Children Of Tendu

The Children of Tendu know drama... but they are not nearly as knowledgeable about the world of comedy... so to tell you how to break into comedy, what the work is like for writers there, and how to have a long, successful, and productive, career, Javi and Jose called in a team of experts: Steve Baldikoski and Bryan Behar - a writing team with twenty years in comedy who currently co-executive produce the hit Netflix series "Fuller House" - and Kate Spurgeon - who recently completed the Warne Bros. Writing Fellowship and is currently in her first writing gig, also on "Fuller House". In this very special episode, these amazing ambassadors from the comedy world drop some serious wisdom on the funny!

In the last two Children of Tendu podcasts, Jose and Javi walked you through Pre-Production and Production... now comes the Grand Finale: Post - AKA: "what happens after you have written your script and it has been filmed". In this supersized special episode, Javi and Jose describe not just the massive effort required to get a show from the camera to the air, but also describe the vast army of artists involved, and lay out a blueprint for writers to successfully work their way through the process the Tendu way!

The script is done. You have navigated the slings and arrows of pre-production. The cameras are rolling: what does the writer/producer do on the set? What are the pressures, politics, and practicalities of filming an episode of television? And what are the common mistakes and missteps for new and experienced writers to avoid when they step foot in that mysterious maelstrom of activity known as "production"? Jose and Javi answer your questions, and question your answers in... The Production of Tendu!

In this special, super-sized, episode of the podcast, Jose and Javi break down what happens in that crucial time between the moment a television writer finishes writing a script and when the cameras roll... what is Pre-Production? What is the role of the writer/producer during this crucial process? How do all the pieces that go into making an episode of your television come together, and how do all the problems get solved - or don't - before your favorite show actually gets filmed? Tune in to this information-packed episode... and stay tuned for the cliffhanger ending, in which Jose and Javi promise to eventually cover... Post-Production!

On Friday, May 13, the internet was abuzz with news of the pickups and cancellations of dozens of television shows -- feeling the nervy vibe, Jose and Javi took to Periscope to answer questions about pilot season, the upfronts, network ad sales, why some shows get cancelled -- and why others get picked up -- and if there's hope for your beloved but cancelled favorite (we're lookin' at you, Agent Carter) to find a new home after being kicked off the network nest!  The thrills and confusion of pilot season was demystified during this hourlong live session... and now, here it is in podcast form!

As part of his "Anatomy of a Pilot" class at UCLA, writer/showrunner/show-creator/nice guy Richard (Miracles, Grimm, Witches of East End, Supernatural) Hatem invited the Children of Tendu to speak to his students, and to submit to his rigorous questioning about the business of television, the role of the writer in the writers room, the set, and in the collaborative hierarchy of series television... the Children of Tendu, as you might imagine, had some very pointed opinions about all of this! to find out more about the UCLA extension writers program - without whom this recording would not have been possible - check out their website at http://writers.uclaextension.edu

In this brand new, supersized episode, the Children of Tendu look at the business of television from the tippity-top, leveraging their combined forty years of experience into a discussion of showrunning. In our Golden Age of television, what does it mean to lead the creation of a television, how does it work, and what are some of the sins committed by both experienced and inexperienced managers in the pursuit of getting the show on the air by any means necessary. This episode is an in-depth discussion of Javi's essay "The Eleven Laws of Showrunning" which can be found on his personal webpage both for reading online and as a downloadable PDF.

We are now in the thick of that most dreaded of seasons: staffing. For three to four months, every television writer in Los Angeles waits on pins and needles to find out which shows will return the next season and which pilots get picked up to series -- and hovers over the phone to hear whether they will be getting job interviews to become staff writer/producers on those shows. To soothe your frayed nerves and talk you down during this nerve wracking time, the Children of Tendu have recorded "Tendu or Do Not: Children on the Ledge," in which Jose and Javi not only dispense useful advice on how to survive this trying time of the year, but also share war stories from some of their most harrowing staffing seasons to date. Also, Javi sings the Spanish-launguage jingle from the Schaeffer beer commercials of his youth, and Jose delivers the best ever reading of the line "large cocks."

In a very special two-hour Children of Tendu Special, Jose and Javi interview special guests Akela (V, Grimm, The Witches of East End, The 100) and Deric (Warehouse Thirteen, Beauty and the Beast) Hughes on the controversial topic of diversity inb television. Informed by personal anecdotes illustrating the good, the bad, the questionable, and the blatant, Jose, Javi, Akela, and Deric provide an in-depth discussion of what it is like to be a "diverse" write in an industry that has not always - and may still not entirely - welcome difference within its ranks. They also digress... a lot.

A mere week ago, Jose (Agent Carter, Sleepy Hollow) Molina and Javier (Lost, The Middleman) Grillo-Marxuach set off on an epic road trip to Las Vegas Nevada - their goal? To not only make it to Sin City alive, but to record a super-sized podcast answering your questions about television, the business and the cradt of writing during the drive! Among the topics Jose and Javi cover in this rambling mutual interview? How do writers decompress after a season of building stories... can one burn out on a show, and how do you leave gracefully... writing spec scripts for staffing versus writing pilots or plays... the concept of "eye protein"... weird things happening at a circle K... how do jose and javi critique their own, and other people's material... how do you get a script from good to great - or from great to good... "writer hypermilling"... what would be their dream show to run... their twenty years ongoing debate about ER vs Chicago Hope (hint, Jose is WRONG)... how do you respond when a showrunner insists tha

Batten down the holiday hatches and gird your Yuletide loins -- Jose and Javi are back at the mic for a two-hour, no-holds-barred, three-fisted discussion of that most mysterious part of their job: the writing process!  Do they make outlines? Do they just "wing it?" Do they plan in advance? Do they "find their plot and characters on the page?" And most importantly -- do they know what's in every one of their characters' pockets? Let's face it, these two guys can tell you all sorts of stuff about how to make it in showbiz -- but when they face the empty page -- do they have what it takes?  Only one way to find out... and it's going to take two hours of your life!

In this - the final episode of the first season of the Children of Tendu Podcast - Jose and Javi sit down with a small group of avid listeners - all of them aspiring writers, producers, directors and executives - and answer their questions in real time! Topics include race and gender in the entertainment industry, adapting other people's original material, what should you ask for when you are a new writer and your project gets optioned, great moments in Spanish profanity, one person's completely irrational hatred of Eddie Money, and why EVERY writer should have a good psychotherapist. For a grand finale, Javi and Jose subject one another to the famed questionnaire used by Bernard Pivot AND James Lipton to probe the depths of their guest's psyches... and then, in a thrilling act of shocking destiny, Jose makes Javi cry!

The holy grail of television writing is creating, selling and running your own show... but what happens when you sell a pilot and are not yet a showrunner, or when you are a showrunner but do not have a pilot? In this - the second to last episode of season one of the Children of Tendu Podcast, Jose and Javi tackle the rocky road from idea to script to pilot to series - a journey whose many possible outcomes will shock, amaze, and perhaps even terrify you.

Ask any writer what they hate most and you will very soon arrive at the answer "notes." As the Children of Tendu podcast races to the scintillating climax of its inaugural season, Jose and Javi take on the creative and business relationship between writers and their studios and networks, debunking the notion that this is by nature an adversarial process between creativity and commerce, and discussing how and why notes are not only unavoidable but also a crucial and useful part of creating television. Also, what are "scroutlines," "scriptments" and "sproses"? Why Javi can't remember "timey-wimey-wibbly-wobbly" when he's on the spot? And why "taking a time out" is not just for toddlers anymore.

Part 1 of a special Nerdist Writers Panel/Children of Tendu event! If you listen to Children of Tendu, you have heard the names "Rene Echevarria" and "Naren Shankar." Both are fantastic writers, both are veterans of the Star Trek: The Next Generation writers room, and both are important mentor figures to Jose and Javi. In this first part of our interview with our mentors, we are aided by the indomitable Ben Blacker as Rene and Naren discuss the early days of their own career with a special focus on their relationship with Star Trek, it's showrunner Michael Piller, and how that series's culture helped them become both successful writers as well as successful mentors to otger writers. And if you like part one, part two - featuring tons of useful advice from Rene, Naren, Jose and Javi on process and creativity - goes live Tuesday, may 6th, 2014 on the Nerdist industries website, under the aegis of the Nerdist Writers Panel - http://www.nerdist.com/podcast/nerdist-writers-panel/

Showrunners. Some are great. Some are lousy. Some are geniuses. Some are legends in their own mind. What do showrunners actually do? What is their day like? How do you relate with someone who has the weight of the world - and a myriad of strange managerial, creative, and executive problems - on his or her shoulders, and who - most importantly - is responsible for every facet of your existence while you work on a show? Bluntly: the showrunner is the alpha and the omega, and you serve at their pleasure, so how do you go along, get along, and avoid making the rookie mistakes made by Javi and Jose as they made their way through the trenches of television?

Picking up from last week's topic - "What Do All Those Producer Credits Mean" Jose and Javi move from defining the role of the writer/producer on TV to giving practical examples of the work of the upper level producer with a focus on post-production. From dealing with actor notes, to editing, sound, giving and receiving notes - and carrying "Ned Stark's sigil" - Jose and Javi only leave a few facets of the work of the writer producer unexplored. Also, they tell poop jokes, discuss "spotting" and sing the song from "Pinky and the Brain."

The career path for a television writer is a long and winding road that leads to a producer credit - but what does it mean to be a writer who becomes a producer? Do writers who rise to producers still write? What do all the different producer credits mean? What are the responsibilities of writers when they become producers? In this scintillating episode, Jose (of Firefly and Castle) and Javi (Lost, The Middleman) talk about what it means to rise up the food chain as a television writer, how writers become managers of a TV show's crew... and what is it that all of your collaborators on and off the set actually do - and why knowng is crucial!

In this very special episode of the Children of Tendu podcast, Jose and Javi welcome Michele Fazekas and Tara Butters: creators and shorunners of the beloved "Reaper," showrunners of "Resurrection" and executive producers of Marvel's forthcoming "Agent Carter" to answer some questions about the life and creative process of a writing team, the specific challenges faced by women writer/producers in the entertainment industry, how to run and staff a successful show, the role of mentorship in their careers, how to get yourself staffed... all that, and to learn the meaning of the the mysterious filmmaking trick known only as "the cowboy handoff."

What is it like to face the dread of the empty page... when you are doing it for pay and as part of the writing staff of a television series for the first time? In this thrill-packed episode, Jose and javi share the stories of their first episodic assignments on staff (on Dark Angel and seaQuest, respectively), and give you a blow-by-blow of the process so that you do NOT make the same mistakes they did!