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January 27, 2007


bobby g

KEN Give me a link, will ya! I've got a show called "Funny is Money" coming www.Shokusradio.com February 12 (gotta walk before you can run. HA)... Never forget your pitch @ Joe & Sons at CBS, where I was a story editor. THOSE WERE THE DAYS. Bob Illes


Bobby G:This is the URL for posting the video:http://www.youtube.com/watch?v=UrtVegsURDUIf you want to embed it in a web page then copy and paste the 'embed' code listed to the right of the video.


After many months of using goofy tricks to figure out how to recreate the addresses of embedded youtube videos, I accidentally discovered that if you click anywhere on the video other than the play button you'll be taked to the right page.


Freakin' brilliant!!!!!And his observations about Sorkin's portrayals of all the writers who aren't his alter ego, and how they're all portrayed as ignorant hacks is absolutely right on.I'm gonna do a Hollywood namedrop here and quote my old friend Harlan Ellison, who once said that "there are two kinds of writers: amateurs and professionals. And the amount of money made and the number of publications has no bearing on which is what."I think we can all agree that our favorite drugged-out halfwit (Aaron baby), is the Poster Boy for the truth of that statement.Anybody ever notice how the only writing credit is always Aaron, even though he has a roomful of writers doing all the real work for him? Same thing used to happen on West Wing. So much for Aaron the genius. Let's try Aaron the thief who uses his position to steal credit and money from the people who work for him.

David O'Hara

And Sorkin's not the only one. How about Stalone vying with the writers on (only his hits of course) for writing credit? How about Quentin Tarantino (Ebert's next Orsen Wells?) I think there were two Oscars for Pulp Ficiton. Anybody seen the writing credit for the Pulp Fiction screenplay at Border/ Barnes and Noble?On another note: Now I understand the Oscar nominations for Deamgirls EXCEPT for best picture. Bits and pieces are great - the movie is a mess. They could have cut an hour out of it. After the giant number when she doesn't want to leave the group - how do you top that? Everything else is anti-climatic. I would have dosed off but the music was too loud.


My wife hit on one of the big problems with "Studio 60" after the very first episode: the leads should be reversed. She does not buy Matthew Perry as that character. She thinks he should be playing the Bradley Whitford role, and vice versa.I also figured out in that first episode that the "comedy" bits weren't exactly, oh, what's the word - I got it: funny."Science Schmience"? Good Lord!Buy the premise, buy the bit, Aaron...


eh, writing actually funny sketches would be like writing two shows?


It is amusing, but not funny. Ken, what would you have done to add funny?


Studio 60 is one of the best shows on TV in years. Obviously a subjective opinion like the rant i just watched about how much of a 'masturbatorial joke' Studio 60 is. For me the show is witty, funny and at the same time serious and fairly in depth with continuity. It's much more interesting to watch than "illiterate TV" or the next 24 or Lost. Same goes for most of all the comedies currently circulating the networks.


They're not walking fast enough.

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    Ken Levine is an Emmy winning writer/director/producer/major league baseball announcer. In a career that has spanned over 30 years Ken has worked on MASH, CHEERS, FRASIER, THE SIMPSONS, WINGS, EVERYBODY LOVES RAYMOND, BECKER, DHARMA & GREG, and has co-created his own series including ALMOST PERFECT starring Nancy Travis. He and his partner wrote the feature VOLUNTEERS. Ken has also been the radio/TV play-by-play voice of the Baltimore Orioles, Seattle Mariners, San Diego Padres.
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