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2 posts tagged amy berg
Amy Berg, Eureka co-executive producer, bids a fond farewell to the funny, smart and inventive Syfy series, which aired its last episode on Monday (July 16).
It’s hard to say goodbye to something that’s been a part of your life for so long. Although I only joined the show at the start of season four, I’ve been a fan since its premiere. There has always been something magical about Eureka. Not just what you see on screen, but behind the scenes as well. The show brought together an amazing collection of humans, from our writing staff to our production assistants and every member of the cast and crew. Everything about it just… clicked. There will never be another television series quite like Eureka and there will never be another job quite like it, either.
Read her full farewell post at our sister blog, Armchair Commentary, and stay tuned: Berg will be providing more of her insider perspective via Hollywonk down the road.
Reblogged from bokayjunkie
TV Writer/Producer Amy Berg on What Happens When Screenwriters Become Showrunners
Wired magazine’s Storyboard podcast recently featured a terrific conversation with TV writer Amy Berg (Eureka, Person of Interest, Leverage), covering everything from her singular path to getting hired (it ran through Nickelodeon and included Joss Whedon as a character in a one-act play) to her thoughts on genre shows (including crime stories and mysteries).
Some of the most interesting moments came when she discussed writers’ rooms and the impact of having screenwriters as showrunners:
These feature writers coming in to create a show is very, very difficult because this is the first time that they have had any control over their material. Usually they write something, and it goes away somewhere, and other people rewrite it … I think you’d be surprised by the muscle of the muscle of the feature writer being able to sort of lead the show. And as soon as they start learning the ropes of TV, they really do absorb the role themselves: ‘It’s my vision, my this, my that, my created by, my reputation that’s on the line.’ They very much cling to the material more than someone who has been in TV from the beginning. …
I don’t think it’s for the benefit of television, I don’t think it’s taking the experience of writing for television in the right direction. … You want someone who realizes what the job of the room is. The job of the room is not to support your singular decision-making process. It’s to help you create your vision, put your vision on screen, to give you the input that you need to be able to make decisions. Not make decisions and hope the writing staff comes up with something that was like that.
