Y&R: Anthony Morina OUT as EP!

[Broderick]

To me, that's just Lack Of Imagination.  How hard can it be to plan a unique shot in advance (when the director and his/her assistant first get the script) and then execute it the day of taping.  They don't even try.  And that's one reason the show seems so static -- the characters are just sitting in one place, with no movement at all, because it takes less rehearsal if they remain seated, and it takes less imagination on the part of the director who doesn't have to bother with a zoom shot or an overhead shot or anything else halfway creative.  

[DramatistDreamer]

The soaps these days look like they only use a single-camera filming technique, which is cheaper than multi-camera. I don’t know whether it is but last time I watched, it sure looked like it.

Those camera operators from that Calhoun-produced era were truly gifted. Most of the sequences that I am referring to were done in a single take, although there probably was some rehearsal and at the very least blocking involved. I have filmed and edited my own scenes in grad school and I can tell you, rehearsal or not, the technique involved to shoot with that type of fluidity, that takes skill! And it requires a lot more dexterity when you’re filming and editing in analog, rather than digital equipment. I just doubt that that type of skill is being taught these days. 

Edited December 21, 2022 by DramatistDreamer
Sequences, not scenes

[Paul Raven]

Wouldn't single camera require multiple takes to get all the angles? That would be more expensive.

I believe it is still 3 camera but with limited movement to save time and money.

[DramatistDreamer]

It depends on your perspective.

For a soap with multiple characters, it would make more sense to shoot with a multi-camera setup to get multiple perspectives. If you have a show where you have 3 or 4 characters which usually involves shorter scripts, or you’re filming on location and not a stationary set and you need to show movement, it makes no sense to have more than one camera, it would be unwieldy and unworkable and from working on independent film production, time is definitely money.

 I mean, wasn’t Guiding Light using handheld towards the end, lol.

If you have people who know how to work a camera, I don’t think that’s what busts the budget. It’s more likely to be the talent, the sets and the wardrobe. The multi-cameras that are used to film sports, now that costs a whole lot of money!

[SheenaSoaper]

Is Tony Morena still together with Saally Sussmans? Did 5hey get a divorce?

 

Kay Ald3n should come back to write. Or is she have brain problems?

 

What about Jean Passhante or Michelle Altman?

[dragonflies]

No keep pissy away from YR, she's horrible

[LondonScribe]

Besides, aren’t they both retired?

I was going to jokingly suggest sourcing someone from outside the U.S, as maybe other sensibilities might rejuvenate the storytelling and production…

Then I realised that even as a joke, Mal Young has killed that argument

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Bryan Kirkwood (Hollyoaks producer, 2006-2009, Eastenders EP, 2010-2012, Hollyoaks EP, 2012-2021, Eastenders writer, 2021-present) isn’t as busy. But just no. Even though he’s a self confessed American soap devotee, as evident in the type of soap he produced, I wouldn’t wish him on any American soap. 

Jason Herbison is back at the helm at the returning Neighbours, and I doubt the slightly cosy sensibilities of that show would translate to Y&R. 

The exceptional Bevan Lee, formerly of Home and Away (usually brought in as a caretaker to steady the show after a shaky period under a previous producer) and creator of A Place To Call Home, seems like he’s close to retirement.

Daniel Bennett (formerly of Home and Away and Neighbours, for numerous stints, mostly lauded) is a very good writer and storyteller, but doesn’t seem to stay in post for too long. I don’t know why and I’d never speculate. He briefly joined the Hollyoaks story team, but was gone almost as quickly.

But as shown with Mal Young, a lack of ‘brand knowledge’ to accompany any stylistic and storytelling experiments won’t get you very far.

Each of the above have their plus points, but it’s likely those strengths are very much of their shows, and wouldn’t translate to Y&R, a show that badly needs to be Y&R again.

Edited December 27, 2022 by LondonScribe

[Vee]

I think many of the worst of the UK soap creatives still have more juice than much of the current crop. But I've said that before. Mal Young was a worthwhile idea that did not translate in execution; he was a disaster. But you can't say he didn't have drive. There's no drive at the show now. I'd be willing to experiment, the problem is no one at CBS/Sony is. Y&R only exists now to mark time, it is a zombie soap. GH is not far behind despite a lot of talented people and potential. Its good ideas are regularly anesthetized or strangled in the crib, whereas IMO Y&R doesn't even feint towards trying.

It's just the umpteenth old troll account. Block and report.

Edited December 27, 2022 by Vee

[LondonScribe]

That’s a very good point, and a perspective I hadn’t considered.

Entertaining a bit of hypothesis, if you had your pick of ANY existing (or recently active) writer/producer/showrunner, regardless of where they reside or built up their resume, who would it be? And what attribute(s) do you think they could bring to Y&R?

 

[Vee]

Existing, as in recently active today? I have no idea. Ask me later when I don't have a bad cold, lol.

[LondonScribe]

Gotcha. Hope you feel better.

Most of my work colleagues, my sister and my wife have various colds and flu.