On this week's episode, Writer Adam Pava (Boxtrolls, Lego Movie, Glenn Martin DDS and many many more) talks about his writing career, and why sometimes when he writes features, he doesn't always get credited. Tune in for much more!Show NotesAdam Pava on Twitter: https://twitter.com/adampava?lang=enAdam Pava on IMDB: https://www.imdb.com/name/nm1106082/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptAdam Pava:I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can. I think that's the first thing, but to get those open writing assignments, I think it's just a cool errand to even try because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things and then they'll seen you've done it. You're listening to Screenwriters Need to Hear This with Michael Jenman.Hey everyone, it's Michael Jamin. Welcome back for another episode. I may be retitling the name of my podcast. So I'm, I'm going to be vague for everyone, but I'm here with my next guest, Adam Pava, who's a very talented writer I worked with many years ago on show called Glen Martin, d d s, and he works. We'll talk. I'll let you speak in a second. Pava, you just relax. I'm going to bring you on with a proper introduction because you've worked a lot, lot of features, a lot of animation. So I'm going to run through some of your many credits. Some of them are credited and some of them just are not so credited. We're going to talk about that even though you've done the work. So I think you started early on on shows like Clone High, Johnny Bravo, I'm going to skip around.You worked with us on Glen Martin d d s, but then you've also done Monsters versus Aliens Dragons. I'm going to jump around, but wait, hold on. I'm skipping a lot of your credits, Pavo, a lot of the box trolls you've done, you work a lot with Lord and Miller on all their stuff, all the Lego movies, goblins. You have something in the works with Leica, which is one of the big animation studios which you're attached to direct as well, and then also some other shows. Let's mention My Little Pony dreamland. What else should we talk about? A bunch of the label, it's hard to talk about the credits because so many of 'em are things that are either in production or development that they're not supposed to talk about yet, or they're things that I was uncredited on. And so it's a weird thing.And why are you uncredited? How does that work? It's super different from TV and movies. So back when I worked in tv, I did tv. I mean, back when we worked together it was like what, 10, 15 years ago? Something like that. But I did TV for the first decade of my career and everything you work on, you're credited, even if you're just like the staff writer in the corner who says three words and doesn't make, get a joke into the script. You're one of the credited writers. Movies are a different situation. It's like one of these dirty secrets of Hollywood where they always want to credit one writer or a team of writers. Sometimes it'll be two writers that get the credit if both of 'em did a huge chunk of the work. But the thing that usually happens these days on big studio movies anyway is they will go through three or four writers over the course of the years and years of it being in development and all those writers who worked on it before the final writer or sometimes just the first writer and the last writer will get credit and all the ones in the middle won't get credit.Or it's like the W G A has these arbitration rules where it's like, unless you did a certain percentage of the final shooting scri