The Business

<p>To understand the current writers' strike, you need to understand the long and contentious relationship between screenwriters and the people who write their checks. This week, Part II of our conversation with Oscar-winning scribe <b>Marc Norman</b> about his new book, <i><a href="http://www.amazon.com/exec/obidos/external-search?tag=kcrwcom-20&keyword=9780307383396" target="_self">What Happens Next</a>: A History of American Screenwriting</i>. Plus, while the writers strike, video games rock on - literally.<br /></p>

<p>To understand the current writers' strike, you need to understand the long and contentious relationship between screenwriters and the people who write their checks. We put that relationship in the therapist's chair with Oscar-winning scribe <b>Marc Norman</b>, author of a fascinating new book called <i>What Happens Next: A History of American Screenwriting</i>.<br /></p>

<p>The writers' strike will effect everyone in Hollywood, but it's broadcast television that has the most to fear. We get strike analysis from executives who lived through the last one.<br /></p>

<p>What does a producer do? We talk to two producers-turned-studio-execs about what they did then and what they do now. Plus, a chat with Hollywood's man in Washington, MPAA CEO <b>Dan Glickman</b>.<br /></p>

<p>The musical <i>Wicked</i> is a global phenomenon that's made scary profits for Universal Studios. We talk to producer <b>Marc Platt </b>about Hollywood's all-time most successful film--that isn't yet a film.<br /></p>

<p>The UPN and the WB lived but a short decade, but they changed television forever. Now, the former president of entertainment at the WB and a veteran TV journalist have written a compelling and cautionary tale for anyone thinking about starting a new network. Plus, get out your calculators—it's the tax-incentive derby.<br /></p>

<p>Ang Lee turned a gay cowboy movie into Oscar gold and box-office green, but can his new film overcome a rating of NC-17? Plus, the high-risk gamble of self-distributing a low-budget film.<br /></p>

<p>After a high-profile legal battle to take his name off <i>American History X</i> and replace it with a wacky pseudonym, <b>Tony Kaye</b> became <i>persona non grata</i> in Hollywood. Nearly a decade later, he's back with a new documentary in theaters and two features on the way.</p>

<p><i>Mad Men</i> is a series on the cable network AMC, set in the New York ad world of the 1960's. While the show showcases a variety of real world products, not all of them pay for the privilege.<br /></p>

<p>The William Morris mailroom is the high-stress, low-pay, <em>sanctum sanctorum</em> of show biz. It can lead you straight to the top or leave you in strait jacket. Plus, what does it mean when a writer takes his name off a film?<br /></p>

<p>A conversation about the vital, essential, but ultimately disposable Hollywood writer with Oscar-winner <b>Akiva Goldsman</b>. Plus, an agency assistant says 'goodbye, farewell, <i>auf wiedersehen, adieu'</i> in an e-mail that got Hollywood's tongues awaggin.'</p>

<p>Samuel Goldwyn said, "The harder I work, the luckier I get." We catch up with writer/director <b>Richard Shepard</b> who got "lucky" at the Sundance Film Festival in 2005. Plus, residuals, revisited.<br /></p>

<p>The $37 billion business that mainstream journalists and Hollywood can no longer afford to ignore--it's a look at the burgeoning video game industry. Plus, we revisit our chat with agent to the (underage) stars, <b>Bonnie Liedtke</b>.<br /></p>

<p>Who gets paid what and why in Hollywood? We talk back-end, quotes and residuals with agent and manager-turned-producer Gavin Polone. Plus, halting the slippery slope for out-of-control celebrities who might be on their way to prison.</p>

<p>It's a case of life imitating art imitating life! We talk with a filmmaker who had to convince U2 to OK his movie about a man trying to convince U2 to play a concert. Plus, are we seeing the last residuals of residuals?"</p>

<p>We talk to former studio chief and super fundraiser <b>Tom Sherak</b> about getting the big shots to share their kibble in a dog-eat-dog industry. Plus, on the occasion of Lindsay Lohan's re-arrest, we re-visit celebrity spin-doctor <b>Mike Sitrick</b>.</p>

<p>While Jack Sparrow and his crew were raking in buckets of dubloons at the box office, pirates of a different kind were plundering Hollywood's treasure chest.<br /></p>

<p>What does it mean for your TV show to be on the bubble? We speak with the producers of <i>Scrubs</i> and <i>Jericho</i> about coming back from the brink of extinction.</p>

<p>He wrote, directed, produced and starred in the 2004 indie comedy <em>The Almost Guys</em>, but given the rest of his experience in Hollywood, "the almost guy" is a label he's fighting to avoid. <br /></p><p><br /></p>

<p>Dove beauty products inked <a href="http://www.campaignforrealbeauty.com" target="_blank">an inventive deal</a> to help finance the long-languishing <a href="http://imdb.com/title/tt0430770/" target="_blank">remake</a> of the 1939 classic <a href="http://imdb.com/title/tt0032143/" target="_blank"><em>The Women</em></a>. Plus, what's a first assistant director?</p>

<p>Hollywood's spin-doctor on the recent epidemic of celebrity scandal. Plus, Hollywood fundraising for a Republican presidential candidate.</p>

<p>We look at the wonderful world of the great white way through the lens of a new documentary called <i>Show Business: The Road to Broadway</i>.<br /></p>

<p><span>After NBC fired its president, we ask another former programming chief about the upside of getting canned.<span> </span>Plus, would-be presidents come to Hollywood in search of dead presidents.</span></p>

<p>This week on The Business, will changes to the way movies are rated change what you see on the big screen? We'll talk to the head of the MPAA's rating board about what's new and why. And, what can different ratings mean for a movie's box office potential? Plus, a report from the Cannes Film Festival.</p><br /><p><br /></p><p><br /></p>

<p><span>Horror films are once again scaring up terrifying box office numbers! We check in with the director of the wildly successful <i>Hostel</i> movies, then cut to the producer of the <i>Saw</i> movies.</span></p>

<p>An unusually candid conversation about race and writing for movies and television. Then, the new Writers Guild report on how white the writer's room remains.<br /><br /></p>

<p><span>Is <i>Spider-Man 3</i> the most expensive movie ever made? And why should we care? Plus, life's a pitch, and then you write...</span></p>

<p>Is that laughter coming from your television fresh or canned? We talk to <b>Chuck Lorre</b>, creator of some of the most popular sitcoms in TV history. Plus, USC students practice the art of the pitch--and we ain't talking about baseball.<br /></p>

<p>We use the funny new feature film, <i>The TV Set</i>, to show how real television pilots fight their way to the little screen. Plus, a conversation with the agent-turned-author of <i>Hollywood Girls Club</i>, the deliciously salacious and sometimes true novel about women and power in Hollywood.<br /></p>

<p>For the past 30 years, <b>Stan Winston</b>'s Studio has built some of the scariest and most memorable film effects by hand. But are digital effects rendering Winston's old-fashioned movie magic obsolete--or indispensable?<br /></p>

<p>HBO's hit show <i>Entourage</i> goes deep inside the business of show business. This week, we go deep inside <i>Entourage</i> with the show's creator, <b>Doug Ellin</b>.<br /></p>

<p>The Television Academy changes its Emmy rules to make them more fair--and less embarrassing. Also, so you think you've got the pipes to make a bundle voicing TV commercials? You'll know for sure as we give voiceover the once-over.</p>

<p>The Swifty Lazar of kid's agents shares horror stories of Mafia moms, Clearasil emergencies and casting for the role of the 'chubby kid.' Then, what it means when your kid wants to be a star. Finally, all scripts are not created equal, so why do they all look like?<br /></p>

<p>A wave of Wall Street money washes into Hollywood, but will the investors be taken to the cleaners? Then, one man from the street puts up his personal money for a slice of an indie film. And, the writer speaks again!<br /></p>

<p>We go to Threat Level Red as we look at filming abroad in a time of terrorism and political unrest. <br /></p>

<p>Hollywood's littered with rich guys who've thought they could beat the game, but is producer Bob Yari the mark or the hustler?<br /></p>

<p>What do you do when your venerable music festival is in trouble? You turn Ozzfest into Freefest!<br /></p>

<p>How does Hollywood rank on the global trust barometer? Also, everyone -- in Hollywood -- hates novelist Chris Moore, and the seventh conversation in our series on the business of writing.<br /></p>

<p>Mr. Hollywood goes to Washington to launch a major charm offensive. Plus, the sixth conversation in our series on the business of writing.</p>

<p><span>The good news is, you've finally landed that break-out part. The bad news, they're covering your face with a squid. </span></p>

The studio lions throw themselves to the Christians. We hear how -- and why -- in a conversation with Jonathan Bock, to the man who helps preach Hollywood's holy word.