Howard the Duck might not have won Best Picture, but if you’re a sandwich shop worker, or a young Rob Long at lunch with high-up producers, it’s probably best not to espouse how big a flop you thought it was. See, failure in Hollywood is a relative term. Movies fail, pilots fail, but after a failure of your own, it’s tough to see anything that makes it to the screen as defeat — especially if it came with a check. After all, getting paid in show business is getting paid to try. The later checks — the bigger ones — are about getting paid to succeed.

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When Orson Welles found an investor for a cheap little noir thriller, legend has it he devised a scheme. His opening sequence took up almost 10 pages of script, with descriptions and action all spread out. Except when he actually filmed it, he used only a high-tension, 12-minute “virtuoso” single tracking shot that became signature to Touch of Evil — but also fooled execs into thinking he’d be under budget and on time every day. As genius as Welles’ move was, Rob Long says he was also a practitioner of Haraka Baraka. And you should be too.

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Sixty percent of Americans say they read the Bible regularly. But in Hollywood, where Jesus and religion can feel — how do you say it — downmarket, people rely instead on the series bible, where writers flesh out their TV series’ characters, situations and possible future episodes. But Rob Long suggests Hollywood, much like he has, take a fresh look at the Bible — the one with a capital B, no IP rights, and packed with tragedy, sex and human weakness fit for a limited series.

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When Rob Long pitches anything these days, he knows that he’s not going to sell that idea in the room. That’s over. But he wouldn’t be upset if he didn’t hear, “Fun stuff. We’ll talk internally and get back to you.” What’s fun about that? If we can identify fun — rather than fun stuff — the entertainment industry can get back to being like that big, noisy party Rob throws, with a supermarket ham and cheap booze. Overthink it, and the party’s over.

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Rob Long loved his tailor — a man who ran his shop with unpredictable, cigarette-stained weirdness. But when he died, the business became faster, and it was easier to communicate with the staff. It was even open into the evenings. The new and improved shop certainly made for a better business. But the old tailor, for all his idiosyncrasies, was highly entertaining. And that is why Rob is not as worried about AI as many other people are. It may be more efficient, but can it pull a hilarious non-sequitur when you really need one?

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Rob Long’s friend once wrote a line for a TV show where a character reveals he doesn’t have voicemail. You see, the character, explains, “I don’t get important phone calls.” The network executive in charge, however, was not having it, bellowing that no one would care about someone not important enough to not get important calls. And that was that. Rob himself has thoughts on the function assistants play as status symbol in the industry— and what his trip in a shipping container from Seattle to Shanghai may say about it all. 

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Liza Minelli, Private Detective. Sounds pretty good, right? Unfortunately, the series — Rob Long’s brainchild — will never see the light of day. Rob was told Minelli was “not available,” and in show business, when someone’s unavailable, you move on. It’s one of those unwritten rules, or mysterious studio lists, that we all believe in. But are any of them actually true?

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Whether trekking to the cable store or preparing for the TSA line, Rob Long expects disappointment. Not because he’s inherently negative, you see. Show business, and all its grinding rejection, has molded him into a pessimist. So, Rob questions whether we are all too invested in our work here (the answer: yes). And how we can be prepared — and ready — for the time Lucy hands us the ball.  

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Bette Davis famously answered “take Fountain” — an L.A. street with fewer lights — when asked her advice for actors starting out. Thing is, the questioner didn’t actually want practical advice. In fact, most of us say we want the truth when we actually prefer our feelings to be protected. Which is why executives wind up delivering notes with fluffy preamble, and why Rob Long was once taken aback when asked if his canceled show meant — ouch — that he was “washed up.” 

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Every question that comes up in Hollywood these days is really a variation on money, and the big one on everyone’s minds is: how are we going to make buckets of money in the TV business again? By reinventing an already reinvented model, says Rob Long. Hate the ad model coming for streaming? Well, Rob says consider it akin to the cover charge and drink minimum required to enter a jazz club.

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