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ScreenplayLab's Gabrielle Pantera and Robin Rowe are moderating panels in April for the Scriptwriters Showcase event hosted by Scr(i)pt magazine. |
Robin Rowe's Panels
COMSIT: The Comedy Situation (TV Writing)
Friday, April 7, 2006, 1:30pm to 3pm
Sheraton at Universal Studios
| Writer-producer Fred Fox Jr., known for HAPPY DAYS and JOANIE LOVES CHACHI |
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President of development and production Michael Forman of Big Cattle Productions, (production deal with NBC Universal Television Studio), formerly NBC VP of programming and UPN SVP Programming |
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Writer-producer Fred Fox Jr., known for HAPPY DAYS and JOANIE LOVES CHACHI |
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UPN exec producer Jim Tripp, known for EVE and MOESHA |
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Writer-producer Patric Verrone, known for FUTURAMA and THE SIMPSONS, and is currently the president of WGA West |
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Moderator: Robin Rowe |
- What's the status of the sitcom market? Sitcoms seem to be recovering from the impact of reality programming. Why were they hit so hard and why is it getting better?
- How does the sitcom market work? How does a show get launched and who's looking for material now? How has that market changed?
- How have sitcoms changed? What's different today about how they're being written and produced? How are changes at the networks impacting sitcoms? What are the trends for the future?
- Where's the new talent coming from? Is there a system to nurture the development of new writers, showrunners, and sitcom actors? What should that system be?
- How can writers and producers create more and better sitcoms? Are there any secrets to success?
Will poll the audience by a show of hands
before starting. How many are writers? How many are writing alone?
How many with partners? Who has a manager? Who has an agent?
How many are producers? How many are actors? Who has worked on
a sitcom in production? Who is writing a sitcom script now?
The Animation Fascination
Saturday, April 8, 2006, 1pm-2:30pm
Sheraton at Universal Studios
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Writer-producer Gordon Bressack, known for PINKY AND THE BRAIN |
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DreamWorks development exec Karen Foster, known for MADAGASCAR and SHARK TALE |
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Writer and executive producer Jonathan Groff, known for FATHER OF THE PRIDE and formerly headwriter Late Night with Conan O'Brien |
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Sony producer Amy Jupiter, known for OPEN SEASON |
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Pixar producer John Walker, known for THE INCREDIBLES |
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Moderator: Robin Rowe |
- What's the status of the animation market? Lots of companies are getting into feature animation. Why is animation so hot today?
- How does the animation market work? What's the process for selecting and developing stories? How does a film get launched and who's looking for material now? How has that market changed?
- What makes a successful animated feature? What types of stories are studios seeking in animation?
- How has animation changed? What was the transition like and how has the move from 2D to 3D changed the animation market? What's different today about how they're being written and produced? How are changes at the studios impacting animation? What are the trends for the future?
- Where's the new talent coming from? Is there a system to nurture the development of new writers, producers, directors, and voice actors? What should that system be?
- How can writers and producers create more and better animation? Are there any secrets to success?
Will poll the audience by a show of hands before starting. How many are writers? How many are writing alone? How many with partners? Who has a manager? Who has an agent? How many are producers? How many are actors? Who has worked on animation in production? Who is creating an animation story now?
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Gabrielle Pantera's Panel
Sugar & Spice (Feature Film Writing, the Strong Female Character)
Saturday, April 8, 2006, 9am-10:30am
Sheraton at Universal Studios
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Actress-writer Heather Hach, known for FREAKY FRIDAY |
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Writer-actress-producer Massy Tadjedin, known for THE JACKET |
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Writer-producer Lizzy Weiss, known for BLUE CRUSH |
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Moderator: Gabrielle Pantera |
- What's the status of the strong female character in television and film?
- How do shows with strong female characters get launched and who's looking for material now? How has the market changed?
- How have strong female characters changed? What's different today about how they're being written and produced? How are changes at the networks impacting strong female characters? What are the trends for the future?
- Where's the new talent coming from? Is there a system to nurture the development of new female writers, producers, and actors? What should that system be?
- How can writers and producers create more and better strong female characters? Are there any secrets to success?