(Big Screen, Small Screen – they all scream “TV”)
Advice for movie distributors and
Indie movie production companies
on why, when, and how to
segue into television production
Indie movie production companies
on why, when, and how to
segue into television production
REPOST of our LinkedIn Article
https://www.linkedin.com/pulse/... stephen-kerr
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Absolutely True Stories
of Indie STORY-TELLING & STORY-SELLING
A series of conversational articles and brief essays on
The Art & Science of the Entertainment Media Business
Written by Stephen J. Kerr & Sarah Nean Bruce
*********************************************
https://www.linkedin.com/pulse/... stephen-kerr
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Absolutely True Stories
of Indie STORY-TELLING & STORY-SELLING
A series of conversational articles and brief essays on
The Art & Science of the Entertainment Media Business
Written by Stephen J. Kerr & Sarah Nean Bruce
*********************************************
PREAMBLE: At the most recent American Film Market, we met with more than 25 film distribution companies. About one-third of those companies said that they have no plans what-so-ever to enter the television series space, another third are just now starting to consider developing TV series, and the other third of the companies are actively developing series for the television market.
We wrote this article because 99% of the films that independent distributors sell to the world will never see the inside of a multi-plex. In fact, few will ever be released in theaters in any form. So why are some indie movie producers and distributors still telling themselves (and telling us) that they’re only in the movie business? Studios have long known they are in both the film and television businesses, and in this article, we explain why Indies should acknowledge that they are too.
We wrote this article because 99% of the films that independent distributors sell to the world will never see the inside of a multi-plex. In fact, few will ever be released in theaters in any form. So why are some indie movie producers and distributors still telling themselves (and telling us) that they’re only in the movie business? Studios have long known they are in both the film and television businesses, and in this article, we explain why Indies should acknowledge that they are too.
Sarah Nean Bruce (SNB): Is it time for a “Reality Check” as to who is in the television content business?
Stephen J. Kerr (SJK): Netflix, Amazon, Hulu, HBO, Cinemax, Epix, Vimeo, Sling, Google Play, Crackle, YouTube, TruTV, Hallmark Channels, Oxygen, BBC, TF1, TFD, IFC, AMC, Pivot, Starz, Showtime, SyFy, A&E, MTV, Univision, NatGeo, USA Networks, Bravo, Smithsonian, BET, Discovery, FXX, CMT, OWN, Spike, TLC, VUDU, Comedy Central, soon Apple and Facebook, and of course ABC, NBC, CBS, and FOX – in actuality – are all the places people watch movies… and are all essentially television. By television, of course we mean the screens of actual televisions, plus laptops, smart tablets, smartphones, gaming platforms, and airplane screens.
Even those 1% of films that get a limited or wide theatrical release are in movie theaters for – at most – three to four weeks of their entire lifespan. So, it’s time to ask yourselves, what business are you in? The movie business or the television business?
The answer is, of course, both.
Even those 1% of films that get a limited or wide theatrical release are in movie theaters for – at most – three to four weeks of their entire lifespan. So, it’s time to ask yourselves, what business are you in? The movie business or the television business?
The answer is, of course, both.
SNB: Should we then call motion pictures “long-form,” and label episodic TV “extended-form” entertainment?
SJK: Yes, excellent comparison. A single TV series can run 10 to 12 hours, and thanks to binge watching, they are now the banquets, while movies are simply the appetizers. Two-hour motion pictures are hard to stop half way through and then come back the next day to finish – like we can with serialized content. Diminished attention spans have made it more difficult for people to concentrate on any program for more than an hour at a time. We now see movies and serials playing side-by-side on most networks. There is a reason that Netflix, Amazon and HBO dove into original series, they found out quickly that people didn’t want to watch two-hour movies - one after another - anymore. Viewers prefer a mix of both short, long-form, extended-form content, and the ability to binge on them at-will.
SNB: Why is the move into creating and marketing television series daunting to many longtime film producers and distributors?
SJK: It doesn’t have to be. When you stop thinking that there is a difference between them, and you begin to embrace limited television series as just another form of filmed entertainment, then you can start to incorporate serialized content into your development, production, and distribution plans.
TV series are bought by almost all the same networks and foreign buyers that acquire movies. Often the acquisitions person in charge of TV content will be different, but they all work for the same companies.
TV series are bought by almost all the same networks and foreign buyers that acquire movies. Often the acquisitions person in charge of TV content will be different, but they all work for the same companies.
SNB: Does the move into television content create a lot of new risks for Indie movie producers and distributors?
SJK: Nowadays, the risk associated with selling a television series can be much less than a movie. With a series, respected showrunners sell the concepts with either a “pitch bible” or a “pilot.” On movies, you usually need to finish the film, and a trailer, before you can get a financial commitment from domestic and foreign buyers. Veteran movie sales people can often obtain an indication of interest from the film buyers, but it’s getting harder and harder to secure advances and minimum guarantees. If you are an Indie movie producer, you must make and deliver the finished movie before you get paid. It’s the same with most TV movies, too – you get an order for it, but you usually don’t get paid until the day it airs.
SNB: Selling any television series has always been a challenge – but with all the new networks and OTT channels out there (and more coming online), is the demand greater for high-concept television series?
SJK: If the 1960s were the “Golden Age” of television, today must be the “Platinum Age” of TV. Shows like Game of Thrones, Fargo, House of Cards, Westworld, Breaking Bad and The Handmaid’s Tale have helped transform the networks and the OTT channels that created them. Movies used to be the staple at HBO, Showtime and Cinemax, not to mention Netflix and Amazon. Now the core content is anthology, limited (and unlimited) television series.
We read that the move toward the “anthological miniseries that can reinvent itself every season is a better fit for writers who have a strong story to tell over a small number of episodes but not 65 to 100 as in the traditional series format.”
We read that the move toward the “anthological miniseries that can reinvent itself every season is a better fit for writers who have a strong story to tell over a small number of episodes but not 65 to 100 as in the traditional series format.”
“I’m starting to feel like the process of making television can be much more fluid. Production timetables and episode counts can follow the voice, the timing, the schedule and the needs of the creative people rather than mold themselves into a predetermined business structure where they have to be creative on demand. To me that’s a recipe for mediocrity.”
– John Landgraf, FX Networks CEO
– John Landgraf, FX Networks CEO
Limited television series are especially fluid to create. These small-episode order shows – with a beginning, middle and conclusive end – can wrap up their stories. They are created without the pressure of officially coming back for a second season.
SNB: I absolutely agree. Many of us have read a script or received a pitch deck on a feature and thought, “This story is way too big to fit into a 100-minute movie. It really needs a broader canvas to present the narrative properly and explore all the characters.”
So why – and how – does one make the jump to television?
So why – and how – does one make the jump to television?
SJK: Sam Sokolow, a veteran Indie television producer, an executive producer of Nat Geo’s scripted anthology series GENIUS, and a former Indie filmmaker who we work with, points out that the television industry has been experiencing a metamorphosis. He also reveals that even though the term “independent film” is a common and familiar one, “there now exists an opportunity to invest in - and co-produce - independent television programming.”
His company produces and shoots ten-minute “mini-pilot” presentations, with the star of the show (sometimes an A-List movie star) and head-writer / showrunner attached – and he presents these mini-pilots directly to the networks, studios and OTT channels. Sokolow bypasses the laborious process of pitching a series and then having to rely on the network to fund a pilot.
The mini-pilot presentation cuts through the red tape of selling television properties to networks. These basically look the same as the series, and they give network execs a clear picture of the scope, and the feel, of the show. The costs of these mini-pilot range from $100K to $300K… or about the same investment as an ultra-low budget movie. Doing it this way means that, if the series gets picked up, you could have a $10 to $20 million-dollar production on your hands – and that’s only Season One.
His company produces and shoots ten-minute “mini-pilot” presentations, with the star of the show (sometimes an A-List movie star) and head-writer / showrunner attached – and he presents these mini-pilots directly to the networks, studios and OTT channels. Sokolow bypasses the laborious process of pitching a series and then having to rely on the network to fund a pilot.
The mini-pilot presentation cuts through the red tape of selling television properties to networks. These basically look the same as the series, and they give network execs a clear picture of the scope, and the feel, of the show. The costs of these mini-pilot range from $100K to $300K… or about the same investment as an ultra-low budget movie. Doing it this way means that, if the series gets picked up, you could have a $10 to $20 million-dollar production on your hands – and that’s only Season One.
With traditional television studios, the process can be very frustrating to top show creators and writers, and can take a very long time, and then if… IF… a network orders a pilot, and they pay for that pilot, all parties share creative control and have oversight of production. The project can get watered down at every step if decisions have to be made by a committee.
– Sam Sokolow, President & CEO of EUE / Sokolow Entertainment -
the content division of EUE / Screen Gems
– Sam Sokolow, President & CEO of EUE / Sokolow Entertainment -
the content division of EUE / Screen Gems
Conversely, smart TV showrunners working with Sokolow can “cut to the front of the line” with a mini-pilot in hand, and offer a more unique television series that serves up the unfiltered creative vision to the networks.
SNB: Does this mean they can say goodbye to television development hell?
SJK: In the traditional “development hell” sense - you can. Once you, Indie film producers, make the decision to invest in, co-develop and pitch television series with a proven television co-production partner, you are diversifying your company just like Disney, Warner Bros, Universal, Twentieth Century Fox, Paramount, MGM. and Lionsgate did 40 years ago. The movie studios embraced the new medium of television and they were rewarded for their vision.
When you co-develop, co-produce, and sell television series, as well as movies, you now have the luxury of serving an entire meal to viewers – not just an appetizer.
When you co-develop, co-produce, and sell television series, as well as movies, you now have the luxury of serving an entire meal to viewers – not just an appetizer.
SNB: Indie film producers and distributors know their craft and know their buyers, but it might seem like a big jump to move into television.
SJK: No one is saying that breaking into Indie television development, production and distribution is easy. It takes a sincere commitment, just the right kind of content, and a seasoned co-production partner to get a series up on-air and then to sustain it over years. But if you start small, co-produce and co-pitch just one or two mini-pilots for limited series per year, it will move your company in the right direction. Being in the television series business should be seen as a long-term content building strategy, not as an overnight “game changer.”
SNB: Can you briefly outline the steps on “HOW TO” enter the Indie television biz? If a film producer or distributor wants to start including television series into their mix, where do you suggest that they start?
SJK: Many Indie film producers and distributors have access to great talent and know how to make and sell compelling content. You just need to know the right showrunners and the network buyers who acquire television content.
1st – Start out with a Limited Television Series, or an Anthology Series – perhaps based on IP you already own.
2nd – Partner with an established Indie television producer to build an independent television division to create and develop limited and/or anthology television series based on your current, and future, properties.
3rd – Work to co-create and co-produce, with that established Indie television producer, compelling ten-minute “Pilot Presentations” (mini-pilots) that will allow you, alongside your Indie veteran co-producing partner, to bypass the difficult process of pitching a script or “show bible” to the networks and OTT channels.
2nd – Partner with an established Indie television producer to build an independent television division to create and develop limited and/or anthology television series based on your current, and future, properties.
3rd – Work to co-create and co-produce, with that established Indie television producer, compelling ten-minute “Pilot Presentations” (mini-pilots) that will allow you, alongside your Indie veteran co-producing partner, to bypass the difficult process of pitching a script or “show bible” to the networks and OTT channels.
This process creates a more successful and quicker path to presenting television shows to content buyers, broadcasters, and/or distributors.
Of course, we can give you a boost in the right direction. Just like making and marketing movies, it all starts with inspired concepts – articulated by great writing and a sound marketing plan. Entertainment is entertainment, whether it is (long-form) movies or (extended-form) television series. The greenlight process may be a little different and the buyers may be new to you, but great entertainment will find an outlet with the right people on board.
Of course, we can give you a boost in the right direction. Just like making and marketing movies, it all starts with inspired concepts – articulated by great writing and a sound marketing plan. Entertainment is entertainment, whether it is (long-form) movies or (extended-form) television series. The greenlight process may be a little different and the buyers may be new to you, but great entertainment will find an outlet with the right people on board.
If you would like to discuss how Bel Âge Médias can help your company explore ways to work in the television content business, please give us a call.
Let us help you.
Our firm, Bel Âge Médias (B.Â.M.}, is a company specializing in developing film, television, and other media properties, as well as providing business development, branding guidance, and investment banking services.
Bel Âge Médias • Santa Monica, California
Call Us - or Visit Us Online- or Email Us:
+1 310 666-6474
https://belagemedias.com/ •
Stephen(@)BelAgeMedias.com • Sarah(@)BelAgeMedias.com
Our firm, Bel Âge Médias (B.Â.M.}, is a company specializing in developing film, television, and other media properties, as well as providing business development, branding guidance, and investment banking services.
Bel Âge Médias • Santa Monica, California
Call Us - or Visit Us Online- or Email Us:
+1 310 666-6474
https://belagemedias.com/ •
Stephen(@)BelAgeMedias.com • Sarah(@)BelAgeMedias.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Endnotes / References:
1 - 17 Execs Explain Why They Keep Renewing Limited Series – HBO's Big Little Lies. Netflix's 13 Reasons Why. HBO's The Night Of. AMC's The Night Manager. Each of the above dramas were designed (and promoted) as limited series — small-episode-order shows with a beginning, middle and conclusive end that wrapped the story. And yet all four of them are either officially coming back or in talks to return for second seasons. – NOVEMBER 09, 2017
http://www.hollywoodreporter.com/live-feed/big-little-lies-13-reasons-why-17-execs-why-they-keep-renewing-limited-series-1056663
2 – The 18 most anticipated TV shows of 2018. Breaking through in a Peak TV world of more than 500 scripted originals is a challenging task, so top showrunners and stars continue to be in high demand as broadcast, cable and streaming platforms look to cut through the cluttered landscape with familiar faces, writes Lesley Goldberg (including the small-screen series regular debut for Oscar winner Sean Penn). – DECEMBER 01, 2017
https://edit.hollywoodreporter.com/live-feed/18-anticipated-new-tv-shows-2018-1063308
3 – How Streaming Giants Are Spending Money for TV Push – AUGUST 23, 2017
http://www.hollywoodreporter.com/news/how-streaming-giants-are-spending-money-tv-push-1031885
4 – What if more TV shows were anthologies? Viewers might be less overwhelmed.
The Genius of Genius Anthology Series – Courteney Monroe (National Geographic): “It’s easier to expand an existing brand than to create one in the first place. When we see a spark of success, we always consider how we can nurture it into something bigger. With Genius, we knew we wanted an anthology series. Einstein worked. Picasso is up next. And you’d be safe to assume we are thinking about who else’s life and story will stand up to the Genius treatment next.” – JULY 31, 2017 https://www.washingtonpost.com/entertainment/tv/what-if-more-tv-shows-were-anthologies-viewers-might-be-less-overwhelmed/2017/07/31/7b8d3f56-760c-11e7-8839-ec48ec4cae25_story.html
5 – Tim Goodman: The Best of TV 2016 and the "Platinum Age of Television"
http://www.hollywoodreporter.com/lists/tim-goodman-best-tv-2016-955668/item/chance-tim-goodman-picks-2016-955686
6 – FX’s John Landgraf on Competition For TV Talent: ‘It’s Moneyball’ http://variety.com/2016/tv/news/john-landgraf-fx-moneyball-tca-1201681533/
Image Credits:
IMAGE_entertainment.ie_netflix-50s/372706 via entertainment.ie/news
PHOTO_Sarah&Stephen.png via Bel Âge Médias
#####################################################
SIMULTANEOUSLY PUBLISHED AT:
LinkedIn-Stephen J. Kerr – https://www.linkedin.com/pulse/… stephen-kerr/
LinkedIn Sarah Nean Bruce – https://www.linkedin.com/pulse/… sarah-nean-bruce/
1 - 17 Execs Explain Why They Keep Renewing Limited Series – HBO's Big Little Lies. Netflix's 13 Reasons Why. HBO's The Night Of. AMC's The Night Manager. Each of the above dramas were designed (and promoted) as limited series — small-episode-order shows with a beginning, middle and conclusive end that wrapped the story. And yet all four of them are either officially coming back or in talks to return for second seasons. – NOVEMBER 09, 2017
http://www.hollywoodreporter.com/live-feed/big-little-lies-13-reasons-why-17-execs-why-they-keep-renewing-limited-series-1056663
2 – The 18 most anticipated TV shows of 2018. Breaking through in a Peak TV world of more than 500 scripted originals is a challenging task, so top showrunners and stars continue to be in high demand as broadcast, cable and streaming platforms look to cut through the cluttered landscape with familiar faces, writes Lesley Goldberg (including the small-screen series regular debut for Oscar winner Sean Penn). – DECEMBER 01, 2017
https://edit.hollywoodreporter.com/live-feed/18-anticipated-new-tv-shows-2018-1063308
3 – How Streaming Giants Are Spending Money for TV Push – AUGUST 23, 2017
http://www.hollywoodreporter.com/news/how-streaming-giants-are-spending-money-tv-push-1031885
4 – What if more TV shows were anthologies? Viewers might be less overwhelmed.
The Genius of Genius Anthology Series – Courteney Monroe (National Geographic): “It’s easier to expand an existing brand than to create one in the first place. When we see a spark of success, we always consider how we can nurture it into something bigger. With Genius, we knew we wanted an anthology series. Einstein worked. Picasso is up next. And you’d be safe to assume we are thinking about who else’s life and story will stand up to the Genius treatment next.” – JULY 31, 2017 https://www.washingtonpost.com/entertainment/tv/what-if-more-tv-shows-were-anthologies-viewers-might-be-less-overwhelmed/2017/07/31/7b8d3f56-760c-11e7-8839-ec48ec4cae25_story.html
5 – Tim Goodman: The Best of TV 2016 and the "Platinum Age of Television"
http://www.hollywoodreporter.com/lists/tim-goodman-best-tv-2016-955668/item/chance-tim-goodman-picks-2016-955686
6 – FX’s John Landgraf on Competition For TV Talent: ‘It’s Moneyball’ http://variety.com/2016/tv/news/john-landgraf-fx-moneyball-tca-1201681533/
Image Credits:
IMAGE_entertainment.ie_netflix-50s/372706 via entertainment.ie/news
PHOTO_Sarah&Stephen.png via Bel Âge Médias
#####################################################
SIMULTANEOUSLY PUBLISHED AT:
LinkedIn-Stephen J. Kerr – https://www.linkedin.com/pulse/… stephen-kerr/
LinkedIn Sarah Nean Bruce – https://www.linkedin.com/pulse/… sarah-nean-bruce/
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