Thanks to the gracious invitation from my Screenwriting Research Network colleague Paolo Russo – and a grant he was able to procure (and in the before-Covid time) I was able to spend a week at Oxford Brookes University working with the screenwriting masters students in Paolo’s course. At the culmination of the week, I gave this lecture on how writers rooms worked in the States.
One of the big things about writer’s rooms these days is being as inclusive as we can be. You guys are better at that. I’m always impressed with British shows because it’s always kind of a mix of people — the ones that I get to see in America, all right, but that’s impressive to me and of course, we all know you went so far as to make The Doctor a woman. That’s huge. At least that was huge news in the states. I don’t know if it was huge news here but we’re very happy about that. So finally from the 90s and beyond we’re getting more inclusive writing rooms right, but you might notice we don’t yet have too many Asian American writers I mean there’s a lot of ethnicities not completely being represented but writer/producers are more responsible to that idea now because they recognize it makes the product better because a collaboration of many ideas is always going to be a more layered piece that you’re presenting.
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