No Business like Showrunning Business
BY Matthew Hays
It’s a job as complex as it is coveted. The showrunner is the ringmaster of the circus, the coach at the game, the god who lords over the demigods. Given the high-wire act that showrunning entails, Canadian Screenwriter asked five accomplished showrunners for their take on the gig. Damian Kindler, Sheri Elwood, Michael MacLennan, Derek Schreyer and Brendon Yorke.
Damian Kindler, Sanctuary
Most frequent problem for a showrunner: “Time, always time. Not enough prep time before shooting begins, not enough time to write or rewrite scripts, not enough time to spend in the writer’s room because you’re editing or in prep meetings for the next show. Time is the enemy. We only had four weeks prep until camera for season 4 of Sanctuary, and that’s for 13 episodes, no shooting hiatus. It’s why in seven months I had only three weekends off—the rest were used for writing and prepping.” Calls or situations that have the biggest impact on the show: “Character arcs and directions often change the tone of a series the most, so we watch those very carefully. We never want our heroes to remain static, but we don’t want them to suddenly turn into vegan vampires either. At least not until season five.” Best time-saving trick you’ve learned: “Uh, still working on it… staying focussed in the room prevents long arguments about essentially nothing.” How do you balance touching base with the writers enough to monitor the process without crowding them? “Oh I’d crowd them like crazy if I had the time! I always check in, make sure they feel supported, that I know where they’re at, that my door is (almost) always open or they can call me anytime to work through a story problem. I don’t crowd—as a writer I hate being crowded so I try not to do it to others.” Key piece of advice for someone showrunning for the first time: “Stay focused on script and story. Stay away from the set if at all possible, it’s a suck-hole of time and detail. You’re not a director. Your job is stay way out front of the series. Producers, directors, actors, PMs, everyone else will handle what’s being shot. Keep the room humming, stay deeply involved in prepping episodes with directors, write definitive episodes—that’s a huge part of your role—and then lead by getting out of people’s way. Also, sleep whenever you can.”
Sheri Elwood, Call Me Fitz
Most frequent problem that arises: “Time management. Needing to be in the writing room, prepping and on set all at the same time with equal focus.” Best solution: “Work with the strongest co-executive producer you can find and learn to trust your key creative personnel. Detailed and visually strong screenplays are important because they are the bible for the crew. It’s your best chance to be clear with the direction you want them to take—right there in black and white.” Biggest challenge you face as a showrunner: “Managing my vision against the realities of the production budget. The give and take is always a little heartbreaking.” Calls that have the biggest impact on the final product: “Casting and story are the only two things that really matter to make a good show. It’s where I spend most of my time.” Best time-saving trick: “Unfortunately, there are no shortcuts. You are mentally on call 24 hours a day.” Best way to balance touching base with writers without crowding them: “I hire really good writers and I can honestly say there is no ego in my writing room. I get rewritten as much as they do. Of course, I always get the last pass!” Once production is under way, what’s the best way to ensure you have time in the writers’ room? “We always break the season prior to production. After production is underway, my time in the writers’ room is spent working on character arcs and finessing the final episode. Having a good fat development period is key.” Best bit of advice for first-time showrunner: “Protect your concept and surround yourself with people who are equally or more experienced than you are. Your first time as a showrunner is not the time to play God.”
For the complete arrticle, please see the print issue of Canadian Screenwriter.
