Andy Sandberg and Tim Kashani explain what makes them want to produce a script: interesting characters, compelling relationships, and a story that works on its own without fancy production tricks. Sandberg prefers collaborating with writers on new work rather than relying on design to fix a weak script. Both warn that investing heavily in production before testing a show often leads to failure.
Chapters
Somebody else has written a script, right?
And they send it to you. What are you looking for when you read that script?
I'm looking for interesting characters, interesting relationships, an interesting story that's unfolding that's keeping me wanting to read more. If I've figured everything out within the first couple of pages, I'm probably not going to be that interested in reading on. I'm always looking for something that provides exciting performance vehicles and material for actors to grab onto because you want something that is going to whet actors' appetites. So that you can work with a strong cast and surround yourself with great people. I tend to look at something through the lens of, can it work with just the script and the actors? If it can't work in a reading setting without all the bells and whistles, it's probably not that good. And don't get me wrong, that doesn't mean that bells and whistles aren't wonderful and can really enhance that. But if it does not work at its core as a piece of writing, as a story, around a table with actors, then I question whether it's something that— then I know I'm being brought in to throw a parade on around it as opposed to tell the story that is there. I'm most excited particularly when it's a new work and I'm working side by side with that writer developing the show. I want to know that there's room for that kind of collaboration, not here it is, make it better with fancy tricks. You know, sure, I can do that. I can call some of the best designers in town, and if they have the money, we can throw it at it. But I'm not always— But that never works. It doesn't work.
It makes it, you know— It gets it a little farther along, but it's going to blow up at some point. And usually it blows up at Broadway or right before Broadway when now you've put a lot of money into it. Exactly.
And don't get me wrong, I'm not above the work-for-hire jobs, but that is not what I tend to want to focus my energy on. It's not why I'm in this business. Of all businesses. I'm in this business to create exciting new work with new authors and new voices.
