| Subject: I think it's a good thing |
Author:
OTWB
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Date Posted: 22:10:29 03/30/04 Tue
In reply to:
ladyday
's message, "Have you noticed...............?" on 14:35:15 03/30/04 Tue
I saw some breakdowns a few years ago, and finally got what it is they do. The worst part of the breakdown team, is that they are not really as controlled by the HW'ers as they should be. It's like hearing a really funny joke, with a very poor delivery, if the BD team is bad. Most of the breakdown writers were hired by Phelps. Tomlin hired Broderick, but I really don't think she was ever right for OLTL.
I heard a while back, don't ask where, but one of the control issues with M&G per OLTL had to do with their ability to have more control on the writing staff. They had little to none. The breakdown writers and dialogue writers are on contract with ABC Daytime, not with OLTL, meaning that they had little to no control over them. Once a HW spits out the outline of the story, the BD writers actually WRITE the plot devices and scenes that make it happen, the dialogue writers merely write the script.
Thus, a story is never going to be any better than those breakdown writers can write it. I think with Malone and Griffith's history of working so closely, and Griffith now heading up the breakdown writers, OLTL, might actually start to make sense for more than five minutes at a time.
Dare I hope?
I'm not holding my breath, blue isn't my color but I'm a little more hopeful, I guess.
>In the credits now Malone is Head and Griffith is
>listed at the top of the Break Down writers. It no
>longer says Co-Head Writers....wonder what that's all
>about?
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