Serving up Scripts
电视编剧Bo Yeon Kim 2008年和Erika Lippoldt 2010年发来的报道
金宝妍(Bo Yeon Kim, 08)和埃里卡·利波德(Erika Lippoldt, 10)是在布林茅尔羽毛球队相识的. 他们不是很好的双打搭档，但他们确实是很好的写作搭档.
他们搬到了洛杉矶，追随他们对电视的热情，为节目写剧本 Reign, Sweet Tooth, and writing-producing Star Trek: Discovery. 他们目前正在与导演金智云(Kim Jee-woon)合作制作一部新的黑色喜剧，他们称金智云是“韩裔美国人对这部剧的演绎” Fargo.”
Lippoldt recalls attending a season one premiere of Star Trek: Discovery in London with her parents.
“所有这些人都来找我——因为他们知道我是个作家——要我的签名,” she says. “My parents, of course, were very proud in that moment. It felt like a shift with where I was in my career.”
While they used to dream of working on certain shows, Kim和Lippoldt说，他们现在梦想与某些人合作——Guillermo del Toro或 Battlestar Galactica showrunner Ron D. Moore. 但在一个充斥着劳工权利和流媒体经济之争的行业里, Kim和Lippoldt主要想继续做他们喜欢的事情——写科幻小说.
“As women of color working in the genre,” Kim said, “我认为我们的梦想是在接下来的20到25年里保持这个职业，并且能够回顾我们所从事的一系列项目并为之感到自豪.”
How did you become writers and start working together?
Erika Lippoldt有一次我们都毕业了，开始做各自的事情——博伊回韩国了, I pursued science; I did my Ph.D. in neurobiology at USC here in L.A––we kept in touch. 我们基本上总是在谈论我们正在看的电视节目，并深入探讨幕后的事情.
Bo Yeon Kim我们近乎痴迷，我们想成为电影制作过程的学生. We decided to start writing our own script together, 超过17个小时的时差，通过大量的电子邮件和skype. We like to say we Zoomed before everyone else Zoomed.
We had very complementary skills but ultimately, 我们把这两种声音很好地融合成一个声音，在页面上作为一个单一的声音工作.
你在布林莫尔的学习或经历对你的职业生涯有什么影响?
EL: This might sound a little cliché, 但布林莫尔是我真正找到自信的地方. I’m American but grew up in France since the age of 4. I’m also mixed ethnicity, 我也是一个喜欢科幻小说的女孩……我总觉得自己有点像个怪人或局外人. 我觉得我(在布林莫尔)处在一个足够舒适的地方来表达自己, 意识到对科学、电视和编剧感兴趣并不是一件坏事, it could also be a strength.
BYK我确实认为我们被训练的思考方式和研究论文中要求的对细节的关注, it trained us to be more serious scholars. 当你为电视节目写作时，会涉及到很多研究.
What do you like best about writing for TV?
EL: It is kind of a dream job; we get to play in all these fictional worlds and make up stories for a living. 但有一件事我是在我们进入编剧室后才意识到的，那就是它是多么的协作. 当它处于最佳状态时，它就会变成这样，每个人都在努力实现一个单一的愿景.
BYK: It’s a very unique, 我喜欢它的不可预测性，以及当你讲完故事时的满足感. 我觉得对我来说最特别的时刻是去片场，我觉得这就是我小时候想象的好莱坞.
How did last year’s strike affect you? Did it change how you think of the industry? Do you think it changed how others think of the industry?
EL去年有五个月停工，我们几乎每天都在纠察. For us, what came out of it was a larger sense of community. 我们花了很多时间与其他作家交谈，了解这个行业所面临的问题. (流媒体)以一种不可持续的方式过度夸大了电视领域……就制作的内容数量而言，事情将会缩小, and the number of jobs that are available, and the strike was a way of trying to defend against that.
BYK:这次罢工确实让非行业人士明白，编剧协会是一个工会，很多编剧协会成员只是为了付房租而奋斗，让这个行业变得更可持续.
What was it like to move from writing into production?
EL: 当你开始作为一个特约撰稿人，你没有很多的制作职责，随着你的工作方式. you start to have more and more: calls with the director, with the production designer, with costumes. 在你亲身经历之前，它的协作方面并不会真正变得清晰. 我们第一次去片场让我们大开眼界，因为当我们继续写下一个剧本的时候, 我们不只是考虑纸上的文字, we’re thinking about how this will be executed.
BYK我们倾向于从事科幻、奇幻、超自然的项目. A lot of that is, 要么你是在从零开始创造一些内容(游戏邦注:你不能去商店购买宇宙飞船道具)，要么就是在使用VFX(视觉效果)。, so that’s something you have to take into account. 与视觉特效主管互动，看着他在片场履行职责, I think those are rare experiences for us to get so early in our careers … You can’t just be a creative person; you also have to have a sense of the producibility of a project.
Do you have a favorite episode you’ve worked on?
BYK: I think my favorite was the very first episode of Star Trek we wrote. 它在故事意义上是有意义的，但它只会在我心中有一个特殊的位置.
EL: After that, we worked on this Netflix show called Sweet Tooth. We wrote an episode of season three I’m very proud of. I’m excited for people to see that sometime this year.