Remembering Poppa Cy

Last night, while looking for something on my computer, I stumbled across my notes for my grandfather’s eulogy. My Poppa Cy spent his life in the furniture business, retired to Palm Springs, and died about eight years ago. I still miss him. So, in his honor, here’s an excerpt from those eulogy notes:

My Poppa Cy was a character. I guess that’s a nice way of saying he had a strong personality.

He could be intimidating, generous, embarrassing, reassuring, terrifying, overpowering and hilarious… frequently all at once.  And if his strong personality didn’t knock you over, his taste in clothes certainly did.  I’d arrive at his house in Palm Springs  wearing  jeans and polo shirt, and he’d be standing there in his orange pants and purple shirt and red sweater, shaking his head in dismay at the way I was dressed.

“What’s the matter with
you?" He’d say. "Haven’t you ever heard of color?”

And I’d laugh. He always made me laugh.

When I was a student at UCLA, I would go and stay with him to study for
mid-terms and finals. I loved those weekends. He’d get me up at 8 a.m., chide me for sleeping in, we’d have a little breakfast, read the paper, he’d criticize the furniture store ads, and then I’d study for a few hours.

Then we’d have fun. Or he’d have fun, and I’d have fun watching him. Maybe I was more of a co-conspirator.

We’d go to a furniture store somewhere and pretend to be customers. Poppa Cy would tell some poor, unsuspecting salesman that he was interested in a sofa. The salesman would show us around the store, Poppa Cy would ask a few questions and basically behave like the cutomser from hell and then, when the guy least expected it, my grandfather would whip
out his Visa card like it was some kind of badge and say:

“I’m Cy Goldberg, United Furniture Company, I was in the furniture business for 55 years… let me tell you about all the mistakes you made trying to sell me a sofa." He’d then lead the poor guy back to all those sofas while I collapsed into laughter.

Or we’d go to a car dealership. Poppa Cy would say he was Harry Himmelfarb or Frank Kales or George Rosencranz and he was shopping for something sporty. He’d torture the salesman,
taking him to the brink of a sale, and then leave.

I think the only thing he
enjoyed more than teasing people was furniture…

Furniture was his world.
His love. His oxygen.

To him, furniture was not
something you sat on, slept on, and ate on… no, furniture was a state-of-mind,
a culture, a language, an art to be admired, studied, and deconstructed. And he
had a furniture analogy for everything – sex, acne, divorce, fast food, you
name it. Anything a human being experienced could be compared to a comfortable
recliner, a sturdy couch, an inexpensive lamp. One of my lasting regrets will
be that I never wrote one of those analogies down.

When he saw my first TV
show, he asked “So, where do they get all that furniture? They aren’t renting
it, are they?”

Whenever I wrote a book,
he badgered me to make the next one about the furniture business. That, he
said, was where the excitement is. And I’m not sure he was kidding.

Poppa Cy was a man who
never had any trouble expressing his opinions which, in an odd way, was how he
expressed his affection. He was not the kind of guy who gave hugs, or told you
that he loved you. I learned early on that teasing, chiding, needling….okay,
criticizing you… was his way of showing he cared about you. Not everyone saw it
that way… and he drove a lot of people out of his life because of it.

Not me.

I loved my Poppa Cy.  Thanks to him, I’m a stronger person. I’m not
afraid to fight for what I believe. And I will never, ever buy a white couch
again.

I know what Poppa Cy is
doing right now. He’s up there, shaking his head in dismay:

“What kind of phony deal
is this? You call those pearly gates? I know where you can get pearly gates. I
got this friend in Portland in the pearly gate business…"

Poppa Cy wouldn’t want us
mourning his passing, he’d want us to celebrate his life. So go out and buy a
recliner or a couple barstools. Preferrably in yellow.

Night Stalker Killed… Again

The beloved, original version of THE NIGHT STALKER lasted for just one season. ABC’s "reimagined" version didn’t even last that long. Variety reports that the show has been cancelled… after only nine episodes were produced. The sad part about this isn’t that the show was cancelled, but the producers missed everything that made the original such a great show…most importantly, the character of Carl Kolchak. Instead, the new NIGHT STALKER was a bland X-FILES retread that captured none of the charm, humor and originality of the classic series that it took its name from. This was a  missed opportunity.

Winslow is Hot Hot Hot

Author Don Winslow’s latest novel THE WINTER OF FRANKIE MACHINE hasn’t even been published yet, but Variety reports that Robert DeNiro is already attached to star in the movie version for Paramount Pictures.

De Niro would play a Mafia hit man who has given up the game to become the
proprietor of a bait shop. When he finds out that he’s been targeted for a hit,
he gets back in the business.

Winslow’s work made the rounds in New York recently, sparking the interest of
Tribeca. De Niro and Rosenthal committed to the adaptation and, with the help of
CAA, shopped it around to studios.

If the package comes together and a movie gets made, it would bring De Niro
back to a type of character that helped make him famous. He has said he wouldn’t
return to the Mafia world in film but then "Frankie Machine" came along.

Your Great Idea for a Pilot

My friend Javier Grillo-Marxuach, supervising producer of LOST,  has a wonderful, brutally honest post on his blog about his experience writing and producing pilots. The post is nearly a year old, but the wisdom and bite of his story hasn’t dimmed.

so anyway – pilots. the one question i hear most is “i have a great
idea for a pilot, what do I have to do to get it see/produced/on the
air?”

the stock answer to this is “move to los angeles and spend
ten years making a name for yourself as a television producer with an
established track record that will make a studio and network believe
that they should trust you with forty-four million dollars of their
money to produce twenty-two hours of television.”

however,
things have changed in television, and now it is easier than ever to
get a pilot on the air without establishing a track record as a
producer…

…and I say that in the same way one might say “now
it’s easier than ever to put an orbital mind-control laser in a
geosynchronous orbit over your mother-in-law.”

You’ve got to read the rest. It will make you weep.

How do I become a television writer if I don’t have any contacts?

I get asked this question a lot…but it’s disingenuous, since I’m a
TV writer/producer and whoever is asking me that is really asking me to either read
their script or to invite them in to pitch. So, theoretically, they already
know somebody in the business.
 
They’re luckier than I was when I got started. I didn’t know
anybody in the TV industry. But I got in. How did I do it? Everybody’s story is
unique. Most of those stories, however, share one common element. You have to
put yourself in the right place to get your lucky break. And it’s easier than
you think. 

The first thing you have to do is learn your craft. Take
classes, preferably taught by people who have had some success as TV writers.
There’s no point taking a class from someone who isn’t an experienced TV writer
themselves. 

You’d think that would be common sense, but you’d be
astonished how many TV courses are taught by people who don’t know the first
thing about writing for television or who, through a fluke, sold a story to Manimal twenty years ago and think that
qualifies them to take your hundred bucks. Even more surprising is how many
desperate people shell out money to take courses from instructors who should be
taking TV writing courses themselves.

There’s another reason to take a TV writing course besides
learning the basics of the craft. If you’re the least bit likeable, you’ll make
a few friends among the other classmates. This is good, because you’ll have
other people you can show your work to. This is also good because somebody in
the class may sell his or her first script before you do… and suddenly you’ll
have a friend in the business. 

Many of my writer/producer friends today are writers I knew
back when I was in college, when we were all dreaming of breaking into TV some
day. 

A writer we hired on staff on the first season of Missing was in a Santa Monica screenwriters group… and was the
first member of her class to get a paying writing gig. Now her friends in the
class suddenly had a friend on a network TV show who could share her knowledge,
give them practical advice and even recommend them to her new agent and the
writer/producers she was working with.

Another route is to try and get a job as a writer/producer’s
assistant on an hour-long drama. Now only will you get a meager salary, but you
will see how a show works from the inside. You’ll read lots of scripts and
revisions and, simply by observation, get a graduate course in TV writing. More
important, you’ll establish relationships with the writers on the show and the
freelancers who come through the door. Many of today’s top TV producers were writer/producer
assistants once. All of the assistants I’ve had have gone on to become working
TV writers themselves… and not because I gave them a script assignment or
recommended them for one. I didn’t do either.

 The first step towards getting into pitch a TV producer for
an episodic writing assignment is to write an episodic teleplay on spec.

Read more

PJ Parrish Talks Sex

The writing team that goes by the name PJ Parrish talk about the sex…or, rather, the lack of good sex…in mysteries.

Why are crime writers such major wussies when it comes to sex? What the hell
happens to most of them when they have to write about it?

I’ll tell you
what happens. They turn trite and sentimental. Or they become boring and
flaccid. And they get as self-conscious as pimply prom dates. Crime writers can
meet murder head on and not flinch, can even render death poetic. But faced with
having to describe copulation — especially in the context of, gasp!
relationships — they can turn out the most dreadful, unbelievable, embarrassing
treacle.

Reruns on Demand

Variety reports that Warner Brothers will make 14,000 episodes from more than 300 series available on America Online for free, on-demand viewing. What’s the catch? Commercials. The new program launches in January.

"We want to create a new broadband network for content looking for its next
window of distribution," explained Kevin Conroy, exec VP of AOL Media Networks.
"This is an IP (Internet protocol) television service that is available
whenever, wherever in the digital home."

It will be interesting to see how the WGA, DGA and SAG will take this news…and what residual formula will be adopted, at least initially, to pay writers, actors and directors.

Just When You Thought It Was Safe To Go Back In The Water

Warner Brothers hopes Al Gough and Miles Millar can do for AQUAMAN what they did for SUPERMAN with SMALLVILLE. Variety reports that the writing team have been signed by the WB to produce a pilot about the young Aquaman.

As with "Smallville," their successful reinvention of the "Superman" saga,
Gough and Millar plan to focus on character rather than cheese. Skein
won’t be called "Aquaman" — indeed, the "A" word won’t even be mentioned — and
Curry "won’t be talking to fish or riding a seahorse," Gough said.

And while "Smallville" recently generated great ratings with an episode
featuring an appearance by Aquaman, the new project won’t be a spinoff. To
underline that point, Alan Ritchson, the actor who played Curry on "Smallville,"
isn’t under consideration for the role in the pilot.