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I mean, when I started out I was billing per hour, like a shrink because you would sit with somebody and work. But most of it, if it's for a live show it's usually a buy-out. A flat fee.
They make a humongous profit, but the people that work on the shows don't get paid a lot because they're working on the Oscars show. It's the biggest show in the world.
It's the biggest party in the world, and you have to keep the whole thing percolating, which is difficult because a lot of awards most people don't care about.
I mean, I've sold all these scripts and nothing's been made. Studios have closed, stars have died. I had a director find Jesus. And the pictures just don't get made.
I write screenplays that don't get made and pilots that don't get picked up, and I re-write other people's movies, and those are all different kinds of fees.
I have one rave New York Times review framed next to a flop Los Angeles Times review. And it's for the same show. These people watched the same show. That's what happens. They love it, they hate it.
I like that we don't have to come out the first 10 minutes and score, you know, with joke, joke, joke. We can open it in a more novel way and keep playing different pranks as we go through the thing.