Inside the Writers' Room: Top TV Writers Talk

[@john-giovannicorda3456]

As a music composer, I am more objective when I become sick and tired of a piece after struggling with it and then I file it away for days or weeks or months. Then, more than once, I've gone back and re-visited those sketches only to find some really really good writing. I even ask myself - "Did I write this?" in a happy moment of self-satisfaction.

[@john-giovannicorda3456]

I compare sensory mechanisms within the human life. Hearing and sight each have restricted, highly specialized and expansive leeway when experiencing the arts. For example, we can change the tempo when live players play music to create new moods, almost as if by magic. But how do we "slow down" or "speed up" when viewing really good painting it an art gallery? We cannot "watch faster" or "slow down" the speed of light, yet the static nature of the painting can give immense pleasure when looking at it. Re: the script and screenplay. They can be so expansive in how they "set the stage" for either "action" or. . . "inaction". Waiting [subconsciously anticipating] for "what happens next" [when watching a movie, cable show, video] is ripe for having the senses holding back sense of passing time, speeding it up, or anything in between. That is so special. The perception is truly within the "mind's eye." The words on paper [of a script] can have a world of life waiting "between the lines". We all have watched, say, "The Maltese Falcon", many times over, and we remember much of it as part of the "take away" from our enjoyable moments watching that great movie. Well, recently I came across the complete screenplay pages for "The Maltese Falcon". As I read it page by page, it was as if the movie was playing once again for me to see and hear. That can be the magic of a well crafted script, screenplay, treatment.

[@john-giovannicorda3456]

This is some of the best education on youtube.

[@MANZANOADRIAN]

WMR