“My recommendation to anybody who is writing animation is to take advantage of the things you can do in animation that you can’t do in live action, which is to spend an infinite amount of money, right? If you and I are going to write a scene and you say, ‘Oh, let’s set it on a battleship, but then space aliens come and suddenly we’re transported to Jupiter,’ it better be animation because if it’s not, we’re never going to be able to shoot that. But if it is animation, that’s exactly what we should be doing all the time. You want to create the most expensive set in the world because it costs nothing to draw that battleship and send us to Jupiter. And that’s really the glory of an animated show,” says Brent Forrester, about what he learned writing for The Simpsons for three seasons.

On today’s episode, we chat with Emmy-winning writer Brent Forrester about his prolific comedy writing career that includes shows like The Office, King of the Hill and Space Force. He shares why the writing room for The Simpsons was so intimidating and his surprise when The Office showrunners had to teach him the specific tone and structure for the show after he turned in his first episode and just wasn’t getting it.

“I had gotten the tone wrong – it was largely my attempt to make it wall to wall funny. I wasn’t getting that you really had to make it serious. There were other aspects, too, that I had to pick up. One of them is the use of what are called ‘talking heads.’ It’s when the character speaks directly to camera. It comes from reality TV where they pull the subject of a reality show aside and ask them a question and they just speak directly to camera. So we stole that device and it’s a great crutch for writers because one of the hardest things for us is getting the exposition across,” says Forrester.

He also shares his advice for writing a great TV pilot that will hook the reader and offers a simple formula for writing jokes by mixing the sacred with the profane.

To hear more, listen to the podcast.

“Fugler (Robert Carlyle) was a character that I really connected with from the beginning. I know it sounds a little strange that the Nazi was my way into this, but it really was that idea of, ‘How can we get inside his head and make sure that he’s a fully fleshed out person that way?’” says Josh Salzberg about trying to make his villain, a Nazi named Damien Fugler, a three-dimensional character.

Josh Salzberg wrote the screenplay for The Performance with co-writer/director Shira Piven. In this episode, Salzberg talks about the challenges of adapting a short story by playwright Arthur Miller that’s about a Jewish-American tap dancer (Jeremy Piven), who’s willing to compromise his own core values to find fame and fortune in Nazi Germany.

“The idea of all [the characters] is that they’re all performing on some level. They all have another life. And that’s true to show business, that we all have sides of ourselves that we’re not sure we want everybody to see or that it’s okay for everybody to see. And then in Berlin in the ‘30s, there’s all these different communities that were impacted – not just the Jews in Germany,” he says.

Salzberg also talks about his background as a film editor, how it helped him transition to screenwriting, and the challenges of writing morally compromised characters like his protagonist, Harold.

“I think embracing the mistakes that they make, embracing those flaws and leaning into that is important. Sometimes we can care about our characters to the point where we want them to be likable, which is a note we always get, but we’ve got to be okay with the mistakes – and the consequences for those mistakes. And that was a lesson that Shira and I kept learning as we were developing the script,” he says.

To hear more about Salzberg’s writing process, listen to the podcast.

Please note: this episode contains discussions regarding racism and anti-semitism.

“People think sequels are easier, and I’m like, ‘No, no, it’s much harder. It is much harder to write.’ They have never written sequels, those people, because you need to do everything as well as the first and yet better, and go to new places, follow all the world rules, but create new ones. I mean, it’s just so many balls in the air,” says Meg LeFauve, co-writer for Inside Out 2, along with Dave Holstein.

In this special live episode from the Writers Guild Foundation Library, Meg LeFauve and Dave Holstein talk about tackling a whole new set of challenges as they wrote the sequel to the beloved movie Inside Out. They also discuss the 5-year Pixar development process that includes the concept of failing fast.

“They really want you pushing to things that are new and innovative, so they expect you to fail. They actually want you to fail but they want you to do that quickly, right? Because we only have five years, so it’s always like, hurry up, hurry up. You know, fail. Go again. Go again,” she says.

Holstein shared some very personal advice for writing coming of age stories, like the Inside Out movies: get micro-focused.

“Sometimes it’s better to zoom in than to zoom out. For me, it helps to zoom in on a detail and let the detail be a microcosm for the rest of it. I know that when we were writing this film, I was thinking about my anxiety at that age and where that came from. I had a speech impediment, I had a stutter, so I hated Spanish class because I had to read out loud, and my stutter always came out in front of people, which made me very, very anxious. And I feel like, for Riley, there’s a three-day hockey camp that could determine the rest of her life. That’s where I sort of sunk into and if I was writing a different story about me, I would have gone into those details. But for me, it was about finding something very specific and very small,” says Holstein.

To hear more about the writing process, listen to the podcast.