Friday Questions

Last FQ’s of the year. Over 250 answered this year alone.

Pam has a question regarding VOLUNTEERS:

Did you meet and talk to Tom Hanks? How was he? Or was it always Producers, studio executives and the director who were the go between?

I spoke to Tom numerous times and even went out to lunch with him. Most of the time we discussed baseball and radio. He used to listen to me on KYA when he was growing up.

And I’ve continued to bump into him and chat. One time in a restaurant, he and Rita came to the table and we all spitballed on a school paper my daughter was working on at the time.

Also, when Tom was filming SLEEPLESS IN SEATTLE I was broadcasting for the Mariners and he would come out to the Kingdome. He even went on the air and provided color during a game. Damn, the man is multi-talented!

Douglas Trapasso asks:

How common is it for radio folks to socialize with each other after hours and even years after working at a particular station? Did you try to stay in touch with your fellow fire-ees whenever the ax fell?

You bet. I’m still friends with a lot of the jocks and program directors I worked with over the years. Sadly, some have passed. But of my closest friends, many are radio related. And I attend radio reunions whenever I can.   You can easily find me.  I'm the one not forcing my voice. 

Interestingly, in LA in radio’s heyday in the 60’s and 70’s there was a watering hole in Hollywood called Martoni’s and EVERYONE from every station would hang out there. You’d be drinking with your competition. People who were asked to play Osmond records had a bond, much like soldiers stuck in foxholes during World War I.

From Mike Bloodworth:

In a desperate attempt to find new source material, some producers have started turning to podcasts for ideas. DIRTY JOHN is one example. Here's my question. Have you ever considered making your podcast more like a scripted series? Sort of like a radio play?

No. That would be way too much work. I do, from time to time, play one-act plays of mine (and occasionally break them down as a teaching exercise), but my focus on the podcast is to be very conversational and talk one to one to my listener. So it’s a much looser and spontaneous presentation.

To script plays, cast them, record them, maybe get an audience – way too much effort for this lazy podcaster.

And finally, from Nathan:

My Friday question on your spec scripts:

You have previously said that you had sold spec movie scripts to studios. After that, do they inform you about any progress like anyone interested in the script or other studios expressing interest in buying from this studio?

Generally they keep you in the loop – more as a courtesy, depending on your relationship with them.

And if there appears to be movement (either going forward or putting it turnaround), usually they will want your agent to get involved.

But there often comes a time when the phone just stops ringing. When studios put on other writers they frequently don’t tell you (although they’re contractually obligated to). So the project continues to be developed but for you there’s nothing but radio silence.

Remember this: Hollywood is only gracious when it suits them.