Agnes Moorhead AS Endora

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Now that we've had a word from our sponsor, let's get to some Friday questions and answers.

Matt has a…

QUESTION: From time to time during opening show credits you'll see the list of actors/actresses in the show and there is always one actor (or actress) who is listed along with the name of the character they play. Why is this?

To improve his billing and separate him from the other cast members. It’s all negotiated in advance and can be a royal pain-in-the-ass. If an agent’s client can’t get top billing they want a “with” credit or “as ‘character name’ credit – anything to set them apart from their fellow castmates. This can get very sticky when you have an ensemble cast and every actor wants some special recognition. And it’s one thing if it’s the great stage and film star, Agnes Moorhead playing Endora on BEWITCHED; it’s another if it’s some skeesix who starred in a series of plumbing commercials.

Credit placement is also an issue. You’ll notice on CHEERS that Ted and Shelley share a card. Ted is first (on the left) but in the lower half of the screen while Shelley takes second billing but her credit is higher. I think Paul Newman and Steve McQueen had the same arrangement in THE TOWERING INFERNO (although it might have been Paul Newman and Shelley Long. It’s been awhile since I’ve seen it.)

Here’s one from anonymous (please leave your name, folks.)

Since a spec is meant to (hopefully) impress a showrunner with how well you understand and can handle the show, is it better to write a small 'family script' (concentrating on the core characters), or a larger one full of other characters, locations, etc. For example: the Cranes at home, or on the road? Hawkeye in the Swamp, or chasing an ailing soldier all over Korea?

The small family script is vastly preferable. Don’t do anything too ambitious. That’s a huge trap. Keep guest stars to a minimum. You show that you can write the best possible episode within the framework of that show. Leave the “special” episodes to the show’s producers.

We once received a spec of WINGS where the teaser was seen through the eyes of a fly in the room. Shockingly, it didn’t sell.

From Bob Summers:

I know you hate the question at a pitch meeting about "What's the first episode of season 7?", but what about shows like "Lost" and now "Flash Forward"?

When everyone sees six months in the future, how do you even think about how are we going to be relevant in season two?

I wondered the same thing watching the FLASH FORWARD pilot (that and what role will Sonya Walger get next?). Maybe after April 20, 2010 everyone will fall asleep again for two more minutes. I wouldn’t drive or get on a plane past that date, that’s for sure.

LOST has managed to ingeniously find ways to keep the story going forward (and backwards and sideways). But there are a number of recent series whose premises seemed very limited to me. After they break of out prison in PRISON BREAK, then what? The truth is the producers didn’t know either.

Last year there were shows about wedding days and worst weeks. How do you sustain those premises? But networks were so intent on looking for shows with “big hooks” they either didn’t ask those questions of longevity or just didn’t give a shit. Get an 18 share now. It’s not like the executives making the decisions are going to be in those jobs in three years anyway.

A couple of seasons ago ABC had a show about a bunch of idiots trying to rob Mick Jagger. What would happen year two – they’d rob Pauley Shore?

What’s your question?