother: New episodes as early as April or May

Journeyman: Canceled

Law & Order (all versions): New episodes to air this Spring

Life: No new episodes until Fall

Medium: Six pre-strike episodes will air; new episodes expected later this year

Men in Trees: Eleven pre-strike episodes will air

My Name is Earl: New episodes as early as April or May

Nip/Tuck: Last new episode airs next week; new season to film this summer

October Road: Five pre-strike episodes will air; future TBD

The Office: New episodes as early as April or May

Private Practice: New episodes unlikely until Fall

Pushing Daisies: No new episodes until Fall

The Riches: New season premieres next month

Samantha Who: Three pre-strike episodes to air; new episodes this Spring

Saturday Night Live: May air as soon as this weekend

Scrubs: Four pre-strike episodes to air; future TBD

Ugly Betty: New episodes as early as April or May

So…which show are you anticipating the return of the most?

Read More

Yes, I watch shows other than Lost, although it may not seem like it at the moment.

I have been neglecting to write about both new and beloved series, so here are some updates.

FRINGE

This is a brand new FOX series that sounds suspiciously and deliciously like a cross between The X-Files and The Twilight Zone. Did I mention that it is being produced and written by Lost creator J.J. Abrams? So hell yes, I’m there. Casting thus far includes Joshua Jackson (Pacey from Dawson’s Creek), Lance Reddick (formerly of The Wire and currently freaking us out as the mysterious Matthew Abbadon on Lost), Kirk Acevedo (Miguel Alvarez from Oz), British import Charlotte Rampling (Swimming Pool), and Blair Brown (The Days and Nights of Molly Dodd). It is currently filming (because the pilot script was completed before the strike began), so I hope to see a release date for later this year.

FRIDAY NIGHT LIGHTS

It pains me to report that one of the best shows on television is in danger of being canceled. Not only did NBC move the series to Friday nights (an insulting assumption that we’d forget when it’s on otherwise, and a huge mistake), the head of NBC Entertainment recently made the following statements about one of my favorite hours of TV:

“I love it. You love it. Unfortunately, no one watches it. That’s the
thing with shows. People have to watch them. We’re NBC, we have a
reputation to uphold. And, man, with this writers’ strike … well,
we’ll see what we can do.”

It would be a damn shame to discontinue FNL for many reasons, one of which is that Kyle Chandler and Connie Britton haven’t received their Emmys or Golden Globes yet (nominations and statues). Let’s just hope that another network picks up where NBC leaves off.  ESPN, for instance…

BONES

Bones will return on April 14.  Adjust your TiVO season pass – it will now air on Monday nights.

DIRT and THE RICHES

Both of their sophomore seasons on FX have been reduced to only 7 episodes each, which means that even when the Writers Strike is resolved, no additional episodes will be written or produced. And fans of both series might be disappointed to find that there won’t be any cliffhangers or even closure to the seasons of either show.

CASHMERE MAFIA v. LIPSTICK JUNGLE

I couldn’t get through the Lipstick Jungle premiere. Even if it had debuted before Cashmere Mafia, I wouldn’t have liked it; the characters are empty and the pace was ridiculous. Some might say that very thing about Cashmere Mafia, but I enjoy Lucy Liu and Bonnie Somerville in LJ ten times more than any of the women on CM.

KNIGHT RIDER

I had no intention of watching this rehash, because the original version wasn’t enticing either. However, I was more intrigued when I found out that the voice of the new KITT car was none other than Will Arnett (a.k.a. GOB Bluth from Arrested Development). And then it wasn’t. For some reason, Val Kilmer took over that responsibility. What, they wanted a cranky monotone delivery instead of a sarcastic one? Just who are they attempting to market this show to? This is strike 2 for NBC, in my book (see FNL above for strike 1).

SCRUBS

Ladies and gentlemen, I give you strike 3 for NBC. It is up in the air whether or not the show will even go back into production following resolution of the Writers Strike, but show runner Bill Lawrence is aiming to at least film the last 4 episodes ever of Scrubs for DVD distribution.

ARRESTED DEVELOPMENT

Great news for one of the most underrated (at least among viewers, not critics) comedies of all time…there are rumblings about an Arrested Development movie, with full cast and crew involvement!

Have a nice weekend! Should there be major developments in the Writers Strike, I will be sure to post updates.

Read More

Initial thoughts, questions and theories are now posted here on my LOST-centric blog. Come on over!

Additional blog now posted (Friday night). And I’m not quite finished with this episode yet…

Read More

As you all know, Matt Damon is the Sexiest Man Alive (according to People Magazine; if I were marooned on an island and had to choose, it would be Clooney). I was not aware, however, that Damon has a great sense of humor. Until now.

Click here to watch Sarah Silverman and Damon in one of funniest videos I’ve seen in a long time. Don’t open it at work, or just turn down the volume if you do.

Silverman has been dating Jimmy Kimmel for several years now, and Damon and Kimmel have an animated, jovial history together. If you’re interested in the back story, just go to YouTube and type in both names. But now I must switch over and post more Lost theories on the other blog.

Have a great weekend!

Read More