Best Projection TVs

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If you’re excited about your latest TV or film project and are hitting a pitching wall, you may be tempted to grab a camera, call in some favors and shoot the whole thing yourself! Is there ever a right time to do that? Well, yes. And there also are right times to not even consider it. Let’s talk about the truth and consequences behind shooting your own reels.

Presentation Reels
For filmmakers, you’ll often want to shoot a presentation reel to convince funders to come aboard. That actually is a terrific idea. But not always a necessary one. Start with a solid screenplay first. Shopping a screenplay is far easier and certainly wholly acceptable as a means to get financiers, key team members and even vendors on board. If you’re not getting any action from the script, put your next budget dollars towards a professional script analysis. Make sure your script is truly shootable and worth shooting. It costs only a few hundred dollars for detailed development notes from The 1-3-5 System, for example (for info on this system, visit my website listed below). It will cost you a few thousand, at the least, to shoot a reel and hope you can do with pictures what you haven’t yet done with words.

EXCEPTIONS: The big exception here is when you have a challenging, non-CGI visual, setting or performance that repeatedly is questioned by script readers. If you keep hearing “Can that be done?,” it might be time for a presentation reel.

RULE: Once you commit to doing a reel, hire a professional staff and crew. A shoddy-looking reel may cost you credibility, while excellent production value can really boost it.

Sizzle Reels
For reality producers, your show’s demo tape is called a “sizzle reel.” And your battle cry is all too often, “I’ll just produce the show myself!” Slow down. I had an interesting discussion last weekend with two major reality production and network execs, both of whom were happy to get sizzle reels since they feel reels help them sell an idea to others on their team. But I have often heard exactly the opposite from execs: “Sizzle reels can kill a deal.” One concern is that reels often don’t match the vision your pitch was building in an exec’s mind. Bye-bye sale. Another concern is that a good producer conforms a pitch to work with the brand of each partner s/he meets with. So a sizzle reel you shoot that satisfies one prod co’s brand may completely violate the mission of another company, etc. How many reels do you plan to shoot?

For more detailed dissection of when to sizzle or not, read my book, The Show Starter Reality TV Made Simple System, Vol. 1: How to Create and Pitch a Sellable Reality Show (for info, visit my website listed below).

FYI, the general consensus at the end of last weekend’s debate was, if at all possible, be sure to ask the exec you plan to pitch how they feel about sizzle reels.

EXCEPTIONS: If something in your show is visually electrifying or conceptually challenging in words, a demo reel of just that portion of your show is a big help.

RULE: Don’t cheap out on the shoot! Make it look great; it’s also your calling card to show what you can do if they keep you attached to the show.

Performer Reels
No disagreement here. Any time you are presenting unknown talent to an executive, a reel that showcases their ability and brand is a winner. For fiction, that’s a casting tape; for non-fiction, that’s a talent reel. For a casting tape, invest in real audio, and choose sides that sell your talent in his or her strongest part of the script. For a talent reel, you can include a brief personal introduction (interview set-up is fine), the talent in action in their natural environment and even testimonials. Whatever project you’re doing, light this reel beautifully and edit it professionally – this is the face of your project!

Professional Reel
If you are a director, producer, DP, editor or other B-T-S professional, you often will be asked for a demo reel of your work. Note that there is a huge difference between a professional reel…and a professional anthology. You don’t/shouldn’t/can’t put absolutely everything you’ve ever done onto a tape. Take the following advice – even though it challenges everything you believe in. Make a branding statement with your demo reel. Choose shows and selects that all accent your point-of-view as a content creator. Or that highlight your particular visual style. Or that showcase your big league clientele. Decide what impression you want your reel to leave, what makes you special as a project hire, then play the rough cut for people and ask them to share their gut reaction. If their feedback doesn’t match the kind of projects you most want to get – get back in there and re-cut that reel.

All Reels
You have 5 minutes at the most for a reel, but know that an exec really will only look at the first 2-3 minutes. Don’t get carried away! If studios can get you to pay $14.00 for a film by showing only a 30-second trailer…well, you get the picture. Now go get that deal!

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One of my most popular articles to date has been “Breaking Into Hollywood – Do I Need to Read the Trades?” In that post, I outlined the minimum types of information you should scan the trades for and also suggested key trades to read. Thanks to the strong response I received, in this article, I’m going to follow up with specific examples of what you might find in the trades – and how you can translate that information into selling your own projects.

Whether you work in film or TV, you can put these tips to use, even if the specific example is not from your industry.

Let me start by recommending you immediately ditch any hard copies you receive of the trades and sign up for the electronic versions instead. That way, you can easily copy and paste information straight into your databases or share it with partners and reps. Remember, always show copyright love whenever it bears stating!

Now, here are six ways to “trade up” your daily reading into a focused, project-selling process:

Trade-Up Tip #1: Track the Trends

As you prepare to pitch various projects, the trades tell you what’s hot and what’s not. Guess which trend you want to be riding? For example, for reality TV professionals, over the past two weeks, we’ve learned that:

My Network TV is about to replace 33% of its programming with reality TV AND 180 from telenovelas to targeting male viewers (reality producers, take note);

Court TV’s first scripted project is a hit with viewers (fiction producers, here’s a new potential buyer!);

NBC, the CW and Bochco himself all are about to launch original Web-based programs (everyone, are you still ignoring new media?); and

Networks in general are looking for cheap ratings bonanzas in brand-friendly game shows (got a talent option you don’t know yet how to capitalize on?)

All of that info ought to help show creators decide which ideas they are going to prioritize developing to maximize sales possibilities. Database these updates in a simple table or spreadsheet, and you’ll always be timely in your pitch meetings. And remember, the execs you’re pitching expect you to know this info if it was in the trades!

ACTION PLAN: In Word or Excel, build a simple table with columns for network/studio name, programming announcement(s) and announcement date(s). (when you buy my book, “The Show Starter Reality TV Made Simple System, Vol. 1: How to Create and Pitch a Sellable Reality Show,” if you join the Show Starter Online Group, you can access a file of over a dozen network programming announcements from this year%u2019s upfronts.)

BONUS ROUND: If you don’t have any pitches that ride the trends, rework existing projects to stay current. Is there a cooking pitch you love that also might make a terrific game show? For helpful process tips, read “Show Starter, Vol. 1″ pp 25-27.

Trade-Up Tip #2: Run “Comps” on Projects that are Similar to Yours

TV producers, before any pitch meeting you ever take, be absolutely sure to check the overnight ratings for the current shows at that network AND any shows anywhere else that are similar to yours. Filmmakers, regularly track the weekend box office for any studios or companies you hope to meet with or any films in your genre.

Now for the example: remember the hot new – and now former – ABC show “The Great American Dream”? At the end of March ’07, if you were about to pitch any dream fulfillment shows anywhere, or any show AT ALL to ABC, a quick glance at one day’s trades would have shown that “Dream” utterly tanked episode one (ratings report – 3/28/07). . .and was cancelled after episode two (cancellation article – 3/29/07 – as in the NEXT DAY’s trades).

Translation: this might be a pretty bad time to pitch a new dreams-come-true project anywhere, and ABC execs might be particularly cautious about new genre projects in general. Isn’t that something you’d like to know before entering the room? You BET. At least so you can explain why your project isn’t vulnerable to the same ratings risks? And don’t be blinded even if you see high ratings. Just because the trades report “Fox Picks Up 13 More Episodes of 5th Grader,” it might mean Fox wants to do another deal with Mark Burnett rather than buy your equally biting game show.

ACTION PLAN: Do a quick ratings review in the daily trades to compare your pitch list to current shows. Push danger zone shows to the bottom of your list, if you pitch them at all over the next few weeks. Then shift at least one brand-appropriate trend-winner into your top three opening pitches.

BONUS ROUND: Brainstorm alternative versions of your danger zone pitches (Show Starter, Vol. 1, pp 25-27) so they no longer heavily rely on now-risky elements. Then if an exec challenges them, you can come right back with a well-thought-out twist on your pitch.

Trade-Up Tip #3: Dissect Deal Points

If you’re not sure what to expect and request in your own deals, read the trades to keep up with what everyone else is offering or receiving! For example, for all you filmmakers who are fighting mainly to get a piece of DVD rentals in your deals, shouldn’t you know that the “Netflix Founder Predicts End Of DVD Rental Business” and now is investing millions in digital film downloading? Meanwhile, reality newcomers and pitch partners can set some basic contract expectations by reading news like “Hedda Muskat has been named Consulting Producer on WE’s new show, ‘Wife, Mom, Bounty Hunter’ debuting on April 20. Hedda brought the show to World of Wonder who sold it to WE.” (© 2007 Cynopsis).

ACTION PLAN: Scan for any deal discussions regarding professional peers or potential buyers. The Cynopsis example above lets you know right away what you might expect to be offered by WE and/or World of Wonder as a new show creator.

BONUS ROUND: Oh, you know what I’m going to say: add this info to a database – and review it before you actually pitch any partners!

Trade-Up Tip #4: Improve Your Project Development Process

Seeking “the right” talent to attach to a project? You can test the industry’s temperature for star “heat” by reading that “Kid, Not Play, May Get Talk Show.” Or get a great lesson in built-in conflict for reality pitches when you read that “Season three of Run’s House on MTV begins April 9 at 10p. Rev. Run and the Simmons family return to face new crisis and growth situations such as the two oldest daughters, Angela and Vanessa living on their own in Manhattan.” (© 2007 Cynopsis). Whenever you read about greenlit projects in your industry, consider it powerful development guidance for your own projects.

ACTION PLAN: Scan the trades for talent and story success stories and see what equally compelling “headlines” you could write to promote your own projects. Do you have more work to do to develop the project?

BONUS ROUND: Write the headlines – and send them to your focus group to see if they want to see that show!

Trade-Up Tip #5: Gather Insider Information

I call this “Room Wisdom.” These are articles that give you explanations of how our business works that help you get inside the minds of the studio, network and production execs you are pitching. For example, the Hollywood Reporter recently ran an article called “Ad Ratings To Gain At Upfront,” explaining that advertisers increasingly want to base the ad dollars they commit to a network on ratings for the actual commercials that run during programs, rather than ratings for the shows themselves. Is that a big shift? Of course! Is that something you can talk about intelligently in the room when possible ratings enter the discussion? Sure – if you’ve read the article.

ACTION PLAN: Read insider information articles and make sure you can summarize the general idea into a straightforward sentence (like I just did above).

BONUS ROUND: Learn the article’s new buzzwords and do additional research on them. For my example article, you would research “ad ratings” (aka “commercial ratings”) and the new Nielsen measurements they represent.

Trade-Up Tip #6: Scan for Who | What | Where

I’ll say it again – success in isn’t just about know-how; it’s about know-WHO. You absolutely must know who the players are that can buy your projects or otherwise assist their sale. All the trades announce executive hiring, firings and job-swappings. Many also feature producers who have just sold new projects. You must know these names to learn whom you already know and whom you need to meet with – not just in the room, but also at panels, seminars and conferences you see advertised.

For example: got contacts at “The Amazing Race”? Guess what? Now you might have contacts at Oprah’s new wish fulfillment show – the trades just announced “‘Race’ duo to oversee Harpo reality series.” But before you send an e-mail blast to everyone you know who works anywhere, please read my article: “Breaking Into Hollywood – Do you know anyone who’s hiring?” Please don’t ever let the first thing you say to someone – a stranger OR a friend – be “What can you do for me?” Make sure your energy in this industry is balanced between advancing your own dreams and sincerely investing in your core circle’s dreams at the same time. Those contacts are the ones who’ll call YOU to yell, “Hey, I just got the new Oprah show – send me your rez!”

ACTION PLAN: Database the names of studio execs, network execs, production execs, financiers and show runners and keep it updated through your daily trade reads. Start with the network and prod co dbs we give you at our online group, and keep it up-to-date. Those names are the key to your selling a project.

BONUS ROUND: Today, right now, send an e-mail to the five people who have helped you most in your career. Offer something specific to help them back – even if its updating one of THEIR databases. Get balance back in your professional relationships – and watch the immediate shift in your professional progress.

BONUS, BONUS ROUND – Stop typing your latest email blast asking people you otherwise never check in on to find you work. Now re-read “Bonus Round” and give that approach a try instead. Please trust me on this. And remember, send thank you truffles or coffee cards to everyone who ever gets you in front of anyone else for a meeting – whether you close a deal or not.

NOW GO SELL THOSE PASSION PROJECTS!

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