This is the launch of a new feature on this blog called Twitter Time.
We’re asking those of you following us on Twitter what questions you’d like answered about producing. Today, we took questions from @visualchord, @c_cappelletti, @kittenspeaks, and @russellnichols.
@visualchord asks about story in reality TV:
How do you recognize and flesh out storylines – do you look for them during production or in post?
In our company, we have a saying: “Story trumps everything.” Driven by that philosophy, we leave ourselves open to a variety of ways to find that story.
When we go into the field, we typically have a plan for the story beats we expect to get.
For instance, if we’re following a make-over story on a show like Scream Queens or Foody Call, we know there will be a before and after part of that story. We prep to make sure those beats are covered.
What we don’t know is what the cast member’s emotional reaction to the make-over will be, so we’re prepared for anything. Whether they are overjoyed at their new look, or storm out in anger, we’ve planned to NOT know the outcome, and are ready to chase that story wherever it goes.
Sometimes we go into the field thinking a story is going to go a certain way. Then it takes a big shift. Surprise…the story you planned for isn’t happening!
Rather than trying to force our pre-conceived notions of a scene on to the real people we’re following, we abandon whatever plan we had, and chase the new story full-force. That said, we need to make sure that story has a beginning, middle, and an end.
Story is also found and shaped in post. Sometimes, when seven cameras are rolling in different parts of the set, the big picture doesn’t become clear until the edit.
Little story nuggets, connections, and relationships we didn’t see during the shoot become clear, and we work to shape and polish those as truthfully as possible.
@c_cappelletti asks about being a writer who doesn’t want to produce:
Do you ever get pitched ideas/concepts by writers who don’t necessarily want to produce? Pros and cons of that for you?
Great question. It’s a different answer depending on if the project is scripted or reality.
For a scripted project, producers working with writers who only write on the project is the norm. We are in development on several feature projects right now with writers who want to write, not produce.
Reality is a bit different. Ideas are a dime a dozen in reality TV, so to team up with someone else, that person has to bring something of real value, beyond the idea, to the project.
If you’ve read our blog, you know we’re big on Hands-On Producers. This is because someone who comes in having produced a great tape has demonstrated skills valuable in producing reality TV. The tape itself is a big asset to sell the potential show.
That said, if you’re not a producer, and don’t have a great tape, there’s another way to make yourself valuable: attach something unique to your project.
That could be a business or company that agrees to let you film a show with them, a celebrity or interesting personality that allows you to follow them around, or access to a world most people could never get into.
If you happen to be best friends with someone at The Pentagon who says they’ll let you come in and do a show there, that’s pretty valuable access!
You may also know a book author who can help you option the rights to do their book as a TV show.
Come with any of the above, and you increase your chances of a production company or network being interested in your idea.
How do you attach someone to your show? Check out this great Filmmakers Notebook post on entertainment attorneys. You want someone like this to create an agreement your attachment signs off on.
@kittenspeaks asks about deadlines and schedules:
What is the average time from shoot to air? Do you prefer to finish the series before you start airing?
This changes from show to show, but it’s never as long as we like! As budgets get smaller in this tight economy, schedules shrink. Only hard work and long hours can get the job done.
For instance, on Scream Queens, we were still editing episodes while the show was already airing. That’s pretty typical. But the turn-around time from shoot to air can be a long as months or as short as weeks.
Finally, @russellnichols asks:
How do you solicit an attachment without risking them stealing the idea and giving it to someone more established?
Ah, Russell, a tough question to answer. Of course, you can register your idea with the Writer’s Guild, or the copyright office, but…it’s useless. Everyone’s got an idea, and ideas are pretty worthless on their own.
It’s the execution of an idea that has value. That’s why Wife Swap and Trading Spouses can both exist on the air at the same time. The slightest difference in execution has proven to be enough.
Some bad news. Whatever idea you have, no matter how brilliant, is probably not unique. There’s a 99% chance someone else is out there working on the same idea, or something similar. So what sets you apart is
- how you execute your idea, and
- what you attach to your idea.
So attaching something or someone to your show, especially if it’s a follow-doc type show, is a must.
Now, if you approach someone with an idea early in your career, you will be lacking in experience. What to do? Make up for lack of experience with enthusiasm!
Joke and myself attached some pretty big talent to our early show ideas when we had no credits. How? Our pitch to the potential talent was so passionate, so clear, they couldn’t deny that our vision was valuable.
Will they take your idea and do it with someone else? There’s always a chance. Can you really afford to worry about that when you’re just starting out? No, you can’t. We’ve all been screwed at one time or another. It’s another reason why we preach that one big idea is not enough.
While I won’t say your ideas will definitely be stolen at some point, you will pitch ideas that someone else will end up putting on TV. It happens all the time. Maybe someone else had a similar idea. Maybe someone really took your idea. Sometimes, those are the breaks.
In our opinion, your best bet is to keep developing new material, and sharpening your ability to execute. Eventually you’ll succeed.
Yes, it’s scary to risk putting your ideas out there, but what choice do you have? No risk, no reward.
That’s our first Twitter-Time!
Let us know if you enjoyed it. Of course, be sure to follow us on Twitter so next time you know when we’re taking questions for Twitter-Time.
Thanks to @visualchord, @c_cappelletti, @kittenspeaks, and @russellnichols for the great questions.