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2008: The Directors and Writers Thread


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When the ATWT breakdown team were moved to scripts, they got rid of their most expensive script writers, to make room for Brash, Levinson and Connor. (I believe it was Culliton and Nipkow who were fired. They were both on a one-and-a-half-episode a week contract, and the other three are on a one-episode, I believe. I could be wrong about the details.)

Rayfield was hired because with Laiman and Passanante being the only ones writing breakdowns, they realized they needed someone who can do breakdowns AND scripts for when one of them goes on vacation. Culliton probably could have filled that role just fine, but rumor has it he can be a little hot-headed when it comes to being in the breakdown room, and in Christopher Goutman's world, it's all about keeping your head down and doing what you're told, not rocking the boat.

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I don't really know the answer to either question. My assumption is that a good script writer can make 30-50% more than the minimum per script. And when they're doubling up sometimes (writing two episodes a week instead of one), that adds up quickly.

I have no idea how much cheaper the other ones are. My sources don't talk numbers.

FYI, I don't agree with this. I think losing Culliton and Nipkow was a huge blow to ATWT. I have nothing against the the three former breakdown writers, but Culliton and Nipkow were definitely the strongest dialogue writers ATWT had. They thought outside the box in terms of the voices and the scene structure. But, budgets are being slashed all over the place. And if you can do the job, and do it cheap, that's clearly Priority Numero Uno.

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I don't like the fact that Leslie hasn't been snatched by now. OLTL, for example, is in dire need of good writers. But, as you point out, the budget is the main reason. And probably the executives didn't like her very vocal support of the strike.

Too bad...

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