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Rachel picked several of the same words and images that struck me, particularly the note about life informing the kind of writing you do and Whedon's comment about falling in love with moments not moves. I thought Rachel also made a good catch pulling out the quote that you can't replace characters or anything else in front of the camera after the audience falls in love with it.

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Ali LeRoi is a true Renaissance Man. An Award winning writer/director/producer and Artist, Ali works in Film, Television, and Video, is an avid Photographer and plays the Bass on the side.

His love of photography began with the photojournalism he admired in Life Magazine and further inspired by the familiar, yet slick, images of Ebony and Jet Magazine. From those early investigations, Ali found the inspiration to execute his own street photography in the visual vernacular of Blackness; Images centered on depictions of black people rapt in the grandeur of their humanity, beset with complex narratives, far-expanding familial ties and the latency of desire. Black men, women, and children fill his frame with their hopes and dreams and experiences that extend beyond an all too familiar framing of black life as one of monolithic struggle and a singular pain. His imagery offers representations of the variety of black experience, the black space, broken yet thriving, and a portrait of a people in search of their place to call home. His work can be described as a gesture, one that allows the viewer to witness a subject in a manner that might enable one to see as deeply into oneself.

Ali is currently the President of the prestigious Humanitas Organization , devoted to highlighting those writings which promote human dignity, meaning and freedom

Ali LeRoi is an Award- winning writer/ director/ producer best known for his work on the critically acclaimed series, , CW's "Everybody Hates Chris", TBS "Are We There Yet?" and the breakout Hit for STARZ, "Survivor's Remorse". Ali has five Emmy nominations as well as one win, he's a two time winner and five time nominee for NAACP Image Awards, as well as scoring several nominations from the Golden Globe, WGA, and others. Ali's major motion picture credits include producing and co-writing "Head of State" and "Down to Earth," as well as producing cult-favorite, "Pootie Tang."

Ali is an avid photographer, having exhibited his work in several gallery shows and in print, and recently staged his first solo photography show "Self Portrait". He has also served on the Board of the Producer's Guild of America, as well as holding the current chair as President of The Humanitas Prize, a non-profit organization that awards and promotes the craft of television and film writers. Originally from Chicago, Ali LeRoi currently is working on several projects under his CBS Deal and in Post-production on his Indie Feature Film Directorial Debut, "The Obituary of Tunde Johnson."

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Ali LeRoi is a true Renaissance Man. An Award winning writer/director/producer and Artist, Ali works in Film, Television, and Video, is an avid Photographer and plays the Bass on the side. His love of photography began with the photojournalism he admired in Life Magazine and further inspired by the familiar, yet slick, images of Ebony and Jet Magazine.

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Does the network trust you to do the job?

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Does the network trust you to do the job?

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Screenwriting from Iowa…and Other Unlikely Places

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Screenwriting from Iowa…and Other Unlikely Places

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We can all agree that good storytelling is good storytelling; it doesn't matter if it comes from TV, Film, video games, comic books, or theater. There are critical aspects of storytelling that remain the same in every medium. That being said, there are important differences in writing for each an every one of them.

TV and Film are very similar, especially nowadays with shows like Breaking Bad, Game of Thrones, and Narcos turning into something like very long movies, instead of the episodic shows of old, still, there are significant differences between them.

TV shows have two or three distinct structures at play at the same time. They have the structure of the episode, which in one-hour dramas is usually a 4 act one, then they have the season structure, everything that's going on should lead to some sort of culmination at the end of the season. And then ideally, every season should serve the overarching narrative of the whole series.

A series like Avatar: The Last Airbender follows that triple structure, and does so very successfully, with all the characters arcs evolving through different seasons and culminating at the series finale.

Films generally have just one structure, unless they are part of something bigger like the MCU, so its easier for a writer to plot out a movie rather than a whole series.

In film, writers usually have a small set of character and very rarely do they get to develop different arcs for all of them. You see, films are restricted by time in a way TV isn't, so you only have about two hours to tell your tale, which means most of the writers' attention goes into the main character, and maybe one or two secondary ones.

Take Star Wars: Episode IV, for example, during the movie, most of the attention and change is focused on Luke and his hero's journey. The only character to change during the film besides him is Han Solo, who goes from "lone wolf" to a regular member of the rebellion.

In TV you have much more time, which means writers have more freedom to develop the characters and their respective arcs. And not only that, in TV writers have the luxury of a much larger cast, where many different stories and arcs can spawn off.

Take something like Game of Thrones or Orange Is the New Black, both of these series have large casts, and many of the characters in them get to evolve and develop throughout the seasons.

As we can see, writing for TV can be very challenging, one has to keep in mind different overarching structures, a large set of characters, and their respective arcs while writing. For these reasons writers rarely tackle TV shows alone, they have a "Writers' Room" where many writers, led by the showrunner, plan what's going to happen during the season and on each of episodes. TV writing is very collaborative, and even though just one writer might sign the final script of the episode, many others influenced the story and the plot points inside of it.

Movie writing is rarely that collaborative unless writers are dealing with a big franchise, then they might have some writers' room or team to tackle the story of each film. But usually, a single screenwriter takes on the script, and then he does different versions of it depending on the notes he gets from producers and studio executives.

TV writing and film writing are similar when looked from afar, but when you really get into the minutia of each medium, you'll see more and more differences between them.

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3 Differences Between Film and TV Writing

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We can all agree that good storytelling is good storytelling; it doesn't matter if it comes from TV, Film, video games, comic books, or theater. There are critical aspects of storytelling that remain the same in every medium. That being said, there are important differences in writing for each an every one of them.

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Fall in love with moments not moves.

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Damon Lindelof: We're writing a new script every 10 days vs. 1 script for film.

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Damon Lindelof: We're writing a new script every 10 days vs. 1 script for film.

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Look at the seasons as a whole as opposed to a certain episode-by-episode analysis.

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A movie has a clear beginning, middle, and end, while TV shows are episodic and allow for multiple beginnings, middles, and ends.

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A movie has a clear beginning, middle, and end, while TV shows are episodic and allow for multiple beginnings, middles, and ends.

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If you're doing [showrunning] correctly....everyone is a little annoyed with you.

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If you're doing [showrunning] correctly....everyone is a little annoyed with you.

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Most shows aren't smash hits. 84% of new shows in America fail.

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The lifeblood of a television show.

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Forensic anthropologist Dr. Temperance "Bones" Brennan and cocky F.B.I. Special Agent Seeley Booth build a team to investigate murders. Quite often, there isn't more to examine than rotten f... Read all Forensic anthropologist Dr. Temperance "Bones" Brennan and cocky F.B.I. Special Agent Seeley Booth build a team to investigate murders. Quite often, there isn't more to examine than rotten flesh or mere bones. Forensic anthropologist Dr. Temperance "Bones" Brennan and cocky F.B.I. Special Agent Seeley Booth build a team to investigate murders. Quite often, there isn't more to examine than rotten flesh or mere bones.

Review

It has got potential that is for sure. I know there are a lot of forensic shows out there at the moment so what do we need one more for? Well it is always nice to see nerds being portrayed in a positive manner, and if this is how we get David Boreanaz back on our TV-screens on a regular basis then that is fine with me. Yes that was a totally brainless and girly thing for me to say but it is the honest to God truth so there you have it. Also I would like to defend this show for it only being what, 3 or so episodes old and we all know that a show can change quite a bit as it goes. So how does this stand out from all those other forensic show? Well I think it was about time that somebody realized that anthropology is more than just observing people in the rain forest or whatever, but that in fact it is a very useful science. I for one is looking forward to being entertained in the future. Because really is that not what it is all about - entertainment?

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Bones: Created by Hart Hanson. With Emily Deschanel, David Boreanaz, Michaela Conlin, T.J. Thyne. Forensic anthropologist Dr. Temperance "Bones" Brennan and cocky F.B.I. Special Agent Seeley Booth build a team to investigate murders. Quite often, there isn't more to examine than rotten flesh or mere bones.