On this week's episode, I discuss the differences between writing for TV versus film and the differences in the development phases. We also go into ways to create your own material and what to really focus on. Tune in for much more!Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:If you write something great, the actors will come out of the word work to be in it, and you don't even have to pay 'em because they're getting footage and they're also being involved in something that could be really great and could blow up and could make their careers. But if the script's no good, you're going to have to beg 'em to do it because what's in it for them other than bad footage that they can't use? It'sListening to Screenwriters. Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to another episode of Screenwriters. Need to Hear this. I'm here with Phil Hudson again. Hello, Phil.Phil Hudson:Hey everybody. Good to be back.Michael Jamin:Hello, everybody. Today we're going to talk about something, well, something I think is very important. How about that? The question is, should you write for film or tv? I think a lot of people, at least from social media when they leave comments, I think a lot of people really aspire to be film writers because they have their story and maybe they think it's more prestigious. Maybe they like the idea of going to walking down a red carpet and seeing their work on a large screen. And so I just thought I talked to you about my feelings about film versus TV and why I greatly prefer working in television. And I think anybody who works in film is crazy. So it's not that they're crazy, but it's just like, wow. I see a lot of advantages for working in film. And to be clear, I am a TV writer, but I have sold a couple of movies and after selling those movies I was like, I don't want to do that again. I'd rather work in television, but I definitely see the appeal that people have. So I thought I may shed a little light on what my perspective is. That sounds good with you, Phil.Phil Hudson:I think this is an exciting topic and we were just talking before we started recording, the industry's changed even since I started studying this craft. Seriously, back then there was a viable feature market and it seems like it's gone the wayside, and I've seen the transition over the last decade with filmmakers and screenwriters coming into tv. I think because the money's better, there's more work, there's more creative freedom, and I'm sure you'll talk about it, but there's that saying of the director runs the film set and the writer runs the TV set.Michael Jamin:Yeah, if you want creative control, we have lots to talk about, but if it's creative control that you want, then you want to be in TV because the writer's in charge. If you want to be in charge in a film, then the director's in charge. Often the writer's not even invited to set. The writer has no say that will be rewritten. The director might hire multiple writers to rewrite. So if you think if it's about your vision, unless you are shooting yourself, forget it. You are really an afterthought. And like you said, they are making far fewer movies now than they were even 15, 20 years ago, probably a third as many. And when you look at the titles being released, you got a lot of remakes. You got a lot of sequels, you got a lot of reboots. Yeah, I mean, so they're makingPhil Hudson:Another, it's largely IP based material too. So it's other books that have blown up and they buy the rights to that. They then make that.Michael Jamin:So it is because they're easier to market, which is why you have Fast and The Furious 13, everyone knows that and it's why you have it, Indiana Jones five, because every