![]() With Phil and Jim and Harvey Frand (our line producer, another great guy who taught me a lot), I watched dailies every day. Elsewhere set, as it turned out), and I was present when they shot that scene and someone zigged when he should have zagged and a stuntman’s nose was cut off… a visceral lesson as to the kind of thing that can go wrong. I watched the stuntmen rehearse the climactic sword fight (in the lobby of the St. 'The Last Defender of Camelot' was the first of my scripts to go into production, and I was on set every day. I did not just write my script, turn it in, and go away. "I wrote five scripts during my season and a half on TZ, and I was deeply involved in every aspect of every one of them. "The moment I arrived, Phil threw me into the deep end," Martin said. Thanks to DeGuere, he was soon deeply involved in the entire production process for the episodes he was scripting, giving him a crash course in how TV is made. Martin Explains Why HBO Needs Four Seasons for House of the Dragonīut as Martin explains, his work on the new version of Rod Serling's iconic series didn't stop at writing. with a six-week deal as a Staff Writer, at the Guild minimum salary, scripts against." Before I quite knew what had happened, I was on my way to L.A. ![]() So much so that within days of delivery, I got an offer to come on staff. I decided to give it a shot… and Phil and his team liked what I did. "A freelance script that was how you began back then. "Much as I enjoyed television, I never dreamt of writing for it until 1985, when CBS decided to launch a new version of The Twilight Zone, and executive producer Phil DeGuere invited me to write an episode for them," Martin wrote. ![]() Martin recalls his experience on The Twilight Zone To illustrate his point, Martin shed some light on his own TV breakthrough, which came after years of working pretty much exclusively in the world of prose. In a recent post on his "Not a Blog," Martin elaborated on his support for the ongoing Writers Guild of America strike, and in particular his support for the WGA's call to get rid of "mini-rooms" in which writers are called in for a brief time to work on scripts, then let go without any access to the production side of the TV process. Martin's career has a rich history in both prose and screenwriting, and as the author recently discussed, it all goes back to the 1985 reboot of The Twilight Zone. The celebrated author and editor behind things like A Song of Ice and Fire and Wild Cards is also the celebrated writer and producer behind juggernauts like Game of Thrones and its spinoffs, and it doesn't stop there. Martin as a TV powerhouse as much as they know him as a prose writer.
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