The Pitch Bible Blog

The Suspension of Disbelief

2012-02-05T07:48:00.001-08:00

I saw "MISSION IMPOSSIBLE: Ghost Protocol" last week. It was a good movie and I enjoyed myself - with one exception. There were elements of the movie - events happened where I couldn't suspend my disbelief.

The gadgets? Yep. I believe that all of those amazing gizmos could and do exist - and are being used in the Special Ops field today.

Do I believe that Tom Cruise is 6 feet tall - or at least taller than all of the people around him? Sure. Why not? It's a movie. Go with it.

What I don't believe is that someone (Tom Cruise) can take a hard smack in the head and continue to function normally immediately afterwards. I don't know about you, but I got clobbered a couple of times in my misspent youth. I know from first-hand experience that after you've been hit, you're not seeing straight - let alone saving the world. Your only concern is "Which one of the three images in front of me is real?"

Tom Cruise get hit - and I mean CLOBBERED several times in MI:GP. Any one of those hits would have hospitalized a human being for days - yet, he took the licking and kept on ticking. That totally removed me from the story. The "Wait a Second...!" is all it takes to lose your audience.

In the 1988 movie, "U.S. Marshals" actor Joe Pantoliono's character was T-Boned in a car crash. The character was shown woozy throughout the rest of the movie. Not an ideal situation for a lead character - but perfect for a supporting role. It was 100% real and I loved it. Not only that - but it gave consequences to the rest of the action in the movie.

In CG Animation they deal with it, calling it "The Uncanny Valley" - where the animation design moves beyond cartoon style, becoming too realistic. This alienates the viewer - because the people just don't look or move properly - almost like zombies. This was best shown in the Robert Zemeckis film "The Polar Express".

So what's the point? Stylize it. For CG - 100% lifelike motion and design shouldn't be the goal. For live action - there should be consequences to action sequences. If there's a bone crunching accident, acknowledge the crunched bones.

KidScreen Summit 2012

2012-01-08T14:54:00.001-08:00

People have asked if I'll be at the KidScreen Summit in NYC, running February 7th to 10th.

Actually, I won't. While I have a number of projects in play at the moment (and the ultimate WICKED-COOL one that we're about to pitch) - none of my current shows are for... Kids.

Which doesn't mean that I'm not available to help get YOUR pitches and scripts into shape. You've still got a couple of weeks to put the final polish on your work. My clients had a very successful time at KidScreen 2011 with a couple of properties landing development deals.

So, if you're going to KidScreen and want to put the best face on your property, don't hesitate to contact me. And good hunting out there!

Ideas

2011-12-22T16:28:00.000-08:00

Hey Steve...

How do I know if my idea is a good idea?

To be honest, that question is irrelevant. It's not the idea - its what you do with it that matters.

Case in point: The famous novelist E.L. Doctrow wrote a book called "The Waterworks".

Set in 1890's New York - The Waterworks deals with a series of grisly murders around the Croton Reservoir. There's a lot of political intrigue and the protagonist is a crusading newspaperman.

At about the same time, a little known writer named Caleb Carr wrote "The Alienist".

The Alienist is also set in 1890's New York City. It also deals with a series of grisly murders around the Croton Reservoir. And yes - there's a lot of political intrigue and believe it or not, The Alienist's protagonist is a crusading newspaperman.

Two identical books? They should be the same, right?

Hardly. The Waterworks is as boring as Hell. The Alienist is a gripping page turner.

Same idea. Same setting. Same time period. Same characters.

One is a failure, the other is a brilliant success. <-- my opinion - but you're welcome to check out the reviews on Amazon.com. I'm not on the minority.

Happy Reading!

30,000 Hits

2011-12-22T16:18:00.000-08:00

Well folks, we hit 30,000 on the Sitemeter today. That's kind of amazing. Thanks!

Sorry that I haven't posted in a while. What can I say? I'm busy. That's a good thing.

With 30,000 hits come a number of letters, notes, requests, etc. Got one recently. A gentleman asked if I'd review his Pitch Bible. "Sure", I said. Send it over. Which he did.

In his cover letter, he mentioned that "another" pitch-bible expert had reviewed and liked his pitch. He wanted my thumbs up on it as well.

So here's the situation. Last year, someone asked my opinion of his pitch. I was honest - I said that it needed work and explained what I thought would improve his bible. He replied that (another writer) had reviewed his bible and thought it was fine.

I said, "fine" - accept the other guy's opinion and ignore me. But he wouldn't leave it alone. He called me from England and conferenced in the other writer from L.A. - so the two of us could "debate" the merits of this guy's Pitch Bible.

Excuse me?

My reply wasn't the least bit polite. If you disagree with what I think, you're welcome to find another opinion - but leave me out of it.

Getting back to the recent guy - collecting letters of "support" from Pitch Guru's means nothing. The only opinion that matters belongs to the production company or broadcaster who's prepared to option your property.

I'm always happy to lend and ear and give advice. But please don't go Guru shopping.

Thanks!

The Hollywood Paradigm in Action

2011-11-03T04:43:00.000-07:00

Well, I'm back. Sorry for not writing in a while. I've been busy and on top of everything else, just got back from vacation.

While sitting on the plane, I had the opportunity to check out this past summer's "Captain America". It was fun. Mindless fun - and I enjoyed it. I'll be sure to see The Avengers movie that they plugged at the end of the film.

One thing that I noticed was that "Captain America" plotline followed followed Syd Field's paradigm - see my earlier post - to an insane degree. Case in Point: When Captain America raid's Red Skull's base in Norway and frees the captured soldiers - I stopped the film and checked the timeline. It was exactly - and I mean EXACTLY 1/2 way through - to the minute. When Bucky is killed, setting of the final confrontation, it occurred precisely where the second Plot Pinch indicated it should be. You could literally set your watch by this movie. Rarely have I seen a movie that was constructed (in the editing phase) to match the paradigm this closely.

To be honest, I didn't (I should have, but didn't bother) check to see if the inciting incident that starts the second act, hit at the 20 minute mark. I'm sure it did.

So, the end result - while it isn't Shakespeare, "Captain America" is a textbook example of Syd Field's paradigm in action. And it's a fun movie, too. I'd call it a "good renter".

"A" Story - "B" Story - Running Gags

2011-09-11T08:38:00.000-07:00

How do you get more ZIP out of your story? Many early writers fall into the trap of writing single plot stories. They follow on group of characters throughout an entire adventure. But life isn't like that - people and events that affect your life come and go. If you can build that element (let's call it the "B" Story) into your story, it'll make for a better script.

Let's get started. You might recognize the diagram below as Syd Field's famous Hollywood screenwriting paradigm. The vast majority of movies and TV shows follow (consciously or unconsciously) this model.

From my own experience, I've found that when a story works - it's on model. If a story isn't working - the first thing I do is check it against this template.

For more information about SYD FIELD, the PARADIGM and all that other good stuff, please visit www.sydfield.com or buy his books THE SCREENPLAY or THE SCREENWRITER'S PROBLEM SOLVER. These books are essential reading. If you haven't read them yet - RUN TO YOUR LOCAL BOOKSTORE AND BUY THEM.

And now, on to MY paradigm... Which I've scribbled over top of Syd's. Hope he doesn't mind...

You'll see that I've scribbled some lines in pink and green marker. Sorry, they're all that I had available. The Pink lines represent that "A" Story and the Green lines represent the "B" Story (or the secondary characters).

I'm going to use a gross simplification for demonstration purposes. In the FIRST ACT - the main and secondary characters are going about their business together. There's even a GAG or short joke about their situation.

At the PLOT POINT which begins the SECOND ACT - the Primary Characters (A Story) and Secondary Characters (B Story) separate and go about their businesses. Throughout the Second Act, we cut back and forth between the two groups of characters, to keep up with what they're doing.

Likewise, there are situational GAGS - called RUNNING GAGS that mirror the "A" and "B" stories. There's an "A" Story Running Gag and a "B" Story Running Gag.

The "A" and "B" Stories should MEET at the SECOND PLOT POINT or CLIMAX of your story. Then in the resolution or THIRD ACT - if you're very good (and lucky) you get to write a climax for your RUNNING GAGS.

This structure works for a simple short 11 or 22-minute adventure. If you were to write a longer piece, you would add more Stories - "C", "D", etc.

And no - I don't sit in movies counting the number of stories going on. But next time you watch your favorite sitcom, check it out.

Animaniacs Bible

2011-08-31T14:31:00.000-07:00

The previous link to the Animaniacs Bible is down. However, I've located a new link, which you can find... HERE.

As noted before - this appears to be a writers guide, rather than a pitch document. Either way, it's fun reading.

Cheers!

A Typical Day

2011-08-31T04:18:00.001-07:00

A potential client contacted me about writing a pitch bible for him. Only one problem: After speaking with him, I knew that what he wanted me to write, wouldn't sell.

The core idea was okay, but his format was way off. It was confusing - so much so, that anyone reading it would be left scratching their head, unsure what the project was about.

Which left me with the moral dilemma; "Should I take this guy's money and deliver the product that he wants, but which I absolutely believe will fail? Or, should I argue with this man - and get him to see things my way?"

The problem was - if we did it my way and forever reason, it didn't sell - then I'd be to blame.

It was a no win situation. I wished the guy luck with his project and I've moved on to other things. But in the interests of Public Service, here AGAIN are some Things that a Broadcaster looks for in a Pitch.

Ignore them at your peril:

A solid proposal must demonstrate:
- A strong understanding of Network X's audience and schedule;(Hi. This is me, here in the italics, commenting on their notes. About the "Strong understanding of Network X's audience and schedule: In all fairness - don't waste their time. If your show is really not what they're looking for - a knitting show for "The Hunting Channel" - you're wasting their time and your efforts.)
- A strong overall fit with Network X's programming needs; (If they show 1/2 hour episodics, round the clock - don't try to sell them on a Movie of the Week. They've got nowhere in their schedule to run a one-off.)
- Originality in subject or treatment; (This is a bit of a... I dunno. On one hand, they always ask for ORIGINALITY, while on the other hand, they really want "tried and true" - meaning SAFE programming. If the show tanks, "you know who's" job will be on the line.)
- Clarity of approach and focus; (Meaning - Know Your Stuff. If your show is about sea creatures, you should have a pretty good knowledge of sea life.)
- Creativity and imagination; (Goes without saying.)
- Top-quality writing, research and presentation; (Ditto again. Don't go in with some half-baked idea scrawled on a napkin. It ain't gonna fly.)
- Credentials of production personnel including a proven track record with professional and creative broadcast series production;(This depends. When I got my first development deal, my credits were really thin. If you have THE GREATEST IDEA IN THE WHOLE WORLD, the broadcaster may require that you partner with a more experienced producer. Don't let this stop you.)
- A thorough budget and financing scenario, if requested. (You should have a realistic idea of what it will cost to produce the show. Do your research and have it ready if needed.)
Please submit the following with your proposal:
- Summary of show concept, series focus and treatment; (Hey! They want a Pitch Bible! Go figure...)
- Outline of its relevance and appeal to Network X's core audience;(In your words, why will people watch it?)
- Show format and sample rundown (if applicable); (Ya know? In all my years, I've just done my first one of these. And it was only after I'd done it - that anyone asked. Its a good exercise and it helps you to prepare for the pitch.)
- List of key creative personnel and complete resumes. (Good to have on hand - but the truth is, if you get your show up and running, you can buy all the creative people you want. Make up a "such as" list. Example - "This character will be played by an actor such as Tom Hanks". The reality is, you'll never get Tom Hanks - but it gives them a taste of what you have in mind. Same goes for artists.)
- Corporate profile with credits; Have your resume handy. ( Or, if you're more experienced, a link to your imdb page.)
- Video samples of your past work and, if applicable, of proposed host (Makes sense. It's always good to have a demo reel. I'm sure that I sold Freaky Stories on the strength of the 5 minute pilot that I made in my basement.)
- Signed RELEASE FORM (Yeah, yeah, yeah... They might make you sign one of these to protect themselves. You might have an idea similar to something they already have in development. This actually happened to me - I pitched a show to a network and it was EXACTLY what they had just shot a pilot for. They told me that my pitch was better - incidentally... but no sale...)

NEW EYES

2011-08-29T07:52:00.001-07:00

Image from "The Goon" by Eric Powell. Please

check out Eric's work and THE GOON, here.

I spoke recently with the head of programming for a major cable network. During the course of our conversation, I asked what it is, that he looks for in assessing a new show or project. His answer:

"New Eyes" - Will this show bring new eyes (new viewers) to our channel?

In today's market, the goal is not only to satisfy the current viewers, so that they remain loyal to the channel - but to attract NEW viewers to boost the ratings.

So how do you do that?

When we were producing Freaky Stories, we were writing for adults. It wasn't a kids show. It looked like a kids show. It sounded like a kids show - but there was an adult subtext - smart stuff was going on.

The kids would be happily watching the show - while the parents, listening in the next room and interested in what they were hearing - would come in, sit beside their kids and watch the show too. We brought "new eyes" to the broadcaster.

While everyone was watching the episodes - I was watching the commercials - because I knew that the ad agencies had the exact audience demographics. The first couple of weeks, it was mostly promos and PSA's. Then we got commercials for breakfast cereal. I knew we were reaching the right audience when we got our first mini-van ad.

Check out the really successful animated series of the past couple of decades: the Spongebobs, the animated Batmans, the Ren and Stimpys. They're smart. They're subversive. They appeal to multiple audiences. And most important from a show sales point of view, they bring New Eyes to the broadcaster.

There ain't no cure for the Summertime Blues...

2011-08-25T12:22:00.000-07:00

Yeah, yeah, yeah - I haven't been writing much. It's Summertime. It's nice out - and as I sit on my hilltop, trusty dog beside me, watching the clouds roll by - I'm thinking of amazing, insightful things to write. Notice how I keep procrastinating about finishing my book?

Nobody to blame but me. My fault. But I promise to put my shoes and socks back on and start writing new material in the next few days. That said, here's something to tide you over...

Collected here are links to The Very BEST of The Pitch Bible Blog.No searching - it's all right here!

NEW!!! (I just want to add one note: You generally get one shot at pitching a project to a broadcaster. If they pass - its over. Got it? You get one try at it. While there is a lot of good info posted below - if you're really set on pitching your Million Dollar Idea, it might be worth your while to hire a Pro - someone who knows what they're doing when it comes to pitches.)
Everyone owns a hammer, pliers and a drill, right? But who among us does his own dentistry?

Subtle Sales Pitch over... Here's the goods...

TOPICS - In No Particular Order - But all very important...

PITCH BIBLES

TOPICS - In No Particular Order

The 21 Things a Broadcaster Looks For In Your Pitch
Dressing for Success
Pilot Reels - Promising too Much? I like this post, because one of our readers challenged my ideas, forcing me to reconsider my position. Interesting stuff. Live and learn.
Words of Wisdom From Chuck Lorre - This is ESSENTIAL READING.
Chuck Lorre is God. So pay attention.
What The Broadcaster Expects From Your Pitch
MORE - What Are They Looking For?
Trademark and Domain Names
Guerrilla Marketing 101
Submission Release Forms a.k.a. By Popular Request

Happy Reading - More To Come

20,000 Hits

2011-08-09T06:16:00.000-07:00

I know that in the big world of the internet, 20,000 hits isn't much - but for the little old PITCH BIBLE Blog - that's a lot. Thanks everyone for your support.

Two Routes to Sucess

2011-08-05T06:44:00.000-07:00

I spoke recently with a very successful entertainment entrepreneur, asking (yes - I interview people asking for the secrets to their success - which they usually provide) - about how to produce a successful new show.

His answer: "Do something original. Or do something that's been done before - only do it better."

Let's examine that. Do something original. That's a tough one. I'll be honest - Original is a hard sell, because people have no idea what you're talking about. They've never seen it before, so you probably have to create it - and then sell it. Of course, they'll still have no idea what it is.

I ran into this problem with Freaky Stories. I produced 3 pilots (limited animation, graphics, etc.) and it took many years to get the show into production because the powers that be, didn't grasp the concept.

Here's a brilliant example of something original. It's simple - One guy singing a song - yet has huge "WOW" factor - because it's done in a completely novel way. And brilliantly produced.

Here's something that's been done before: STOP MOTION ANIMATION - but done brilliantly. Two examples from “Sumo Science” (Ed Patterson and Will Studd). The first, "DOT" is the smallest Stop Motion film set ever made.

Next, "GULP" uses the largest Stop Motion setup ever done.

In both cases, the filmmakers were able to rethink a conventional idea and use it to attract attention and financial backing to their very successful projects. Its nothing that hasn't been done before from a content point of view - just very well and in a new way.

Also - the scale of the projects fit perfectly with the content of the films.

A Tale of Two Pitches

2011-08-04T10:50:00.000-07:00

I want to be very clear about something: I like to see new pitches. I want to LOVE everything that crosses my desk. I want to be the first person to see the NEXT BIG THING. So I get really excited when I see something great - and I'm really disappointed when I see a lost opportunity. I'm not trying to be mean - I'm just being honest. And maybe a little selfish - because I WANT to love your work.

I've received two pitches in the last couple of days. Coincidentally both were from teams of filmmakers in the U.K. Those were the only similarities - except for the fact that both teams claim to have studied my blog and wanted my feedback.

The first to cross my cathode-ray screen was from a duo calling themselves "tea and cheese". I thought their pitch was pure gold. Flawed, but pure gold. It had everything that I wanted to see in a pilot and online bible. It told me who the characters were. What they were trying to do. Who was trying to stop them? How, Where, Why, etc. And it was stylish and fun. I laughed out loud a couple of times.

They'd pitched the idea all over L.A. and it hadn't sold. I could see why - there were similarities to another (hugely popular) show. But their technique and material was impeccable. Brilliantly put together. Great dialogue and timing - as good as - if not better than the other, hugely popular show.

I suspect that I haven't seen the last of "Tea & Cheese".

Then something else slithered over the transom. Again, from a team in the U.K. and again, they swore that they'd studied the blog.

The video was cool. A team of heroes in a post apocalyptic world - struggling to stay alive. Yeah. It looked good. It looked very good. But...

Okay. Who are these guys? What happened to Earth? It IS Earth, isn't it? Who are the bad guys? They look cool. What do they want? ..and Why? I mean, if they've destroyed 99.9% of humanity, why worry about one guy with a rusty sword?

The pilot didn't answer any of the questions - and wasn't a strong enough presentation to make me want to see more. I don't remember the characters names or even the title of the show. They put all their energy into the video - with no thought as to the content of the show - the result? Utterly forgettable.

I don't mean to be harsh - but if you're going to pitch something - DO IT RIGHT. Otherwise you're wasting everyone's time and your money. The pretty pictures will be wasted unless you put your focus on the WHO, WHAT, WHERE, WHEN, WHY and HOW of your series.

I hope that I haven't crushed anyone's dreams. Well... maybe a little...

Now get back to work!

The Letter of Rejection

2011-07-29T05:07:00.001-07:00

Yeah, it happens to all of us.

You pour your heart and soul into something. You seal the envelope and take a deep breath as you pop it into the mail. You send it off and wait. And wait. And finally get a note in return. Just one simple piece of paper that shreds your hopes and dreams into kitty litter...

This was I believe, written

by Hunter S. Thompson to Mike Peters,

an aspiring writer who'd sent a satirical piece to Rolling Stone.

I've had worse.

You see - a Rejection Letter isn't necessarily a bad thing. It's actually a good thing. Any salesman will tell you that a "NO" is better than a "Maybe". "No" means "we're not interested, move along." "Maybe" means that you have to hang around and wait. And there's nothing worse than waiting.

Of course, there are some ways of saying "No" that are nicer than others.

I pitched an idea to the good people at McDonalds many years ago. A couple of days after dropping off the package, I got a call from the VP of Marketing. He explained their marketing strategy and why my project didn't fit within their plans. He spent at least 20 minutes with me because I had taken the time to include McDonalds in my plans. Very nice. What more can you ask of them? I ran out and ate a Big Mac to thank him.

I pitched a project to William Shatner once. He called. We spoke. He turned me down for scheduling reasons - but offered a number of very good creative suggestions which improved the overall quality of my project. Advice from Captain Kirk??? BONUS!!!

These days, you often don't get any feedback at all. You send in your project - and it falls into a black pit.

Nothing...

At...

All...

...hello...?

They don't even bother to say that they're not interested.

There are a few good people out there, real gems who do offer feedback and comments. They're the ones who earn your respect and put on a good face for their companies. They're the kind of people you'd want to work with on future projects.

Even this form rejection slip is better than nothing. It's impersonal but informative.

Essanay Studios made Chaplin films back in the day.

They actually used this slip when rejecting screenplays.

Tony Stark: Superhero

2011-07-24T09:37:00.001-07:00

I come to the Marvel movie franchises as a newbie. When I was a kid, you were either a Marvel or a D.C. guy. I was a D.C. guy. I followed Batman and Superman. I knew who Spiderman was, but I'd never read one of his comic books. That goes for the rest of the Marvel canon as well.

When the Spiderman movie came out - I have to say that I really enjoyed it. I knew all about the radioactive spider before the movie, so no big surprise.

But then this "Iron Man" guy came along. I'd heard the name, seen the covers - but never got into it. (To be honest, I'm still not "into" Iron Man - I don't buy the comics.) But I do enjoy the movies. Why?

Tony Stark.

He's cool. He's flawed. And he knows it. Forget the tin suit, I'd watch a Tony Stark movie any day of the week. That's what makes for a great superhero - when his secret (or in Tony's case, not-so-secret) identity is as interesting - or MORE interesting than his Superhero identity.

I've come across a number of pitch properties where the hero derives his powers from the suit that he or she wears. I call these "the magic golashes" - as in, "He can fly when he wears The Magic Golashes". But as soon as he kick them off - he's just a regular guy.

And that's the problem - nobody wants to see a "regular guy". Your hero has to be as amazing and cool in his daily life as when he's in the suit. Bruce Wayne as played by Michael Keaton in the Tim Burton Batman movies (and by Adam West in the 60's TV series) - was boring. The persona only exists as Batman - which frankly - and I hate to say it - is bad storytelling.

Nope. Take it from this D.C. guy - Iron Man is a brilliant character because of who he is, when he isn't in character.

Fortune Telling

2011-07-06T04:21:00.000-07:00

I attended an industry function last week. Everyone was milling about discussing the biz: who's working where and on what, to who, etc. The topic turned briefly to a small studio owner. He's got a decent business providing service work to larger studios and making TV commercials. Great for him - he's living the dream.

Now let's flash forward 15 or 20 years. Our studio owner is ready to retire and wants to sell his studio. What is a studio - and what is it worth?

If he's bought the building that his studio occupies in downtown Toronto - he's sitting pretty on some prime real estate, so he's set. Let's not worry about him. If he's renting his studio space - then the asset is the studio itself - so let's look at that.

What is a studio?

A studio is made of up three things: People, equipment and intellectual properties.

You can't sell the people. That's kinda, sorta... against the law. The new owners would have to keep the key talent from leaving. But that's a variable - they might stay. They might not. So that's not an asset.

The equipment. The hardware and software is outdated the moment it hits the store shelves. So the gear itself isn't worth much. Maybe 1/2 of it's list price at best. Maybe there are some rare and collectible pieces of art or autographed tchotchkes lying around. Who knows? But overall, the stuff ain't worth much.

And then there are the Intellectual Properties. What characters, shows, logos, trademarks does the studio own? These little gems are what holds the value in the future. This is what people want.

I was watching Dragon's Den the other night - that's the show where people pitch ideas to Venture Capitalists. The lady who created Woofstock (a dog festival) was offered $500,000 for 50% of her business - with the opportunity to grow it bigger. The key interest to the investor was that she had worldwide trademarks on the name and the brand. A name and a reputation for quality is worth a half million dollars - and she turned them down.

I was chatting with the founder of a local festival yesterday. Someone has started a competing festival - calling it a "summer version" of the original. I advised my friend to trademark the name which she had originated and was now being widely used. Its one of those things that could be very valuable in future years.

Create something new and original. Grow it. Own it.

I met with a very smart man yesterday. He gave me some good advice - the equation for wealth.

Innovation + Harmony = Money

Catching Up

2011-06-23T05:15:00.001-07:00

Sorry for not posting. I've been busy. Let's catch up.

I've pitched a number of shows and we have some interest. It's "wait and see" time again.

This past weekend I received a disturbing email. A fan of BRAIN EATIN' ZOMBIE BABIES demanded that I post new episodes "or else".

"Or else"?

BRAIN EATIN' ZOMBIE BABIES was an experiment. A test bed to explore new ideas, make mistakes and learn some new things. I would have liked for it to have gone viral and earn some bucks - but it didn't do that.

BEZB's failed to find their audience. It found 'an' audience - but not the right one. I had intended it to be a funny kids show, targeting ages 12 to 14. Instead we got some very strange men in their 30's and 40's tuning in on a regular - some might say 'obsessive' basis. Very strange men.

I am going to continue to make and post new videos as things appeal to me. But the BEZB's are done.

The pitching continues. I'm expanding my focus beyond kids animation and into live action reality programming. Again, this is simply because I want to produce shows that appeal to me. Shows that I believe in, rather than, simply "product".

I'm also laying the groundwork for a new venture. It's not TV - or media - but it is directly related. And my experience in pitching and creating pitch bibles has helped greatly in the past few weeks. More details on this as things progress.

Spell Fury - Product Placement

2011-05-29T07:15:00.000-07:00

Check out the Product Placement that I arranged for Spell Fury. Hell - check out ALL of Spell Fury. It's a good little show. We'll get into a discussion of the who's, what's, how's and why's of product placement shortly.

What you're looking for - and more importantly, what the sponsors are looking for. Do it right, and you can make a deal in an afternoon, the way that Travis Gordon and I did.

Monetizing the Internet - Part 1 What Not To Do

2011-05-27T07:06:00.000-07:00

(Okay. So the guy ain't Ben Turpin. But he should be.)

I received a note last week from this fellow, asking me to click on his blog so that he would earn funds from adsense:

Majid Ali said...

Please for humanity's sake please do it once
I have made a blog at blogger.com Since i have added a google adsense in the blog but haven't made a penny with this. I need your help and support to help me make some money to PAY MY Tuition Fees.

The entire plea is printed in the comments of an earlier post. To be honest, I didn't bother clicking on his blog. I hate spam and I don't want to encourage it. That said:

HOW DO YOU MAKE MONEY ON THE INTERNET TO SUPPORT YOUR PROJECTS?

You may recall my Brain Eatin' Zombie Babies project. Yes, it's still alive - but I'm working on other things at the moment. I will post more BEZBs later this summer. We've had a good response, but it'll take time to grow the property.

In my internet 'travels' I've met some interesting people. One of the most interesting and enterprising is Travis Gordon and his web series "SPELL FURY". Travis has been producing web series for a number of years and his total hits number in the millions. He's not viral by any means, but he's a known presence on the web. In 2009, Wired Magazine called him one of their "Seven Web-o-tainers Worth Watching".

And so you should. Why? Because Travis Gordon is doing it right. Check out his work at www.spellfury.com

So, what does this have to do with monetizing the internet? Everything. Because Travis has just finished his first web video with a product placement. Working with Travis, I was able to find a major corporation that is willing to feature their products in his show.

Hang in there, because I'm going to tell you how we did it.

The Key Idea...

2011-05-24T05:16:00.000-07:00

I've had a few notes over the past few weeks, people sending Pitch Bibles, links to 'pilots', etc., all asking the same question: "What do you think of my project?"

To be honest, some of them are good. Some are "less than good". I've heard one really neat, original idea that I think should be developed.

But the question that I ask in response to my correspondents is about the key idea behind their show: in the simplest terms "Why Should I Care?"

Why should I care? Why would I (or anyone) watch your show instead of some old House re-run? What's in it for me, in terms of the investment of my time and attention?

When you have a good answer to that question, you're well on the way to developing a successful pitch. So what is the answer?

Strong characters. Strong motivation. Clear goals. Clear obstacles to be over come.

All that 'writer' stuff.

I Hate When This Happens...

2011-05-13T11:25:00.001-07:00

I was running some errands prior to an important meeting yesterday when my phone rang. It was the gentleman that I was supposed to meet in a couple of hours time. The Gods of Time had conspired against us - and he had to switch the meeting to next week.

AAAAARRRRGHH...!

I was prepped. I was ready. I had all my materials and my pitch, down pat. And now...

So we booked another time for next week, said our goodbyes and I went about my errands. Wouldn't you know it, but a few minutes after our postponed meeting time, I had an idea to enhance my pitch. It isn't often that this happens, but its going to work out for me.

Frustrating? Yes. Advantageous? Maybe... We'll find out next week.

LEGAL EAGLES - PART DEUX

2011-05-10T04:08:00.001-07:00

Someone wrote recently in response to the last post - asking a legal question (of course). I advised them to consult a lawyer and... THEY DID! They actually consulted a lawyer about a legal issue.

I dunno about you, but I have newfound faith in humanity. Thank you, Pitch Bible Pen Pal!

Here's what they asked...

He essentially wanted to make a parody of an existing film property. I said, "Check with a lawyer". Here's what the lawyer wrote:

The short answer is that it is possible to make a film in the manner you are proposing. You just need to be careful that you do not reproduce too much of the original script, music, artworks or film. It can be a fine line between reproducing enough to evoke the original, without actually copying a substantial part of it.

A few years ago the line was shifted a little further in your favour by the enactment of a 'parody & satire' fair dealing exception in the copyright act - but this has not really been tested by a case yet so there is doubt as to how it would be interpreted.

You might also have other rights you'd need to be careful of - using a sufficiently different name to ensure you're not infringing any trade marks for example.

Where there is a significant investment in the film, the producer might decide to licence rights anyway, just to make sure there is no problem.

What's that? Run that last part by me again...?

Where there is a significant investment in the film, the producer might decide to licence rights anyway, just to make sure there is no problem.

A little louder, so the kids in the back row can hear...?

Where there is a significant investment in the film, the producer might decide to licence rights anyway, just to make sure there is no problem.

Yeah. That's what I thought. If you don't own it - clear the rights.

And there you have it. Straight from The Legal Eagle's mouth!!! CLEAR THE RIGHTS!

LEGAL EAGLES

2011-05-05T05:16:00.000-07:00

I've had a few emails asking questions about creative-legal issues. These are things such as, "I want to use (someone else's character) in my show/pitch/movie. Can I do this?"

My general Rule of Thumb - If you don't own it - don't use it. That includes "parody", "fair use" or whatever you want to call it. If you don't have a clear legal chain of title to a property, you won't be able to distribute it, sell it, etc. From my point of view, its more creatively satisfying to make something new - my own unique expression.

When I see a "Star Trek or Batman or (name any superhero) Tribute Video", I can't understand why, with the amount of talent and creativity evident - why they don't make an original work? I understand the concept of a calling card - but an original work - while it won't get the same number of online hits as a Batman-parody - would be just as good.

Let's put it this way. Assume you're a huge Joss Whedon fan. If you had the opportunity to meet him, would he be more impressed if you made:

A) An exact 10' long Lego replica of Serenity from Firefly.

B) A short ORIGINAL video - and tell him that he inspired your creativity.

Let me save you some brain-power. Ive been there. You will have a much better conversation with your creative idol - a "conversation of equals", if you choose Option B. Trust me on this...

ABOUT THOSE LEGAL QUESTIONS: I am trained as an Animator. I work as a Writer/Producer/Director. I am not a Lawyer. I am not qualified to answer legal questions. Nor am I qualified as a Dentist or Nuclear Physicist.

If you have legal questions - ASK AN ENTERTAINMENT LAWYER!

What's Your Agenda?

2011-05-01T07:46:00.001-07:00

I attended the Sheridan College Animation Department's "Industry Day", this past week. The student work was presented. There were some very good films, some outstanding work, some run-of-the-mill stuff - but surprisingly no stinkers. Overall, a good solid crop from this years graduates. Kudo's gang. Good stuff.

But one film stuck out. I'm not going to mention names because, honestly, I don't want this guy showing up on my doorstep - but... IT HAD AN AGENDA.

(Crowd: Oooh... GASP!)

It was a political work. Not especially well done from a conceptual or execution point of view. It was there to make a statement. Okay. Fine. Fair enough.

But is "Industry Day" the time and place to make a political statement - when you're trying to land your first job? In previous years, there were films featuring "dick jokes" - again, Industry Day is not the venue for this. Mercifully I didn't see any 'dick-joke movies' this year (although I left early and they could have been saved for the end of the screening).

So what's the point?

There is a time and place for everything. If you're presenting your best work - be it a pitch or a portfolio piece - keep the political (and religious) agendas (and the dick jokes) out of it. You are there for ONE purpose - to sell yourself or your project. Anything that will distract from that single purpose doesn't have a place in your presentation.

I wish the guy with his political agenda luck - but he isn't going to get a job - so he's flushed 4 years of his life.

My Worst Pitch EVER!!!

2011-04-27T07:03:00.001-07:00

This happened a number of years ago. I had a pitch meeting in the early afternoon, but met an old friend for a quick lunch. We stopped in at a small Middle-Eastern place and being brave, I ordered something (I forget what) that I'd never tried before.

Untried restaurant. Untried food.

It was delicious. We finished lunch. My friend went back to his office. I went to my meeting. But as I got to my car, I noticed something odd. I was sweating. Really sweating. Not the, "it's a warm day" - kind of sweat, but buckets were pouring off me.

It must have been something that I ate. I wasn't sick. I wasn't going to throw up. I was just drenched in sweat. And it was getting worse.

By the time I got to the meeting, I was sopping wet. My clothes were soaked and sticking to me. The guy I was meeting with asked if I was okay. I assured him that I was - but all he could do was stare at me. My hair was plastered down over my face...

The pitch didn't go well. I felt fine, but I was dripping puddles on everything. When I got up to leave, there was a wet puddle where I'd been sitting. Needless to say, the show didn't sell. We won't even discuss the squishy handshake at the end of the meeting.

So what do we learn from this? Know when to cancel. If you're sick. If you have a cold, a flu, something that you even think is contagious - do everyone a favor and put it off until next week.

Nobody wants to get sick - and spreading germs isn't the best way to pitch your show.

LOOSE LIPS SINK SHIPS

2011-04-21T13:47:00.001-07:00

I pitched a show to a production company yesterday. The pitch went very well - they "got" the idea - it's a cool show. It may turn into a development deal.

Nice. Nice. Nice... Yeah. Yeah. Yeah....

Moving on... They've asked me not to show or pitch the show/idea to anyone while "we" decide how to proceed. Its common that once you're out pitching, you set up a bunch of meetings - and you pitch your show around town until you get the right deal. But in this case, they've asked that I not show it to anyone. They want to keep it under wraps until we're ready to pitch it to broadcasters. (They like the creative, but feel it needs a bit of refinement.)

This is fine with me. Now I'll get to the point...

A faithful reader sent a link to his blog page a few months back. The blog was about the show he was (or maybe still is) pitching. I'll be honest, it was probably the best idea for an animated show that I've seen in a LONG time. And he's got it sitting out there for anyone to "borrow".

First thing - I told him to remove it from the web. Right now. This very second. Only show it to the people that you want to see it - don't show your fresh, bright, new idea to the world - because ideas can't be copywritten. They're like free intellectual properties.

Little minnows swimming in a shark tank.

But he didn't listen. His idea is still posted up there - and I expect to see it, or something very "similar" on the tube in the next few years...

NEVER POST YOUR LIVE OR WORKING PITCHES ONLINE!

YOU NEVER KNOW WHO'S WATCHING!

Animation Insider

2011-04-20T08:14:00.000-07:00

I'm profiled at Mike Milo's www.AnimationInsider.com. <-- You can check it out here!

BEHOLD! The Magic Galoshes!!!

2011-04-12T11:24:00.000-07:00

I was discussing a show concept with a friend recently: Its about a hero who, when he puts on a helmet of supernatural origins, gains the power of ________________ <-- fill in the blank. And he fights evil...

To be honest, I didn't like the idea. "What happens when he's not wearing the hat?" I asked.

"He's just a normal guy - but WITH the hat - he's SUPERMAN!!!", said my friend.

I stopped him right there. THAT'S the problem. Your hero is only interesting when he's wearing The Magic Galoshes. Otherwise, who cares? The HERO of a show can't be an average, ordinary, normal guy. He's got to be extra-ordinary in his day-to-day life - because from a story standpoint, "What happens if he can't get to The Magic Galoshes?" What if he loses them? What if they're at the shoemakers? Without the boots - he's nothing.

Let's take a look at a "Magic Galoshes" premise that works - and works brilliantly: IRON MAN.

(Disclaimer: I'm a DC guy. I grew up on Batman and Superman. I've bought 1 Spiderman comic in my whole life - and I don't know those X-Guys from a hole in the ground. Point being - I come to the Marvel Universe as a Newbie. I don't know anything about them - so I have no preconceptions. But I like what I see!)

Tony Stark - billionaire, playboy, scientist - is Iron Man. And I'll be honest, Tony Stark as played by Robert Downey Jr. is a hell of a lot more interesting as Tony Stark, than he is as Iron Man. Iron Man flies. Iron Man makes things go BOOM! Big deal.

They could make a "Tony Stark" movie and I'd go see it - because Tony Stark is an interesting character (with a lot of flaws and vices) and I like him. He's a richly written character, with a troubled past and an interesting present. Put Tony Stark in a rocket-powered tin suit - BONUS!

Point being - 'gimmick' shows usually don't work. That doesn't mean they don't sell. They do - but they don't have the "legs" or richness of concept needed for a strong run.

Bottom Line: Your Hero has to be interesting WITHOUT the gimmick.

In The Works

2011-04-05T07:13:00.001-07:00

Just a note to let you know that my book, "The Pitch Bible - Bible" is in the works and well under way. I expect to have it completed and off to the publisher (Ha Ha Ha...) by the end of April. Probably the end of May is more likely.

The Pitch Bible - Bible will go far beyond the contents of the blog with everything (and I mean EVERYTHING) you'd need to know about creating, pitching and selling a TV show. This book has been a massive undertaking - so hang in there. I think it'll be worth it.

BRILLIANT ADVICE FROM AUSTIN KLEON

2011-04-02T07:05:00.000-07:00

From the blog of Austin, Texas artist AUSTIN KLEON:

HOW TO STEAL LIKE AN ARTIST (AND 9 OTHER THINGS NOBODY TOLD ME)

This is important stuff. Take the time to read it.

Straight Talk About The Business

2011-04-01T11:19:00.000-07:00

Someone made this video using 'extranormal' software and posted it on YouTube. It's getting some play, so I thought that as someone who has been actively pitching shows for 20+ years, I would weigh in with my comments and observations.

Whoever made this video ("Anonymous" naturally) gave their opinion. I'm going to offer mine.

First off - take 3:53 and watch the video.

Done? Okay. Let's get going:

"Stick it in the slot." It's true. Everyone will ask you to submit your project - but the reality is, they get a lot of submissions and their time is limited. They'd prefer not to meet, but if you POLITELY ask for a meeting, 99 times out of 100, you'll get one.

"What is the Canadian Content?" This is completely false. While everyone, broadcaster and production company alike would like to have the Maple Leaf tattoo'd to the butt of every show, I am never asked about the Can-Con quotient and I've pitched a lot of shows. The "Canadian Content" is made up by the people working on the show in key creative positions and through regional production programs.

Let's talk about "regional production". Yes, it can be difficult when you live in Toronto and you have to work in some place like Ottawa. But it can be done and done well. When I was working for a major Toronto studio, the attitude was, "If they were any good, they'd be working in Toronto". Yet this was the same attitude that we received from U.S. based studios. WE couldn't be any good - we were working in... Canada.

Yet, when I went to Ottawa and met the artists there - there were many whom, if they lived in Toronto - would be on my "A" list. So I put them on my "A" list. Bottom line - GREAT TALENT CAN BE FOUND ANYWHERE. Just because you live in NYC or LA or TO - doesn't make you great. Or even good...

"Who's Going To Write The Stories?/Are You Members of The Writers Guild?" - This is completely wrong. You don't need to be a member of The Writers Guild in order to write for television. As a matter of fact, the way to join The Writers Guild - is BY WRITING FOR TELEVISION. Once you've got that first contract, then you're eligible to join. A production company or broadcaster would prefer to work with a Guild Member because Guild membership indicates that you are a professional who understands the workings of television production. It's nice - but not necessary.

"Safe and Non-Controversial Material" - Excuse me? In "Freaky Stories" we touched on EVERY bodily function/fluid except for menstrual blood. The broadcaster and production company allowed me to kill characters on-screen. I presented stories about "Sex, Drugs & Rock 'n' Roll" - but in smart, oblique ways. In "Atomic Betty", I re-staged "The Manchurian Candidate" for 8 year olds, INCLUDING themes involving drug use, brain washing and assassination. (I left out the incest.) Again, this was for 8 year olds - and it passed the network's Broadcast Standards and Practices without anyone blinking an eye. If you are smart, you can do anything on TV. Anything.

"The Writers Don't Even Work In the Same Building As You" -- True. Except for instances where the show uses a "Writers Room" - which is rarely done in Canada. I've never been part of a Writers Room - Writers and Story Editors work from home. On their own time. On their own schedule. So unless you want to see me writing stories in my pajamas and fuzzy pink bunny-slippers - you're going to stay at home too.

"If you're lucky, the whole thing will be animated in the Philippines for pennies a day" - Well folks - that is the reality of the business. It's TV - not feature films. You have to work overseas, or you don't work at all. You hire the best people that you can afford. You hire the best studio, the best overseas studio and the best OVERSEAS SUPERVISOR that you can get.

And you know what? Check out my notes (above) on Canadian Content. Some of those "pennies-a-day" overseas animators are better than you. Hell, I'd bet that most of them are better than you.

"Cheap Animation School Labour" - Well, someone's bitter. It looks to me that whichever "Old Timer" who made this video, never went to animation school - or scraped along to pay his dues.

"It's Cheaper To Develop New Content Than to Continue With Existing Shows" - Incorrect. Sorry, this is just plain wrong. The MINIMUM number of episodes required for syndicated distribution is 39. A show does not and can not make money in its first season. Production companies and broadcasters want and need to build an audience for their brands. Whoever made this video is misinformed.

OVERALL - I'd say this video was made by a bitter wanna-be show creator. He/She/It blames everyone without taking a good look at the CREATIVE of the show to be pitched. Let's be realistic about this. Not every idea is a good idea. Not every pitch is a good pitch. Most of them are pretty awful - it's that old "98% Rule". It isn't always the fault of the system. Trust me.

Selecting the Right Medium for Your Project

2011-03-31T05:25:00.000-07:00

Teens at the Mall. As animation? I just don't get it.

I've always believed that if you can do it in live action - then do it in live action. Animation in whatever style should be used to show things that can't possibly happen in real life.

King Kong? Superman? A flying 10 year-old girl from outer space? Sure! That makes sense to me. But teens hanging out at the mall? At best, it's 'talking heads' - which we all know makes for great, compelling stories - NOT!

When you are developing your pitch, you should seek out the BEST medium or technique in which to tell your story. Case in point: When I developed my ROCKET RODENTS show (which never saw the light of day, despite a LOT of interest from multiple broadcasters worldwide), I explored many ways of producing it.

I shot a live action version with talking guinea pigs. It was hilarious, bizarre and I learned just how badly guinea pigs smell. Here's a short clip.

We explored the possibility of animating the show in Stop Motion.

This brilliant sculpt by an artist at the Cuppa Coffee studios in Toronto was, I felt, the closest that we came to realizing the characters' comic potential. For a variety of other reasons including production cost, we went with 2D Flash designs.

The point is, there was and should be exploration to find the right medium and technique that best suits the project.

As for teens in the mall - If it can be done in live action - do it in live action.

I'd rather look at a pretty "real" girl than a cartoon girl, any day.

MAYERSON ON ANIMATION

2011-03-15T04:45:00.000-07:00

Mark Mayerson's always excellent blog, MAYERSON ON ANIMATION has a brilliant piece on the benefits of owning your intellectual property.

While I don't agree with everything Mark writes on this topic (pitching shows IS faster and easier than creating and building an audience for an original property in another medium), when the man's right - he's right.

Also, BONE's Jeff Smith as Mark writes - is a one-trick pony. He's only got the one (now two) properties, so he was right to guard them, mine them and make them grow. Jack Kirby on the other hand was prolific. If he'd had the foresight to look after his affairs properly - whether he worked in tandem with publishers and producers - or went the independent route, he would have been much better off. The key is to know the business. Know your options.

Jeff Smith was able to find an audience for BONE. There are many independent creators who have not found their audience despite the quality of their productions. In that case, they'd be better off pitching.

Steve... Steve... Steve...

2011-03-14T14:27:00.000-07:00

Let's talk about options and option fees.

Option fees are paid to creators (that's you) by production companies (that's them) so that they can represent your intellectual property to buyers on the broadcast market. Broadcasters don't pay option fees - they provide the portal for your property which gives it market value.

Let's say that you've pitched a show to a production company. They like it and want to shop it around. They need to get the rights, to "option" it from you - giving them the right to shop it for a specific period of time. The option doesn't allow them to own your property - they're only "renting" it for now. After a specific period of time, the rights to this property will (should) revert (return) to you.

Now this is where it get tricky. I've been in many meetings where the person who is interested in one of my intellectual properties - wants it, but doesn't want to pay for an option. This is the point where they say (in the nicest, sweetest voice possible...):

"Steve... Steve... Steve... NOBODY pays option fees..."

Now, let's stop right there.

Nobody pays option fees - UNLESS you insist on it.

Sure. They'll take your work for free if you let them.

A couple of years ago, a production company wanted to option one of my properties. They really, really liked it. But they weren't going to pay me for my work. "Sorry", they said. "It's not our policy to pay option fees."

Fine. I thanked them for their time and left.

A couple of days later, I pitched the show to another company. They also really, really liked it.

So they paid me the biggest option fee that I'd ever received. It was 3 times larger than any other option feed that I'd ever had. Just so that my property could sit on their shelf. Why? Because I asked them for it. Nicely.

Was the first company evil? No. The "no fee option" was simply their policy. I was free to take it or leave it. I left it - but let them know later that I'd had the property optioned for a nice chunk of change by someone else. You get what you negotiate.

So what happens if you're dealing with really nice people - who you'd really like to work with -- but they simply don't have the money to option your project?

If they have shows in production, negotiate a deal whereby you get to write an agreed upon number of scripts at Guild rates within a set period of time - a play or pay deal. You're a writer. Let them pay you to write. That way, not only do they get to option your work, you get your money and a foot in the door with their production company.

Before You Take That Meeting...

2011-03-08T04:18:00.001-08:00

Before you take that meeting, whether it be at a Market, at a Production Company or for that "$2,000 cup of coffee" -- Google 'em.

Find out about that person sitting across the desk from you. What do they like? What have they done in the past? Where have they worked? Friends in common? Enemies in common? Know who you're talking to - because if you don't take the time to find out, you're an idiot - and they'll know you're an idiot - because I can guarantee that they've Googled you.

And another thing...

The pitch meeting has gone well. You like the other person. They like you.

DON'T "Friend" them on Facebook.

Keep your interactions with them strictly professional. These important new business associates don't need to see the cute pictures of your dog. They don't need to see your new tattoo ("My... that IS an interesting location for a tattoo..."). And they don't need to see the photos from your drunken party on Saturday night.

And make sure that your Facebook info/pictures/etc. are visible to "friends" only. Because you know that they're going to "Google" you. You guys Google me, right?

Yet Even More, MORE Stuff From The Mailbag...

2011-02-25T06:27:00.000-08:00

Reader JPilot writes:

Hey Steve,
Would it be preferable to pitch to a broadcaster or a production company first?

Hello Jean,

The simple answer is - I don't know. There are advantages and disadvantages to each.

Let's assume that you show your (ANIMATION/KIDS) pitch to the broadcasters. In Toronto, it's YTV, Teletoon, TVO and CBC (possibly).

WORST CASE SCENARIO - none of the broadcasters are interested. You can't sell your show to local production companies, because you've already shown it to the broadcasters (their market). In that case you have to shelve the property (until the broadcast buyers are replaced) and then rework it to freshen it up for a repitch - 5 years down the road.

If you lie to the production companies and say that you haven't shown it to the broadcasters - they'll find out soon enough and you'll be toast. So don't do that.

BEST CASE SCENARIO - The Broadcaster is interested and wants you to get a production company onboard. This is the Best Case Scenario - because then EVERYONE LOVES YOU! You've done all the hard work and assumed all the risk for them. In that case, set up pitch meetings with 2, 3, 4 production companies... Hell, set up pitch meetings everywhere.With any luck, you'll have a bidding war on your hands. WARNING - Those who lose the bidding war will be mighty pissed off at you.

An the bright side, because the broadcaster likes your creative, you have much more creative control over the show. You become a key player. More about this...

If you pitch your show to a production company, it's one of many on their roster.

ADVANTAGES - Depending on what you negotiate, you can receive and Option Fee which allows them to pitch/develop your property for a specific period of time (the option period). Another advantage is that the production company would have a sales staff with the money and contacts to sell your show to broadcasters worldwide.

DISADVANTAGES - They will put their grubby fingers all over your work. Don't get me started.

Development Exec: Steve. You're ONLY the writer...

Steve's Agent: Steve. Put down the axe...

So which one do I recommend? I don't know. I'm currently pitching shows to broadcasters and production companies. It depends on what I feel is right for that particular show, personal relationships with the players, etc.

It all comes down to the old... NOBODY KNOWS ANYTHING.

Yet Even MORE From The Mailbag

2011-02-24T08:42:00.000-08:00

A reader writes...

I was wondering, Steve, just what secret Masonic handshake one needs to sell a show in this incestuous business? I've pitched a few shows and have always been told everything is "Brilliant" but then I never hear from them again. Is it just a matter of waiting for the right person to "get" what you're presenting? Does a pitch have an expiry date or can you re-present to different people in the same company at a later date? I'd appreciate your input on this matter.
Thanks.

Thanks for writing in. Those are good questions.

Ah, the "secret handshake" - You have to remember that there are 1000 things going on at the broadcaster - none of which you're aware of:

- What's doing well for them?
- What is already in development? Is this similar?
- What's doing well for the competition? Is this like Spongebob?
- What's going to be "big" next year?
- What's for lunch?
- Do they think you have the ability to pull this off?
- What have you done in the past?
- Who have you worked with?
- What colour are your socks?
- What did they have for breakfast?
- Gee, this coffee's good.
- Who's sleeping with who?

These are things that you can't control. I was lucky with "Freaky Stories" - I had a unique project that hadn't been done before - and I found a sympathetic broadcaster who was willing to give untried and unknown talent a chance.

You've hit the nail on the head - you have to find the right person on the right day and a lot of stars and planets have to align.

In my experience you can't repitch an idea to the same company. I used to think that if you waited long enough, they'd die and you can pitch to their replacement - but apparently they keep notes. If you come in with the same FANTASTICALLY BRILLIANT IDEA THAT YOU REALLY BELIEVE IN AND WOULD SELL YOUR SOUL TO SEE PRODUCED - they'll say, "Nah. This is old. You pitched it to us a couple of years ago." Don't do it. You come out looking like an ass.

There are a thousand reasons a show gets on the air - or not. The bankability is a factor. It is unlikely that a company is going to give a guy working out of his home studio any sort of chance. But YTV did and it worked for me.

Let's put it this way - the brightest mind in Canadian TV animation looked at my "Freaky Stories" pitch and proclaimed, "It'll never get made - and if it does, no one would ever watch it." By way of a reply I quoted William Goldman's immortal truth about the entertainment industry, "No one knows anything."

Freaky got made and I kicked his studio up and down the ratings for the next three years. No one knows anything.

November 25, 2009

KidScreen Update

2011-02-22T10:25:00.001-08:00

I just got a phone call from a very happy client. The pitch bible and script that I wrote for them was very well received by broadcasters and production companies at The KidScreen Summit, last week in NYC.

It looks like they're well on their way to a development deal. More details as they become available.

Not for the Faint of Heart

2011-02-17T06:44:00.001-08:00

Some potential clients asked if I could guarantee... IF I COULD GUARANTEE - That if I wrote a Pitch Bible for them, their show would sell. (They didn't want to spend the money without a guaranteed return on their investment.)

Of course I said, "no". I can't guarantee that. But I did guarantee that if they didn't have a Pitch Bible and they didn't pitch their show - it would never sell.

Sorry guys. There are no guarantees in life. Well, aside from that Death and Taxes stuff. But if you're going to play the game, then play the game. Otherwise, step aside and let the real talent shine.

There are 1,000 reasons why your show might not sell - and 1,000 reasons why it might. But while you have little or no control over them, you have to try.

Or not...

BIG NEWS

2011-02-16T07:03:00.001-08:00

After speaking to (and being rejected by) several publishers - Sorry folks. I don't want to write "A Beginner's Guide to Pitching TV Shows". I assume that my readers have some skill and talent as writers, otherwise they wouldn't be reading this blog. - I've decided to publish an E-Book on the subject of Pitching and Pitch Bibles.

Think of it as "The Pitch Bible Bible". It will tell you everything - and I mean EVERYTHING you need to know about writing a pitch bible and pitching shows. To be honest, I hold about 15 to 20% back from the info on this blog. That's the added value that I provide my clients and now it will be available to the readers of my new E-Book.

"So, Steve...", you say... "What's in this new book that we can't find on your blog?"

It'll be chock full of way-cool secret information, like:

How do you get past the Gate Keepers and speak directly to the decision makers?
This is the 21st century. How do you add cross-platform media into your pitch in a meaningful way?
How do you create living breathing characters in a 2 page pitch document?

Basically, its the difference between getting a development deal - and not getting a development deal.

When's the book coming out? Not sure - but it's in the works as a high priority item.

The price? Cheap. Million dollar insider info for less than a pack of ciggies.

I'd Tell Ya - But Then I'd Have To...

2011-02-09T09:07:00.001-08:00

Well, we've topped 10,000 hits. This may not seem like much to you. But to me, it's huge. So thanks again everyone.

Just to let you know that the Pitch Bible material isn't limited to pitching animation. I've used the Pitch Bible format shown in the blog to pitch live action, unscripted, feature films - and now... I'm pitching a toy.

A bit of history...

In 2001 I had a "eureka" moment. I had an idea for a point of purchase toy, similar to Crazy Bones. If any of you don't know "Crazy Bones", they were lumps of colored plastic with faces on them. They came, 3 in a foil pouch which sold for $2.99. As a dutiful father, I bought my son the entire set - investing many, many dollars in lumps of colored plastic with faces on them.

While examining one of these expensive plastic lumps, I bounced it up and down in the palm of my hand. The number "27" as in 'cents' flashed in my mind. Because that's what it cost to produce the 3 plastic lumps that I'd spent $2.99 to buy for my kid. This worked out to 9 cents per lump.

Another thought flashed in my head. "I can do that too."

So I designed a toy. I built a prototype. My pal had a 3D simulated model and packaging designed. It looked pretty good. I put together a pitch bible - found a sales agent (because I don't know NOTHING about the Toy Biz) and he took it to NYC.

We landed a toy deal. But before the much anticipated "pot of gold" could land at my feet, 9/11 happened, the economy tanked and with it - the toy business.

The toy company bought out the contract (THANKS GUYS!). Another toy company made a side deal and bought the toy's name (and trademark) from me. So I took the money and shelved the entire toy concept. I'd been paid twice for it - yet still owned the toy.

So now I'm reworking the pitch. I know that I've got a half-way good idea. It already has market acceptance - a toy company wanted it ten years ago. Now, I'm using my pitch bible skills to put together an up to date (and very cool) pitch to bring to market.

What's in this "toy bible"? Well, its got the same things you'd find in a TV show Pitch Bible:

The Who, What, Where, When, Why and How of the product - be it a toy or a TV show.

It also outlines the all important "WOW FACTOR". What sets my 27 cent piece of plastic apart from all the other 27 cent pieces of plastic? Why would a kid want to have one - or maybe 52 of them? Would a parent be intrigued enough to buy this toy? This is the same as the 'compelling reason' that I've outlined for online web series. "Why would someone watch this show?"

I'll let you know how it goes... So what is this toy? Its secret. If I tell you, I'd have to...

Thanks Everyone!

2011-02-01T13:46:00.000-08:00

Just a note to say thanks to everyone for making January 2011 our best month ever with about 1250 hits.

I realize that many blogs get that amount of hits every day or every hour (every minute) - but for me, its staggering that this many people are checking out my little niche blog.

Thanks again - and more good stuff to come.

Just When You Thought It Couldn't Get Any Better...

2011-01-28T13:27:00.000-08:00

Here is Gene Roddenberry's original 1964 pitch for a little show that he called...

STAR TREK

More BEZB's...

2011-01-28T07:20:00.000-08:00

More on the ongoing BRAIN EATIN' ZOMBIE BABIES project...

To increase the volume of traffic to the YouTube Channel, the collective braintrust suggests that I post more frequently and provide exclusive content - not found anywhere else.

In response to this, we've taped an interview with Alyson Court. Her voice is featured in the upcoming RESIDENT EVIL: MERCENARIES 3D video game. She plays the popular character Claire Redfield, for the uninitiated.

The interview has been divided into 4 parts: Her early years, How she got the role of Claire Redfield, All about Resident Evil and other projects (including BEZB's). The first part of the interview is now online (see above). We expect to post a new portion every week, for the next 4 weeks. Beyond that, we have several new BEZB episodes in the can - as well as some interesting vintage Behind the Scenes material from FREAKY STORIES.

If posting frequently and unique, original material is a way to draw traffic, we'll know very shortly.

BATTLESTAR GALACTICA SERIES BIBLE

2011-01-28T04:27:00.000-08:00

Here's a PDF of the Series Bible for the Scifi BATTLESTAR GALACTICA reboot. This is not a Pitch Bible - but an early Writer's Bible. It goes into far more detail than you'd find in a Pitch document. It may have been written prior to the pitch, and been in the producers briefcase to be used as reference, or to show how much detail they plan - during the pitch.

As a fan of the show, I think it's really interesting stuff.

Thanks to Benedict Bowen for posting this!

Example of a REALLY BAD PITCH

2011-01-27T14:42:00.000-08:00

Here is an example of a really bad pitch. The idea is quite good. A Christmas Movie!

What's not to love??? Christmas is perennial. Christmas projects nearly always make money - and more than one studio has been built on the success of a Christmas project.

This is a case where the investors were interested, but he let it slip through his fingers because of a really, really bad pitch.

FIRST OF ALL - THIS IS A PITCH TO INVESTORS - NOT A PITCH TO BROADCASTERS OR PRODUCTION STUDIOS. (There is a BIG difference to the approach.)

So where does he go wrong?

1. He doesn't know the business. Building and running a studio is a difficult and expensive proposition. His investors know that. He would have been much better off if he'd said that he was going to outsource the project to an established studio with a track record for delivering product on time and on budget. Production is no time for the vanity of building a studio. Its about creating as good a product as possible. That's what the focus should be.

2. He appears to have no contacts or background in the animation or distribution industries. These are key. You have to know what you're doing - or at least give informed answers. In a pitch situation, you have to anticipate the questions and have the answers ready. The investors' bottom line is that they want to protect their investment and see a return on it as well.

3. The title was awkward. "Deliverance" carries a connotation that is the antithesis of a Christmas story. Be on your toes. If you make a mis-step, call it "a working title", so they know you're reasonable and open to change.

IF he had a track record - I wrote _____________. I produced ______________. I directed ____________. I animated ______________. I am a graduate of XYZ Animation School. - it would have established his credibility.

IF he had demonstrated how similar projects had provided returns on their investments, that would have gone a long way toward easing the investors' concerns.

Nice hats though.

The Letters Keep On Coming...!

2011-01-25T07:02:00.001-08:00

Even MORE From The Mailbag

2011-01-20T08:46:00.000-08:00

I love it when I get mail. It lets me know that someone other than my Mother is reading this blog. Well, that and my Sitemeter...

Anyhow, a Reader writes...

I'm working on a medical drama. When writing the treatment (<-- probably means Pitch Bible), must I include every medical mystery that will appear in each episode, or do I just write the main story lines? The series not only focuses on the medical side, but the personal lives of the main characters too.

Good question! If it were me, I'd only give a 'taste' of the medical mysteries.

Look at "House" for example. He's based on Sherlock Holmes (speaking of mysteries).

The medical mysteries in that show are SECONDARY to the characters relationships.

Focus on the main storylines.

Wait! There's another question!!!

Should you include a pilot with your Pitch Bible?

It can go either way. If I'm writing a comedy - pitch bibles, while they can be humorous - aren't especially funny. If I want to capture the feeling of the show and give a sense of the characters' dialogue, then yes - I'd include a pilot script.

Pilot films can be tricky. They're done (by necessity) on a low budget and despite all the 'explaining' that you'd do for the buyers - a surprising number people might not get your idea.

I've had pilot films work both ways for me. In one case, it absolutely sold the show. In the other case, it shut the project down dead.

Hope this helps!

Time Flies Like An Arrow. Fruit Flies Like A Banana...

2011-01-14T12:45:00.000-08:00

While speaking with a friend recently, he mentioned that he was planning to move forward with his project "sometime in the Spring". That's good. His project is finally moving forward (he's writing a book).

Then he said that he'd get started after he did his Taxes. I scratched my head. Taxes? It's January. You don't have to file until April. What's the wait? Why not get started now?

He gave me 10 good reasons why he should wait. And you know what? Every one of his reasons for not moving forward with his 'dream project' was a good reason. And you know what else?

That's fine.

Because after Tax season, he'll put it off until he finds some time in the Summer. Then human nature being what it is, he'll put it off until the Fall (because everyone's busy in the Summer and why be stuck inside writing when he can be enjoying himself outside) - and then Fall is also busy, so he'll put it off until after the holidays - - - and a year later, we're back where we started.

The bottom line - He will never finish or even start his dream project. And that's his choice.

The people who get things done (in this, or in any business) are the people who look at the calendar and ask themselves, "Where would I like to be in 5 years time?"

Do I want to change my life?

Do I want to see what's over that next hill?

Once, a long time ago - I was watching some crappy cartoon on TV. I thought to myself, "I can do better than that." So I got up out of my chair. And my life has been so much better because I did.

Anatomy of a Pitch Session

2011-01-10T04:50:00.001-08:00

I haven't been pitching much recently, mostly because of the number of Pitch Bibles that I've been writing for other people. But I did pitch a show last week and I'd like to share with you, what I did - and how it went.

What's the show about? Secret Stuff. I can't tell ya. So don't ask.

I started by contacting the studio's Executive Producer. It's not hard to figure out "Who's Who" in any particular organization. We spoke on the phone - and I confirmed what they were looking for: This particular company wanted action/adventure/comedy for Boys aged 8 to 12.

BINGO! That's the target audience for the show I wanted to pitch. (Every company is different - what works for one, will be wrong for another.)

We set up the appointment. I arrived at their studio 10 minutes before the meeting and checked in with reception. (Never be late! They can be late. YOU can't.)

The pitch started with the usual small talk. Then we segued into the business. I worked from the Two-Pager (which in this case was One Page). I pitched the concept. BINGO! They got it right away. The Pitch Bible itself - while 'leafed through' during the meeting, really wasn't needed. They got the idea from the single-page presentation document. The Pitch Bible became a "leave behind".

(I left 3 bound hard-copies of the pitch and an electronic copy on CD. They have offices in multiple cities and would need to transmit the pitch to various locations for consideration.)

They have nothing like my show. As far as they know, there's nothing like my show on the market. Its something very rare in this day and age - a totally original concept. And it is a perfect fit for their demographic. From there on, the meeting was about potential broadcast markets.

This is as good as a Pitch Meeting gets. Will it become a Development Deal? Time will tell and some things move slowly. But it was a good meeting: I pitched a show - they "got" the idea. It doesn't get any better than that!

Fingers Crossed!

To summarize - When I made the appointment, I confirmed that I had the kind of show that they were looking for.

The pitch was concise. They got the idea of what I was selling, as soon as I started to pitch it.

The pitch material was well prepared: Well written (and spellchecked) with art and graphic design. Also - printed on presentation-grade paper and bound. As well, I brought an electronic copy (PDF) with me for easy duplication and transmission between offices.

Bottom Line: When you're pitching, you're competing with the 'big boys' so you have to be on your game.

The Very BEST of The Pitch Bible Blog

2011-01-03T07:10:00.000-08:00

Happy New Year everyone! Yeah, yeah - I know I'm late. That said...

Let's start 2011 off with a BANG!

Collected here are links to The Very BEST of The Pitch Bible Blog.

No searching - it's all right here!

Everyone owns a hammer, pliers and a drill, right? But who among us does his own dentistry?

That said...

PITCH BIBLES

TOPICS - In No Particular Order

The 21 Things a Broadcaster Looks For In Your Pitch
Dressing for Success
Pilot Reels - Promising too Much? I like this post, because one of our readers challenged my ideas, forcing me to reconsider my position. Interesting stuff. Live and learn.
Words of Wisdom From Chuck Lorre - This is ESSENTIAL READING.
Chuck Lorre is God. So pay attention.
What The Broadcaster Expects From Your Pitch
MORE - What Are They Looking For?
Trademark and Domain Names
Guerrilla Marketing 101
Submission Release Forms a.k.a. By Popular Request

Happy Reading - More To Come

Scooby Doo, H-Bombs and Characters

2010-12-26T06:38:00.000-08:00

A client asked that I add a new character to the pitch bible that I'm writing. Without going into detail, I'll say that its an interesting character - but unsuited to the stories they're trying to tell.

This guy is all powerful with tremendous resources at his disposal. BUT --

Is he a good guy? Is he a bad guy? How does he fit with the Good Guys' dynamics - or on the Bad Guys team? How does he affect the balance of power in the show? Huh? "Balance of Power"? What's that?

Referring to The 21 Things a Broadcaster is Looking for in Your Script or Pitch post from last year, Number 11 says:

There should be a balance between the forces of good and evil. Even if the good guys are vastly outnumbered, the audience should have some hope (however faint) that they will succeed in their quest. Otherwise, what's the point?

In the case of my current writing assignment, the client had asked me to add a character who's powers and resources vastly outstrip those of the protagonists and antagonists. It's like grafting an H-Bomb onto Shaggy's right hand. That gives him tremendous power. Suddenly "Scooby Doo" is a whole other show. (I had the idea of grafting an H-Bomb onto Gilligan's hand - and with that, "Gilligan's Island" REALLY becomes a "whole other show". I may just pitch that one...)

Back on subject - At the beginning of Star Wars (Episode 4 - for the nerds), Luke Skywalker is no match for Darth Vader. However over the course of the trilogy, his abilities grow and he defeats Vader - there is a balance because the threat of Darth Vader forces Luke to grow - so that he reaches his potential. If Vader could (and he can - but he chooses not to) snuff out Luke Skywalker then there is no balance in the storytelling. It's all one sided and unsatisfying.

Balance or a shifting balance - keeps the characters and storytelling interesting.

KIDSCREEN SUMMIT

2010-12-06T12:55:00.001-08:00

As the year draws to a close - people are starting to think about THE KIDSCREEN SUMMIT - the first major market of 2011. It's never to early to get your pitch in tip-top shape!

We'd be glad to help. Whether you need a pitch document written or polished, or if you simply need the best script in the world - we're your one stop creative shop.

Need fantastic world class art and design? We can put you in touch with the right people.

Remember - You only get one chance to make a great first impression!

It's Pitch Day

2010-12-01T06:39:00.000-08:00

We (my Freaky Stories partner, John Delmage and I) are pitching shows this afternoon. Unlike most producers, we don't pitch often. We only pitch show concepts that we really believe in -- ideas that would make for really good television programming. There are a lot of people who pitch whatever and whenever they can, but we strive for quality.

We're using a different strategy this time - rather than coming in with a specific project, we've assembled a spectrum of properties. Some are old, some new. Some have been pitched before (but the time may be right) and some have, for one reason or another, never seen the light of day. There are 5 shows in our bag today.

Our strategy is to meet with the Broadcast Executive and see what kind of show they're looking for. Girls? We have one - with a strong reason that this might be very strong for them. Boys - action 8 to 12? Got one of those. Again, very strong - with reasons this might be good for them.

A show for fans 17+? Got one of those, too. And DAMN - it's good. Real good.

How will we do? I have no clue. All of our pitches are strong - but there's no telling what they're looking for - what they have - or what they've just committed to. There are 1000 different things going on behind the scenes, of which we have no inkling. All we can do is try our best.

Wish us luck! I'll update this later....

UPDATE:

In case anyone is wondering - we didn't pitch anything. It was an informal meet and greet. We discussed the broadcaster's needs; where they were going in terms of direction. We discussed what had and hadn't been working for them in the past couple of years and why? Frankly, I was surprised - several shows that have been widely touted as "hits' have actually been performing poorly and are to be seen no more.

We paid close attention to what they're looking for and will be fine-tuning our material to suit their needs over the next few weeks.

One of our pet projects just isn't right for this broadcaster. Following the meeting we strategized where and to whom we could pitch this project. A very interesting opportunity has presented itself and we'll see where it takes us.

All in all, it was a very interesting and informative meeting. We were on the right track with most of our material, but the information we gleaned from this conversation will make our pitches stronger.

Rome Wasn't Built In A Day

2010-11-29T08:29:00.000-08:00

I spoke to one of my clients this past week. I'd written a bible for him and was following up to see what had come of it. Apparently his financial partner hadn't seen the immediate sale and financial return they'd been expecting and has shelved the project. To be honest, I don't know if they ever completed the visuals for the bible - I was just involved with the writing part - or if they'd ever pitched it to a broadcaster or production company. They just stopped working on it.

There's an old saying, "No one ever fails in Show Biz - They just give up before they succeed."

Freaky Stories took about 8 years to reach the TV screen. There were so many years when everyone thought I was crazy. But I kept at it and while today the show is ancient history - it's well regarded ancient history - and I'm fine with that.

At the same time, my latest project BRAIN EATIN' ZOMBIE BABIES hasn't taken the world by storm -- yet. But it's young, we're learning and pushing it in new directions. We're about to re-jig the format a bit. We're planning a community event (so all you Toronto Zombie Fans stay tuned) and 2011 may be BEZB's breakout year. Remember none of the big YouTube sites went big from Day One. Like the subject line says, "Rome Wasn't Built In A Day".

The Two-Page Pitch Document

2010-11-24T12:53:00.000-08:00

The growing trend has been to create a Two-Page pitch document. The Two-Pager is brought to the meeting and used/referred to, during the pitch. The complete pitch bible is used as a 'leave behind', so that the broadcast or development executive can report on the meeting to their bosses.

Here are some thoughts, having recently completed a few Pitch Bibles and Two-Pagers:

If it's a high concept project - SNAKES ON A PLANE!!! - they're either going to buy into it, or they won't - the Two-Pager isn't necessary. They'll either get it or not. And if they don't get the concept - the Two-Pager ain't gonna help.

Write the Two-Pager LAST. Refine your concept. Make the Bible as perfect as you possibly can. Then extract the essence - the core of it, into your Two-Pager.

A "Two-Pager" means exactly that. Two Pages. And a cover - which technically makes 'three pages'. That is, unless the two pager needs and extra half-page (and the cover) which means FOUR pages. But never, ever let your Two-Pager exceed four pages - because then you're into a mini-bible. Are we confused yet?

What did William Goldman say about 'nobody knowing anything?'

Don't Fall In Love With Your Project - Business Models

2010-11-16T07:24:00.001-08:00

Someone asked recently what I thought of some new Zombie movie. "I dunno", I said. "I don't watch Zombie movies. I'm not really into Zombie stuff". The person was dumbfounded. "But you do BRAIN EATIN' ZOMBIE BABIES. You were in the Toronto Zombie Walk... How can you NOT be interested in Zombies?"

It's just business. It's not that I don't like Zombies. I actually find the Zombie stuff that I do, to be a lot of fun. But would I go to every Zombie movie that comes out? Nope. I saw I AM LEGEND (but liked Richard Matheson's novel more). I love AMC's THE WALKING DEAD - but its more of a people story - a broader canvas, like The Sopranos, Mad Men, House. (I do find Haitian Zombies horrifying and fascinating, but there are very few - read: almost none, zippo - movies about Haitian Zombies.)

So then, why did I choose Zombies as the theme for my YouTube show?

I was looking for something that was inexpensive to produce - something spooky, creepy (that always sells) that was popular - that I could re-imagine and recreate as my own unique expression. Young Frankenstein - Been Done (thanks Mel!) Young Dracula (Been and being done 1000 times as we speak). Young Creature from the Black Lagoon? (This is Canada - it would have to be Creature from the Heated Pool - too expensive.) Likewise Kong was out and the Mummy, I dunno.

So I decided on Zombies and did a 'Muppet Babies' makeover on them -- Cute Zombies! Voila - my theme!

BRAIN EATIN' ZOMBIE BABIES are fun to make and I'm really proud of what we've done. We're about to do a major overhaul on the creative to reach a wider audience - which brings me to my point. I don't love the BRAIN EATIN' ZOMBIE BABIES. They're just business.

That means, that my major interest in the project is to make it popular. If I change the format a little - and it helps, I'll do that. If I have to revise the puppets - I'll do that too.

This is a huge change from my working attitude on FREAKY STORIES. Freaky was my baby. I loved that show - still do. But it was my baby and it was personal. EVERYTHING was personal. I took personal offense if someone proposed the smallest change. I admit, it was very hard for people to work with me - but the show was successful, so maybe the ends justified the means. Or maybe not.

But that isn't the way to go about making a show. It's all about the business. Your show, your project, your pitch is a business - or a business-to-be. It can never be about LOVE. Always think about the bottom line. How can you make your project more successful?

"Make it better", you say? What is "better"? Better is a subjective intangible. Popular is objectively tangible. You might say that popularity breeds mediocrity. True, but the reality is, "You had a million hits on YouTube this week? Step right into my office..."

So let's look at "Love" and business.

Does Penn like Teller? Yes. Of course. They're friends - but business partners first. The business of PENN & TELLER comes ahead of Penn and Teller's personal interests or feelings. Check out the video. It's very enlightening.

Hiam Saban the creator of MIGHTY MORPHING POWER RANGERS, when asked about the show that had made him a billionaire remarked, "Five retards in spandex". Is he proud of his shows? Yes. Does he love them? No.

So, no. I don't love Zombie Movies. But I'm very proud of BRAIN EATIN' ZOMBIE BABIES - and I'll continue to push it towards popularity and business success.

Magic School Bus & Spaceship One

2010-11-09T08:27:00.000-08:00

There was an anonymous response to the September 29th post, "So Lemme Ask Ya" that has stuck with me. Here's the post:

Anonymous said...

I'll be honest Steve and say that this is something that just can't be 'made' to happen and it seems to me

attempting to make it happen will only make it more difficult. It kind of feels like attempting to "invent" spontaneity, like when someone stages a funny (supposedly un-orchestrated) scenario to get a shot on America's Funniest Home Videos or some such. I'll be honest and say that the entire Zombie babies concept feels contrived and a little weak to my sensibilities. It feels as though it's going for a cutting-edge shock thing but in my opinion (only my opinion) is about as cutting edge as my Grandpa's record collection. Maybe I'm missing the point, and please don't think I'm trolling for trouble here, I've been following your blog for a while with interest and wish no ill to you or your brainchild. In my opinion the entire concept is, dare I say it... corny, and attempting to create a viral sensation out of sheer hustle and will, without much in the way of compelling content, will likely result in failure. It's easy for one like me to armchair QB from the sidelines. I commend you very much for actually producing something (even if I don't see a ton of redeeming value in it ultimately). I'm sure you don't hesitate to give honest feedback to those who request it and I hope you'll take this feedback in the spirit it's

intended. Best of luck

I was the Producer on the first season of Magic School Bus. Up until the show came out, it was a book property for Scholastic. Admittedly, it was a well known book series - but MSB didn't have the ubiquitous status that now enjoys.

The show premiere coincided with the launch of a line of McDonalds Happy Meal MSB Toys.

My family went to McDonalds on the Saturday the show premiered. We wore our MSB crew shirts and my son had a denim jacket with a huge MSB logo embroidered on the back. (It's now a family heirloom.)

Nobody know what Magic School Bus was. They'd never seen it - but the ads were everywhere. WE were swamped - there were people asking questions, wanting to know What was Magic School Bus? We had a blast and the only way I can describe it is like dropping a pebble into a wishing well and instead of a splash - getting a tsunami in return. Anyhow, the show was a huge hit - and ran for many seasons.

I was also part of the Atomic Betty team (Executive Story Editor) and privy to the negotiations with another hamburger chain for similar Atomic Betty-themed toys.

Getting back to Mr. Anonymous' note - the successes of Atomic Betty and MSB were created by hype. They were created by corporate media machines. This was before viral vi

deos and social networking when it was actually HARDER and MORE EXPENSIVE to do this.

Is BRAIN EATIN' ZOMBIE BABIES the best show ever? Of course not. (FREAKY STORIES was the best show ever.) But it's cool, people like it (for the most part) and it's mine.

I know that the anonymous post came from a Canadian. There's a huge difference in attitudes between Canadians and Americans. While I'm proud to wave the Maple Leaf, there's something lacking in the Canadian spirit - it's that "Can Do" attitude that you find in the U.S.

Take a look at the photo of Spaceship One. For me, personally - whenever I see anything that comes out of Scaled Composites (the company that built it) I remember as a boy at an airshow, how Burt Rutan (Spaceship One's Creator) let me sit in the cockpit of one of his early experimental aircraft. He was so damned proud of that thing. He'd started small as an independent aircraft designer (building homebuilt planes) and years later - is the cutting edge in space travel.

THAT'S THE AMERICAN WAY, people. They have dreams. BIG dreams. They go for it.

Up here. Well, we wait for our government grants. We wait for someone in authority to 'approve' our dreams... We have a lot to learn from our pals just over the border.

The More Things Change...

2010-11-04T07:48:00.000-07:00

Jim Henshaw in his always brilliant The Legion of Decency blog has written about the nature of creativity and how it relates to new and emerging media. Jim has graciously given permission for me to reprint his recent entry, "The More Things Change". I recommend that you bookmark Jim's blog for essential reading:

My first Christmas hiatus on "Friday the 13th: The Series", one of the Executive Producers presented me with an arcane little book containing the collected memos of Jack Warner, compiled during his tenure as head of Warner Brothers Studios.

My Exec said he didn't want me to go without the pleasure of reading studio notes over the holidays.

The book turned out to be a fascinating read. It not only covered a niche never mentioned in the other Hollywood histories I had devoured since childhood, but it made me realize that almost nothing had changed between Jack Warner's era of production and my own.

Oh, sure, the tools were all state of the art in my world, but the people using them and they way they did their jobs were identical to those who lived in his. Somebody will always invent a better android, but the human soul is eternal.

With a simple "Search and Replace" of actor names or show titles, the notes I was getting via Fedex or fax became perfect copies of the ones Warner was dispatching on monogrammed stationery or courtesy of Western Union.

"Take that hat with the feather off (Errol) Flynn! It makes him look like a fag!"

"I love that we cast Bogart, but who's gonna give a shit about a goddamn bird statue? Can't we find something better?"

Or words to that effect. Likewise, the mantras of the gatekeepers and the rainmakers are unchanging.

Warner's memos made me realize that for all that changes in the film business from the coming of sound to Technicolor, from THX to 3D and digital distribution, at its heart the job of creativity hardly changes at all.

And that's worth considering in the face of the technological sea change rolling in on us now.

You can't open your email box these days without finding another invitation to a conference or workshop designed to prepare you for all the new media markets.

And I won't knock any of them because any forum that collects people with a particular goal is going to end up sharing a lot of valuable tips and insight.

But at the same time, I see a culture evolving that appears to believe we need to find or construct an entirely different way of telling stories.

A screenwriting guru I once met claimed we all spend too much time analyzing how each new technical improvement or societal trend might impact the stories we write. He insisted it was just another of the ways we use to avoid the risk of actually making something.

And it's not just screenwriters who get caught in that trap. I once wrote 8 different drafts of the same script for a major studio to fit the physique or perceived range of each new leading man they were certain they could interest in the role. For each of those leading men was predicted, as development dragged on, to be about to embody the popular zeitgeist.

By the time they finally settled on the right guy, somebody else had gone to camera with an almost identical story and the project was shelved.

I got paid, while those who had spent so much time chasing the next wave got themselves played.

The moment of true certainty in any venture never arrives.

Anyway, in my Guru's estimation, the work of the story teller is unchanging. He deals in the human condition and the conflicts and comedies which result.

Ever since the nights we all sat around a roasting Mastodon haunch, that's all anybody else in the tribe has been interested in hearing. In fact, all that has ever changed in our continuously evolving and modernizing society is context not content.

To illustrate that, he'd line up a bunch of different sized or shaped glasses to represent the various eras, pointing out that while a shot glass, brandy snifter or beer stein might appear to require a major alteration of craft to utilize, they were really just different containers.

And the bulk of your audience only cared about what was inside them. The content.

The crafts of the vintner, the distiller or the brewer do not change because there has been a revolution in glass blowing.

I was reminded of all this again Monday night when TCM debuted its magnificent documentary series "Moguls and Movie Stars: A Hollywood History".

The first of what will be a 7 part series focused on the earliest days of the movie business (titled "Peepshow Pioneers") was loaded with remarkable never-before-seen footage and incredible interviews.

But you couldn't escape the realization that everything we're struggling with today from monetizing the internet to cross-platform storytelling also faced these cinematic neophytes and is just a glass whose shape we haven't encountered before.

Just as some network exec in LA is even now trying to figure out the possible season arc of a Twitter feed, "Moguls and Movie Stars" recounts the ways artists and businessmen a century ago searched for the audience hook which might wring value from flickering images and nickelodeon machines.

They asked exactly the same questions every new media mogul asks today.

Could it all be just a passing fad? What if they all go back to Vaudeville -- or watching TV from the couch?

How often do you need to give them something new? Do I roll out a new offering every week -- once a month -- when the hits start to slip?

Will anyone pay attention for more than a 10 minute story? Do I stick with the established "one reel" or "Youtube Standard" or do I push the envelope?

Do you need a story or is the audience simply enthralled with the technology? If they're happy watching two people kiss or somebody falling off a skateboard, do I complicate the experience if I give them anything more?

Could anybody be an artist with these new tools? And if they can, how does the real Artist set himself apart?

According to Jon Wilkman, the filmmaker who spent 2 1/2 years making the TCM series,"In many ways, we are back in 1890. This whole world of the movies is being rethought and rebuilt: How are movies made? Who makes them? How are they distributed? What's the subject matter?"

Watching long forgotten movie pioneers create a business that would go from nothing to the fifth biggest industry in the America in 20 years, it becomes very clear that no matter how much we think we're on the verge of a brave new world, history is simply repeating itself.

So maybe we need to make sure we don't make some of the same mistakes those pioneers made.

Maybe we need to stop concentrating so much on how Storytelling might need to be tweaked and start looking at what is preventing a simple alteration in the manufacturing and delivery system from allowing artists to make the most of these new tools and once again build a vibrant new industry.

One thing that "Moguls" clarifies is that the major support for the new art form didn't come from the established players. Legitimate Theatres and other entertainment venues felt as threatened by the nickelodeon then as film studios and TV nets do by the Internet today.

The only way these current corporations can see Internet entertainment offerings is as either a farm system for their product or an extension of what they are already marketing.

And for the most part, most current web series creators and Youtube stars are, in turn, either hoping their creations get picked up by television, land them a studio deal or that by establishing some form of web celebrity they'll transition to more lucrative work in TV and film.

There's nothing wrong with that. But it leaves those who currently own the industry, and who, through new copyright legislation and DRM locks, want to make sure their control over both storytellers and what reaches mass audiences continues -- well, it leaves them in complete control.

In the same way that Bell and Rogers want control of bandwidth to prevent Netflix and others from staking a claim to their VOD gold field and are locking up content like NFL games for delivery to mobile devices, they see little need to find audiences for storytellers who don't want their creative work owned by someone else.

The entrepreneurs who built the original film industry, on the other hand, all came from outside it. Adolf Zukor, who founded Paramount, began his professional life as a furrier. The original Warner Brothers ran an ice cream stand and a bowling alley. Louis (MGM) Mayer bought and sold scrap metal.

Therefore, they approached the business from the point of view of making their customers and suppliers happy to keep them coming back.

That's a much different philosophy from the corporate mentalities of Shaw, Rogers or Bell, which demand that their content be amortized over as many platforms they can charge new fees to access as possible.

Their goal is not to support the storyteller or enrich the lives of their customers, but to increase their bottom lines and improve shareholder profits.

That's not an environment where new, groundbreaking or risky ventures can survive, let alone lead to the construction of a creative industry that can be more than a hobby and evolve something economically substantial for the country as a whole.

What "Moguls and Movie Stars" illustrates is that unless government money and policy backs those who create and innovate the next Hollywood will be built elsewhere and Canadians will remain consumers of cultures not our own.

Necessity is the Mother of Re-Invention

2010-10-25T07:51:00.000-07:00

Damn. Talk about a crappy painting. But it'll have to do...

(Sorry for not posting recently but I've been busy, what with scripts, video shoots, pitch bibles, Zombie Babies and the Toronto Zombie walk. I've also learned a lot of things like - if you're making a full-body wearable puppet -- COUNTERBALANCE THE DAMNED THING!!!) Back to the topic...

Mark Mayerson in his excellent blog mayersononanimation.blogspot.com recently posted a map showing the key locations of animation studios globally. Reader jpilot pointed out that many of the stellar animators are nomads, moving from one production city to another and that once you set down roots to raise a family, your career stagnates. If you can't follow the work, you have to take what you can find in the given market where you're located. But that may not be the case. You can stay in one place and be nomadic at the same time.

I've lived in the Toronto Canada area for all of my life. Over the course of my career, I've had to continuously invent and reinvent myself because of interests, where I want to go career-wise, or out of necessity. (Generally I make a career change every 5 to 7 years. Its always within TV/film, but it involves a different job.) This has been a long and interesting process. But whatever I've done, it's added to the skill pool that I've developed.

I've been a cel painter, FX animator, title designer, airbrush illustrator, freelance TV commercial producer, sound editor, TV series producer, independent TV producer, movie producer, writer, story editor, and now it seems - puppeteer/internet entrepreneur. What a long strange journey it's been.

I was lucky enough in my early days to work for Vlad Goetzelman at Cinera Productions. Cinera was a small boutique animation firm housed in an old candy factory. The stairwells smelled like chocolate. You name it - we did it. Stop motion, 2D, FX and even some rudimentary 3D using a borrowed Cray Computer at the Rochester Institute of Technology. But the best thing about Cinera was Vlad's philosophy - he ran Cinera as if it were a WWII submarine: everyone had to be able to do every job. If something needed to be edited - there was an editor, but you might wind up doing it yourself, because he was helping the cameraman. It was the best training you could ever get - and it's served me well during my career.

Did I ever think I'd be a writer? Nope. My goal in school was to be the best animator in the world. That fizzled pretty fast and I developed new skills as new possibilities arose.

And I haven't abandoned or forgotten anything that I've learned or done in the past. I use that experience every day - on every project. These are exciting times to be in tv/film/media. There are lots of opportunities - but you have to be willing to step outside of your comfort zone and when necessary, reinvent yourself.

HAPPY BIRTHDAY!!!

2010-10-08T04:34:00.001-07:00

THE PITCH BIBLE BLOG is One Year Old Today!

88 posts.
6,556 site visits.
12,787 page visits
46 followers.
5 bibles commissioned.
1 development deal.

All in all - a pretty good year!

Thanks Everyone!

Stay tuned. There's more to come...

The Official Freaky Stories Facebook Fan Page

2010-10-07T06:05:00.000-07:00

I've launched THE OFFICIAL FREAKY STORIES fan page on Facebook.

If you're a Facebook member please remember to "like" the link and join the group.

I'm going to load everything that I have onto it:

scripts,
links to videos,
behind the scenes photos,
character designs,
color models,
background keys,
layouts,
storyboards...

You name it - if it exists, it will be on the site. This is the perfect way for any student or fan of animation to examine all the elements that go into the making of a TV series.

This is a site made by the creator of the show, for its fans. Its not a fanboy site. It's the real thing. If you have any questions about Freaky, send me a note care of The Official Freaky Stories Fan Page.

Thanks!

There's a Big, BIG World Out There!

2010-10-06T11:59:00.001-07:00

Well, ask and ye shall receive...

Travis Gordon, creator of the very successful Web-Show SPELL FURY was kind enough to give me a quick tutorial on the ins and outs of generating maximum web traffic for Zombie Babies. In return, I've passed along some marketing info and business contacts. It looks like Travis and I can do some serious business. In the meantime, be sure to check out his excellent and very highly rated show SPELL FURY.

Quid pro quo, Clarice... Quid pro quo...

So Lemme Ask Ya...

2010-09-29T14:30:00.001-07:00

It's not every day that a colossal egotist like "Moi" asks for advice... But what the heck, I give enough of it, so why not?

As you know, I'm developing a new web-based (or as the kids call it, "Transmedia") property entitled BRAIN EATIN' ZOMBIE BABIES. I've got seven episodes online with more coming shortly.

I've followed my own advice (See my earlier post "Guerilla Marketing 101") and have contacted the usual media outlets (stuff is pending). I've crafted a custom ZOMBIE BABIES video to appeal to the owners of a hugely popular site, in the hopes of getting a link + the accompanying spike in hits to my YouTube Channel. We're submitting it for consideration next week.

On the community level, we're sponsors of the TORONTO ZOMBIE WALK, taking place on October 23rd, with links on their site and Facebook pages. I'm also having several hundred really cool ZOMBIE BABIES pins made up to give away at the event.

SO HERE'S THE QUESTION: Despite all my hard efforts, I've only got about 2,500 hits on my YouTube Channel. I need hundreds of thousands. How can I build traffic more successfully?

Any suggestions?

Thanks!

Start Small...

2010-09-27T10:26:00.001-07:00

We were chatting with an Intellectual Properties and Trademark Lawyer the other day. He specializes in doing licensing deals for entertainment brands. He's worked on some very large accounts, having started on some of them, when they were very small accounts.

As we chatted about BRAIN EATIN' ZOMBIE BABIES, he told me about a game that he plays: When a new project crosses his desk, he keeps notes about which ones he thinks will win - that is, which would become big successes - and which ones would fail. And he was honest about it: He was often wrong. He's been in the business a long time, so he goes waaaay back:

The Pet Rock - He figured this to be a loser. The creator of the Pet Rock actually made an awful lot of money.

Cabbage Patch Kids - He thought Xavier Roberts was crazy. No one would ever buy these ugly dolls.

He ran down a long list of properties where he'd been wrong. And a long list of properties where he'd been right. It worked out to be about even. Again proving William Goldman's rule: NOBODY KNOWS ANYTHING.

So what advice did he give me? With the internet and social networking as they are today, the opportunities for an individual to build a brand have never been better. If you're lucky, it doesn't cost a lot of money and it doesn't take a lot of time. There are a lot of people who create memes, but its accidental, so they don't know what to do with them - or don't have a plan in place until its too late.

Be ready. Work at it. Start small and work to grow it as you would any business.

As I sit down to write...

2010-09-21T07:14:00.000-07:00

Exciting times. Things are busy. I've got a lot of commissioned work in house. Turning out more Brain Eatin' Zombie Babies episodes and while I have a minute to breathe, I get to sit down and write.

My old producing parter from Freaky Stories and I have teamed up to pitch a new project - a live action comedy for the tween market. Its a great meeting of minds, drawing insight from both of our industry experience. Will anything come of it? There's no way of knowing - except that we have to pitch it. You will never win if you never try. Fingers crossed!

Aaaaaaarrrrrrrrggggghhh....!

2010-09-10T14:38:00.000-07:00

Okay. So let's talk about manners. Manners are the way you present yourself to the industry. What raises this topic? Lemme tell ya a story. Pull up a chair...

I was contacted by an up-and-coming, would-be producer who wanted his script polished, so that he could pitch it to a broadcaster. That sounds reasonable. He represented himself to me as being an experienced animation producer - but something was fishy. What he said, didn't add up. In a few minutes, he confessed that he was really in fact, a first-year animation student who wanted to pitch a show.

I have to confess that I too, was once an eager young filmmaker - ready to take on the world...

Okay... so he emails over his script. I read it. It was "okay". Not great. Not stinky. Just "okay". I asked what his intended use would be for the finished film - Is this a student project? Or is this a promo film for a pitch?

You see - if this is a student project, the script would be fine with some tiny cosmetic changes. But if he's pitching this in a professional arena, he's talking on everyone in the world to make that TV sale - and his script needs to be GREAT! "Okay" won't do. He said that this was intended to be a professional pitch. I told him that it needed some work and suggested that he read THE SCREENWRITER'S PROBLEM SOLVER by Syd Field and watch DUCK SOUP by The Marx Bros. Honestly - that's good advice that I'd recommend to everyone.

Our young would-be producer told me that another screenwriter had read his script and thought it was fine as-is. I agreed that everyone was entitled to their opinion and wished him well.

End of story, or so I thought.

The next night, the young would-be producer called me. He had the other screenwriter on the line - demanding to know exactly how I thought the young producer's script could be improved. He thought it was fine! Then he demanded to know my credits. What I'd written, what I'd sold, when and to which studio...

What a complete yutz. I hung up on both of them. Then I sent the would-be producer a note, instructing him never to contact me again.

Okay guys. Here's the thing: Everyone is entitled to their opinion. When you combine that with the sage wisdom that "Nobody Knows Anything" - you get some key information. What I like, may not be someone else's cup of tea. And vice versa. The other screenwriter thought it was fine - I thought it needed work. Both opinions are valid... BUT...

If someone turns you down, thank them for their time and insight - THEN LEAVE.

DO NOT EVER trot out your own expert/mother/teacher to argue with the person who has turned you down. That is the epitome of amateur-hour behavior. You will never get another meeting with your contact - and you will get a bad reputation in the industry - FAST.

Consider this a Public Service.

Now, I may be entirely wrong. The kid might be a genius. His film might be Oscar caliber material (I've been wrong in the past - but not often) and in two years time, he'll be wagging it in my face, going "Nyah Nyah Nyah... Told ya so!" But in this case, I don't think so.

BATMAN: The Animated Series Writer's Bible

2010-08-30T13:57:00.000-07:00

Okay. So this isn't the original Pitch Bible for BATMAN: The Animated Series - but it is the Writer's Bible that would have been commissioned during the show's development. This is massive, gorgeous - and goes into much more detail than you would ever do on a 'regular' animated show.

Why?

Because BATMAN is a property with a canon. There is a history that has to be adhered to, or reconciled with. If you fail to address Batman's history - who he is, where he came from, why he does what he does - then it isn't Batman.

An original property doesn't have that sort of history, allowing your writers more freedom to create the canon of your series. Also, BATMAN had a HUGE budget, the kind we're not likely to see again.

THE MAGIC COMBINATION OF SUCCESS

2010-08-30T08:22:00.000-07:00

So against my better judgment, I'm involved in a couple of internet discussion groups.
Why do I do this...? Never mind.

In one of the recent online topics, they discuss how to pitch a show and the various options available to them. Should they make a pilot? Should they mortgage their homes and just make the whole series? (I know someone who did this. Don't do this.)

I suggested that they build their brands online, as I'm doing with Brain Eatin' Zombie Babies.
While they've pointed to successful online producers such as Shane Dawson, nobody in the animation community seems to 'get it'. You must create a constant flow of content in order to build a brand. Viewers need a reason to revisit your site. And they must revisit it often. If you can only put up a new video sporadically, then you're not going to get a critical mass of viewers.

My guess is that it's nearly impossible to do that in animation because of the cost. If you're on a budget (and who in the 'independent world' isn't?) then you're probably doing it yourself - while you're working that day-job.

As you know, I've gone the puppet-route for my latest project. My feeling is Creative = Creative no matter what the medium. For the life of me, I can't understand animation purists - "If it ain't Disney (Pixar, Dreamworks, Anime... the list goes on) it's crap!" My feeling is that whatever best conveys your idea is what you should go with.

Check out the clip posted above. It's great. Watch the whole thing - then come back. Don't worry. I'll wait for ya...

(whistles... files nails...)

Okay. What did you see? A street performer. A Busker.
The guy earns his living by performing in the streets.
The thing that separates him from the other Buskers is that he's performing (brilliantly) in a medium that we don't see all that often in street performances. He's a puppeteer. And a damned good one. People don't usually see puppeteers - and it catches their attention.

That's we should all be striving for in our pitch bibles - A) Quality and A) Uniqueness.

Yes, I've mentioned "A" twice - because those two elements are of equal importance if you want to sell a show. Give them something they haven't seen before - and do it brilliantly! Add volume - as in a large number of episodes and you have the magic combination of success in any aspect of showbiz - whether it be pitching bibles or in live/online performances.

Savoring the moment...

2010-08-10T06:57:00.000-07:00

I've worked on some projects that have gone big (Freaky Stories, Atomic Betty, Magic School Bus), some projects that have died on the table (Rocket Rodents, The Seven, Buzz & Dewey) and a bunch of stuff in between.

The one thing they have in common is that special point in time, where people just don't get it. Its the early stage where they think you're crazy. I love that point in time - its the pugnacious, "I'll show them!" attitude that really gets the creative juices flowing. And its amazing how fast you can go from "Zero" to "Hero".

Those who remember Freaky Stories, remember it as a good, smart show. I still get emails every week from strangers asking about it. But in my mind Freaky brings back bitter-sweet memories where everyone said that I was completely out of my head. And I heard that from a lot of people.

With my feature, "PUBIC LICE: The Motion Picture" - There was a tipping point, where it went from a crazy idea in my mind - and turned into a real tangible motion picture. That fact that it hasn't found a distributor is irrelevant. PUBIC LICE went from an idea to become a physical product.

And now, with BRAIN EATIN' ZOMBIE BABIES - I'm at that same wonderful place. We've got a few micro-episodes out there on YouTube. We've had about 1500 hits so far. Not viral by any means, but people seem to like it. All it needs, is to be discovered. But what I really like, are the naysayers. The people who don't believe in it. The ones who don't get it. Maybe ZOMBIE BABIES will take some time to build, but it will - and today's naysayers will be its biggest fans tomorrow.

Very Important Message

2010-08-08T08:39:00.000-07:00

Check this out. For the record, when I was trying to get FREAKY STORIES up and going, I was told by one of the most knowledgeable people in the industry:

"Freaky Stories will never get made. And if it ever did, no one would watch it."

Believe in yourself.

If It Ain't On The Page - It Ain't On The Stage

2010-08-06T05:07:00.000-07:00

I recently met with a production company to discuss revising their new Pitch Bible in preparation for MIPCOM. I'd read over their notes 3 times before the meeting and thought that I knew it quite well, when I sat down with them.

Then as we discussed it - I learned something about the project that wasn't in the bible. It was a comedy. I was floored. What I'd read was a grim, action-adventure piece. There was nothing remotely funny about the set-up or the characters. At all. There was not one CLUE that this was an adventure-comedy. The producer was very upset when I pointed this out to him. I think I hurt his feelings. Needless to say, I didn't get the job.

But I can imagine the hilarity that will ensue when they try to pitch the project to a broadcaster. It's like pitching a romantic comedy without mentioning the romance. Or the comedy. Cue the sound of CRICKETS. Because there will be an uncomfortable silence in the room.

You have to be specific up front about what your project is. You have to understand and communicate the genre, up front - so that everyone understands what you're doing. If you bible implies that your project is in one genre - when its really in another - then you've confused your buyer and I guarantee that they will pass on your project.

I had no idea it was supposed to be funny. Honest.

Bag and Tag

2010-08-02T09:47:00.000-07:00

The family's coming over for a civic holiday BBQ, so I've been stashing the Zombie Babies puppets and props. One thing that I learned during the production of Freaky Stories was how important it was to properly store your assets for the next season of production.

Each year when we finished the puppet shoots, the puppet crew would powder, wrap and very carefully store the puppets and their props. It seemed like a lot of work the first time I watched them do it - I would have just thrown them into boxes and been done with it. But when the next season rolled around, the puppets were in great shape and everything we needed was right where we expected it to be.

So, what does this have to do with Pitch Bibles?

They are assets. They have value - whether you've sold them or not. So store them carefully. Even if you're not actively pitching and selling, you want to know that your creations are in good shape. How do you do that?

First, register your latest or final draft with the WGA (WGC or whatever).

Next, back up your work on a disc and even print out a hard copy. To be even safer, store it "off-site" on an FTP site. You can upload the files and have access to them at any time. This way, no matter what happens - even if your house burns down and your computer is destroyed, your work will survive. As one who has survived some catastrophic computer failures - its a nice feeling to know that your work is safe.

I've actually started uploading my work to our FTP site on a daily basis - to back up the writing that I do. Its a good habit to get into.

SCI FINAL

2010-07-29T11:31:00.000-07:00

Brain Eatin' Zombie Babies was just profiled at www.scifinal.com - a website devoted to promoting creator driven genre video. You can check out the words of wisdom from yours truly, its genius-creator here.

Yabba Dabba DON'T!!!

2010-07-27T14:29:00.000-07:00

NOT SAFE FOR WORK - Rude content. Sorry if you're offended.

Okay. A frank discussion. Someone asked today, what I thought of his pitch/demo.
Not to spend much time on it - it was "The Flintstones with dick jokes". The jokes weren't overly funny and the dick jokes... well, they were dick jokes. Now if the writing had been funny - and the animation well done, that would have been another story. But this was mediocre humor and art, relying on dubious shock value to carry it.

That's not to say that some low rent humor isn't very well done. It's a genre. Its a style - and like everything else in life -- 98% of it is worthless. But that 2%. Ooh... that sweet 2%. That's what's worth living for.

But this wasn't that sweet 2%.

So getting back to a show about dick jokes. A couple of questions: Who is the audience? and Where are you going to sell it? Well, the audience is guys. Probably 14 to 35 is my guess. But it will be only guys - because women won't find this material funny for more than one viewing. Nor will they want it on when they're around.

Now comes the bigger problem. Who are you going to sell this to? Because most of the Broadcast Executives are... wait for it... WOMEN. And this will become a very short pitch meeting.

Okay - so if you take the dick jokes out of it - you've got "The Flintstones" - but that's been done... about 40 years ago and much better.

Sometimes an idea just isn't a GOOD idea.

Social Network Marketing

2010-07-14T13:03:00.001-07:00

Four days in and we're well in excess of 400 views. Good - but ultimately not good enough. While I know that Zombie Babies theoretically could go viral at any time, I want to make it happen sooner rather than later. Frankly, if I have any hopes of monetizing the project, the numbers will have to be in the millions of views. Hundreds is flattering - but I need millions.

I'm somewhat in awe of videos that are innocently posted and go viral overnight.

Through FaceBook, I've pestered everyone that I know into watching the video. I'm sure that by now, they're cringing the 29 episodes yet to come. For that reason I've decided to expand my horizons and go after a much wider audience.

I've signed up with several Social Network Clearing sites - sites that skim the ongoing media stream and post interesting links to their readers. These include Fark.com, Stumbleupon.com, Funnyordie.com, Livelink.com and CollegeHumor.com. The premiere video has been submitted - as will all the subsequent episodes. There are a few key sites, such as BoingBoing.net - where I'm waiting until we have a number of videos posted before I make a submission. If "Brain Eatin' Zombie Babies - Episode #17" is the one that breaks big - everything will break big. A single episode gone viral will lead people back to the other chapters.

I've also started a FaceBook group for Zombie Babies. For those who are interested (and FaceBook Members, you can sign up HERE. It'll be THE place for all the news Zombie Babies related.

MEANWHILE - I've actually started work on the Pitch Bible for Zombie Babies. Why would I do that - considering the first look is up on the information highway? When the time comes to speak with potential sponsors, we need to leave them with material to review. Also, should there be mainstream media interest in the project - again, we need to provide a comprehensive overview of what the Zombie Babies are. Having it all down in a well produced document means that I'll never be at a loss for words.

BRAIN EATIN' ZOMBIE BABIES

2010-07-10T20:32:00.000-07:00

Here is the premiere episode of my new web-show, BRAIN EATIN' ZOMBIE BABIES.
The plan is to release 2 mini-episodes per week for the next 15 weeks. Can we build an audience? Will this go viral? Like a great man once said - nobody knows...

Wish me luck!

The Return on Your Cultural Investment

2010-07-09T13:25:00.000-07:00

Many years ago, when I was a sound editor on The Inspector Gadget Show, I enjoyed a unique experience. As my wife and I walked past a schoolyard, we heard one of the kids call out, "Go Go Gadget Penis!" When we finished laughing, I said that was one sound effect we never got around to making...

The point is that for the first time, I got to see my work enter the public consciousness. It wasn't a case where people, being polite, mentioned my show. These were complete strangers who were oblivious to me and my part in its production.

Similar things happened during my work on The Magic School Bus and later, on Freaky Stories. I would hear complete strangers referencing my work. And believe me, that is a strange experience. It continues today where Freaky Stories has almost 8,000 fans on FaceBook. EIGHT THOUSAND people (!!!) signed up to get notices about Freaky Stories. Complete strangers. It must be absolutely mind boggling to the creators and production team of major hit series to get millions of fans liking your work.

So what is the "cultural investment" in a show? I really don't know. You do your work. You be creative - but the one thing that you have to keep in mind, something that most people forget during the hustle of production: The show that you're working on, is somebody's favorite show. Ever.

I think there's a responsibility that comes with that. The thing that you've created touches someone's life. Maybe they go on to a career in film, TV or the arts. Maybe "House" inspires someone to become a doctor. Maybe that doctor finds the cure for a terrible disease - all because of a prime-time TV show.

Often the creators of a show don't realize what it is that they're working with. Case in point, this New Yorker article on Mighty Morphin' Power Rangers mogul Haim Saban - in which he smirkingly refers to the Power Rangers as "Five retards in spandex".

I guess they were - and those "Five retards in spandex" made him a billionaire. Who knew?

Why I Do What I Do

2010-07-08T12:20:00.000-07:00

Jim Henshaw's excellent blog, THE LEGION OF DECENCY this week features an article about the state of "the art" here in Canada, and probably most places for that matter.

It's well worth the read. You can find it HERE.

Probably more than anything else, its a dose of reality that explains why I'm pursuing independent productions like Brain Eatin' Zombie Babies.

Go. Read. Learn from Jim. Tell him I say Hi.

ENTOURAGE

2010-07-05T05:55:00.001-07:00

Further to my last post - another thing to consider is whether your new partners will be "network approved".

What is "network approved"? you ask.

The network, broadcaster, distributor or production company is paying for your production. Face it - somebody has to pay for it, or it doesn't get made. Their big concern (because of schedules, advertising revenue, etc.) are the "Deliverables" - the material which you as the producer are supposed to provide to them in a timely manner.

Clear so far? They give you money - you give them the program. Okay. Let's move on.

They (let's call them "The Network") need to have a level of comfort, in that you and your team can deliver The Deliverables to them, on time and on budget. How does The Network do this?

For one - they usually insist that your team is "Network Approved". They have to know your players. You might not have to be Network Approved. You're the creator - so you're in. But you will most likely have to partner with someone who has demonstrated experience by working on a show in the past. And this can be a deal breaker. The Network absolutely needs this.

Here's the thing. If you're free and clear - and The Network insists that you partner with Producer John Smith (and you like John Smith's work) - you're in good shape. If on the other hand, you've got Eddie, your best pal from high school, locked in contractually as Producer - then you have problems. Because The Network doesn't know Eddie (assuming that Eddie is from outside the biz - if he's experienced - GREAT - otherwise not-so-great). And if they don't know Eddie or his work, there is no level of comfort that he (and by extension, you) can deliver the show. They don't want people who are 'learning on the job' to be running the show.

Make sense? Entourage makes for great TV. Hiring your best buddies works fine if you're an A-List actor, producer or director. But for those of us in the trenches - not a good thing. Fun show though...

PLEASE NOTE - The "No Bullsh*tting Here" post has been removed for the time being. A troll has been fixating on it. Time for him to move on. It will be reposted sometime in the future.

A Rule of Thumb

2010-06-29T06:06:00.001-07:00

A guy wrote to me asking if I wouldn't mind looking over a contract for him.

Huh? I'm not a lawyer. I have no legal experience. Why would anyone want my opinion about a contract? I advised him to find an entertainment lawyer - a good one, and the money would be well spent.

Hire the right person to do the job. Hire a pro. Get the person who will do the job right the first time and you'll live happily ever after.

THE END.

But wait. There's more...

Same guy writes, saying that some people want to get involved in his project -- they want to be in senior positions, creatively and in production. What do I think? I reviewed their credentials - and they had no related experience. They'd never produced or directed a show. Hell, they'd never even worked in TV production in any capacity.

Scratching my head, I asked they guy who wrote to me - why he'd even consider working with people who admittedly didn't know what they were doing? He said that they were good "family men". They had the same values as him.

More head scratching on my part. I wished the guy luck. He's going to need it. Lots of it.

There is a very good Rule of Thumb in screenwriting (or any kind of writing for that matter):
If a scene doesn't advance the plot or character development - cut it. Every scene should advance the story or tell us more about the character. If it doesn't, its a waste of time.

Likewise, everyone who you bring onto your project should be able to advance it in some way. Your agent should set up meetings. Partners should bring something to the table with them - money, skills, connections. Otherwise, they're not helping you - they're dragging you down - and you should ditch them.

All the good intentions in the world won't get the job done if you don't have the right people with the right skills.

WE LOVE PIXAR: The Secret Ingredients

2010-06-28T15:34:00.000-07:00

I came across this great, very well-written article on The Big Hollywood blog archive. It's well worth a look. The things we learn from PIXAR can be applied to any of our projects.

WE LOVE PIXAR: The Secret Ingredients
by James Hudnall

Not since Walt Disney created a film studio based mostly on animation has a film company had such a string of successful family films. In fact, Pixar has had more successes in its run than Disney did in its early years. Lucky for Disney, they distribute Pixar.

Many in Hollywood may be scratching their heads trying to understand why this company has had so many winners. But the secret ingredients are the very things that Hollywood often forgets are the most important elements to any movie. It’s like baking a cake without eggs, flour or sugar. It can be done, but good luck with that.

Let’s review the simple ingredients that makes the Pixar cakes so delicious.

1. Story Fundamentals: Every story is an argument. It should have a point. The point should be made strongly and you should either learn from it or come away with more understanding than you had going in. A story is really there to put things in some kind of perspective. A protagonist is given a set of problems they have to solve in order to achieve the thing they desire. In overcoming those problems they learn about themselves and grow as a person in some way.

If the story is well told, we relate to the characters and identify with them. Pixar does that. They create stories that we can relate to, that show us a world we understand. These tales give worthwhile meaning to the lives of the characters we just went on a journey with. And because of this, they are stories we remember and want to see again. They teach you this stuff in writing school, if you had a good teacher, but many studio execs completely forget all this and go for effects and exploitation and anything else they think will fill the seats. They completely forget is that no one cares about characters they don’t like or relate to. This brings us to ingredient #2.

2. Strong Characters: Pixar creates good stories around strong characters. When I say strong, I don’t mean they can beat people up. In most cases, the Pixar characters are a threat to no one. They are like most people, easily harmed by life’s cruel ironies and twists. But they overcome these problems by being proactive. They heroically defeat their obstacles. And often, through teamwork with others who they often disagree. Through these experiences everyone learns something and the audience is satisfied. Characters in stories need to grow because there has to be a net change from the beginning of the story to the end. Or a movie can feel neutral or pointless. Again, this is a simple truth known since Aristotle’s time that so many movie-makers fail to grasp.

3. Great endings: Endings are at least 50% of what makes a movie good. If your ending is lame, predictable or doesn’t live up to the preceding parts of the film, then the whole picture is forgettable. How many movies have you seen that thrilled you until a stupid ending ruined it? The ending is the last thing an audience remembers. It isn’t called the climax for nothing. Our excitement is built up to a point and If the ending is a fizzle, there are no fireworks, kids. And you don’t want people walking away disappointed. Pixar always delivers satisfying endings. You get plenty of bang for the bucks.

4. Magnificent Art Direction and Animation: These are animated films after all. Pixar has always been one of the most cutting edge animation houses in the business. Their work is superb. It’s the icing on the cake. And the cake they make is moist and delicious.

The rest of Hollywood could learn a lot of Pixar, but hubris being what it is, they probably won’t. Noneth less, we are very happy that Pixar is with us and keeps delivering fine films.

Some Words of Wisdom from Frank Zappa

2010-06-22T19:16:00.000-07:00

Here is the late Frank Zappa on the decline of the music industry. I'm posting this because it parallels the creative development of TV and movies at the studio and broadcast level. This is Frank Zappa's take on William Goldman's "nobody knows anything":

One thing that did happen during the 60’s was that some music of an unusual or experimental nature did get recorded and did get released. Now look at who the executives were in those companies at those times – not hip young guys. These were cigar chomping old guys who looked at the product that came in and said, “I dunno. Who knows what it is? Record it. Stick it out. If it sells, all right!”

We were better off with those guys than we are now with the supposedly hip young executives who are making the decisions about what people should see and hear in the marketplace. The young guys are more conservative and more dangerous to the artform than the old guys with the cigars ever were.

And you know how these young guys got in there? The old guy with the cigar, one day goes – “Yeah, I took a chance. It went out and we sold a few million units. All right. I dunno. I dunno what it is. But we need to do more of them. I need some advice. Let’s get a hippy in here...” So they hire a hippy. They bring in the guy with long hair. Now, they’re not going to trust him to do anything except carry coffee and bring the mail in. It starts from there. He carried the coffee four times so they figured they could trust him. “Let’s give him a real job.” He becomes and A and R man (artists and repertoire) . From there, moving up and up and up... Next thing you know, he’s got his feet on the desk and he’s saying, “Well, we can’t take a chance on this – because its simply not what the kids want – and I know.”

And they’ve all got that attitude. And the day you get rid of that attitude and get back to “Who knows? Take a chance” – that entrepreneurial spirit. Even if you don’t like or understand what the record is that’s coming in the door, the person who’s in the Executive chair may not be the final arbiter of the taste of the entire population.

So what does that have to do with pitching shows? Simply that the internet and YouTube specifically have allowed all of us to be the "cigar chomping old guys". We have toe opportunity to say, "I don't know what it is. Record it." The truth is that 99.9999999% of the stuff on the internet is shit. That's a given. But there are the occasional gems that get discovered. Pitching a show at the best of times is a risky business (but the odds are much better than playing the lottery) - that said, why not take your concept directly to the audience? If it goes viral and its a success - you're in a much better negotiating position when the big boys come knocking at your door.

Teen Sensation?

2010-06-22T14:56:00.001-07:00

"Daisy" the Zombie Baby and Alyson Court as "Mom".

Sorry - I meant to post more often, but I've been busy. This is a still from my new project, BRAIN EATIN' ZOMBIE BABIES.

In the spirit of William Goldman's One Rule of Showbiz: NOBODY KNOWS ANYTHING, I've started an online project to create a new property. In one month I went from "the idea" to full production.

The budget? Very low. I financed it myself. The return? Who knows? We shot 10 mini-episodes (under a minute each) that will be released via a YouTube channel - two new episodes per week. We plan to shoot a total of 30 mini-episodes over the course of the summer. The goal: To build a brand.

They're cute. They're disgusting. They're BRAIN EATIN' ZOMBIE BABIES! Stay tuned!

Another Satisfied Customer...

2010-06-14T13:14:00.000-07:00

Well, we've finished yet another Pitch Bible for a very satisfied customer.

Let's see what the mailbag sez. Ivan in California writes:

Hello Steve,

Yeah! Looks like we can put this one to bed. Thanks a mil for allowing me to make payments. You were very patient.

The bible is great. I will keep you posted on any developments. I am going to act as my own agent until I can land one. If I come across any interested parties and don't understand something, may I call you for advice? I know that you are experienced in this area.

Thanks so much,

Ivan

That's what I like to hear - a satisfied customer and a new friend.

Agents? Do You Need An Agent?

2010-06-14T05:39:00.000-07:00

I'm often asked this. The answer is: It depends.

Disclaimer - I just dropped my representation this past week. My agent is a nice lady, who I like - but wasn't doing enough for me. When a project came in, she'd negotiated a better deal than I could ever imagine - but as far as setting up deals, meetings, etc. - she wasn't so good at that.

Not that I'm faulting her. I've checked with a number of associates and I always hear the same thing - agents don't do much. But they will be happy to take 10% of whatever you earn.

This makes the 4th agent in the past 15 years. And they all seem to be cut from the same cloth.

In this day and age - an agent needs to be aggressive. There is work out there. There are opportunities out there. It's the agent's job to sell you and your project - to find the work and create the opportunities.

If you find an agent who knows how to use the phone - and can set up meetings for you - GREAT! Otherwise, you're probably better off on your own.

How do you find an agent - ask around. Get referrals. Oddly enough, most agents won't take you unless you're referred to them by one of their existing clients. But don't be "needy" - you're in charge. Find out if they're the right agent for you.

And if you find that magical agent who actually does something - let me know. I'd want to meet them.

The Worst Pitches Ever!

2010-06-10T05:16:00.000-07:00

Lunching with a friend yesterday, the topic turned to The Worst Pitches Ever. He related the story, passed along from a broadcast executive about the two guys who visited his office.

They'd hyped that they had the Greatest Show EVER!... and had to show it to him. So he cleared some time in his schedule and had a couple of assistants sit in on the meeting. I mean, if this is the Greatest Show EVER... why not?

So the two guys come in with a box. Everyone sits forward in their chairs as the two open the box and pull out a (very expensively produced - and very lifelike)...

...Human Brain standing on two Chicken Feet.

Everyone stares at the thing. "What is it?" asks the executive.

"It's a Human Brain standing on Chicken Feet" says one of the guys.

"Okay. So what's the show about?" asks one of the assistants.

"It's about a Human Brain standing on Chicken Feet" says the other guy.

(Cue sound of Crickets Chirping.) End of meeting.

Ya know? I can believe this really happened. I've done this. Everyone does this - all the time. It's human nature. You get so wrapped up in a single aspect of the pitch that you forget the Key Rule (the OTHER key rule, aside from "Nobody knows anything"): The show needs a great concept and great characters.

WHAT is it about? WHO is it about? WHAT are they trying to achieve? -- That's what they're looking for. Without that, the best pitch in the world is a waste of time.

Psst... Anyone want to buy a slightly used "Human Brain standing on Chicken Feet"?

Hee Hee Hee

2010-06-08T07:04:00.001-07:00

My new project is a YouTube puppet series - animatronic puppets and humans.

Last night we tested one of the puppets. It was supposed to barf projectile-vomit across the backyard (Heather won't let me do this in the house). The test was a rousing success. The kids were doubled over with laughter. I felt vaguely "Dr. Frankenstein" as I surveyed the results of my efforts.

"Hmm... This will never get past Network Broadcast Standards and Practices... YES!!!"

We only used water this time. I can hardly wait until the actual shoot - when we use pea soup (with carrot chunks). Mmm Mmm GOOD!

What I Like

2010-06-07T07:05:00.000-07:00

I found this recently on YouTube. It's odd, bizarre and I like it - a lot. It's a webshow called SALAD FINGERS. Check it out.

The thing that I especially like about this series is that its unpredictable. There's a logic to the character's thoughts and actions, but it doesn't fall in the realm of 'normal' behavior.

From a technical standpoint - it's Flash - but the Flash suits the design and movements of the characters.

Overall, it's creepy, funny - and I rarely say this - but I wish I'd done it.

ONE NOTE - With the many millions of hits this series has generated, I'm surprised that the creator hasn't found better ways to market this. With this much interest, he should have had a TV or feature deal.

Angry? Moi?

2010-06-03T05:00:00.001-07:00

I got a comment about this blog from someone outside the industry. Just a casual reader who was directed here by a mutual friend. He said that the blog was interesting - but that I sound very angry. His take was that I feel that life (and the industry) hasn't been fair to me.

Odd.

I don't think I'm angry. I'm honest. I'm blunt. It's a very tough business - make no mistake about it. Having said that, if I really didn't LOVE what I do - I'd be doing something else.

I get to be creative. I get to dream things up, see my vision become a reality - AND get paid for it. Sometimes, even in real money.

I get fan mail - at least 2 or 3 letters a week, saying how much people like my work. Do taxi drivers and barbers get fan mail? I think not.

People often tell me how my work warped and twisted their childhoods, making them the fine upstanding citizens they are today. I mean, what could be better than that?

But it is a tough biz. There are challenges all around. 90% of my projects fail - but the glorious 10% that succeeds makes it all worth while. The only problem is, I don't know which is the glorious 10%, so I have to wade through all the other stuff. But even that is worth it.

This morning as I walked through my house, I peeked into my dining room. It looks like Hannibal Lector's nursery: Little doll parts everywhere. Limbs dangle from the chandelier. Eyeless heads smile at me from the dinnerplates...

I have more fun than you do. Off to work!

Guerrilla Marketing 101

2010-05-31T04:32:00.000-07:00

This is a reprint of a very popular post from my now-defunct "eBay Movie Blog". The movie got finished but was never released. However, it was a great learning experience and I found lots of great info. I was in a meeting last week and someone asked who my press agent is - because they did a brilliant job on the movie. I answered that I'm my own press agent. Happy reading...

A lot of people have asked in the past week, how I managed to snag a half-page above-the-fold article in the Movie section of The Toronto Star. This is very expensive real estate, usually reserved for features on the latest Hollywood Studio offerings.

Here's the link for those who haven't seen it. Great coverage!
http://www.thestar.com/artsentertainment/article/182359

Do I have a cousin who works at The Star? No.
Did I bribe the reporter? C'mon! The guy just got back from a TV junket to L.A. What could I possibly offer that could compete with that?

So how did I do it? Simple. I made them want to run the story.
Listen up kids, 'cause here's how I did it...

First, the movie project was conceived to be "buzz worthy". I wanted people to talk about it.
The method of production, the content that I've chosen, the choice of narrator - everything right down to the title was designed from Day 1, to make people say, "What the Hell is this?" The idea of a guy making a movie from films found on eBay is akin to the guy who traded one red paperclip for a house in Saskatchewan. (Me? Personally, I'd rather have the paperclip.) It's a great 'people story' -- an underdog story. People (and especially news outlets) love underdog stories.

Getting in touch with the reporter was easy. In truth, it was Six Degrees of Seperation - I knew someone who knew him. But keep in mind that the media - and news especially - is a black hole that needs to be constantly fed. They're looking for a good story. There's a lot of crap out there, vying for their time - so if you can show the reporter that you're worth covering, you'll get the interview.

About that interview - What's that old Boy Scout motto? BE PREPARED. That means, make the reporter's job easier. The easier you make his job, the more he's going to like you - and the better coverage you'll get. I came to the first interview (there were two) armed with a fact sheet containing biographies (of myself, Fred and Glenn), some cool facts about the film and links to the blog and YouTube sites. This way, when the reporter wrote the story - or pitched it to his editor, he had all the facts on hand. I also gave him a CD containing about 25 good quality stills from the movie (plus the Fact Sheet in electronic format - make it easy for him, remember?).

Another thing about the fact sheet - I provided the information that I wanted him to have. You can't control what the reporter is going to write, but you can to a degree, steer him in that direction. I think the article was a huge success except that he didn't mention that we were working in High Def video and cutting on an Avid system. As it is, it implies that we're cutting the original 16mm footage in my basement - a little too 'low tech' for my taste. The info was in the fact sheet, but alas, the reporter didn't use it.

Now the sad fact is, usually a newspaper won't touch an article about an unfinished "Work in Progress" film with a ten-foot pole. Seriously, if it's not finished, why should anyone care? But because I have this blog (or website) and there are those videos on YouTube - they felt that there was enough interactive for people to click and see. Oh yeah - and the name didn't hurt either. Despite what my dear wife thinks, the name "PUBIC LICE: The Motion Picture" is actually working in my favor. (scratch-scratch Who'd have thought?)

So that's it. To recap - choose an interesting project. One that people will want to hear about. Make the reporter's job easy - provide him/her with facts, links and art. Guide the reporter to the story you would like told.

From "Idea" to "Intellectual Property"

2010-05-30T07:22:00.001-07:00

I met with a team of entertainment lawyers on Friday about some other projects. In the course of the conversation, my new web-show came up. It exists only as an idea + some props, scripts, an actress, some graphics, a musical tag and a YouTube channel.

The lawyers listened to my plan and felt that the project was quite marketable. As a matter of fact, they had some production companies in mind - whom they thought would be very interested in this exciting new Intellectual Property.

Isn't it funny how you leave your house with a 'pretty good' idea - and return with a marketable intellectual property - that actually has some value?

As I told the lady in the last post - you actually have to get off your butt and do something. Nobody is going to hand you a show.

We're shooting the first episode on June 19th - I'll keep you posted. Meanwhile I continue to write scripts and scrounge for props for this epic. The price so far?

Somewhere South of $200.

"I'm Not Getting A Shot"

2010-05-25T09:42:00.000-07:00

Okay - so I was in an online chat room the other day. Yes, I really should know better, but "oh, Dopey me", I wasted my time there anyway. To be honest, I forget what the discussion was about - but it quickly degenerated into the usual flame war.

But something interesting came out of it. One of the people wrote (in part):

"I would like to have someone explain why there are so many people willing to show what they've done to "get there", but not explain the process of what it takes. Who helped you? Who did you submit to? How many times? Who did you create for? Could you show me how to get to where you're at too? Seriously, I've seen your credentials and I'm glad to see you've gotten to where you are. I haven't got enough time to do that kind of hustling anymore! Things cost money, and if I just want to survive I take whatever I can get. Sure, I could have pushed when I was fresh out of Sheridan back in '89 - '90 too, but now - I'm not getting a shot."

So, great humanitarian that I am - I directed the individual to this blog. But I know that A) they aren't going to read very much of it - and B) It's not what they're looking for.

Why? Because it takes work and perserverence. What is "perserverence"?

Perseverance is commitment, hard work, patience, endurance.
Perseverance is trying again and again (probably long after a sane person would have given up).

What that person really wanted was for me to give them a show. "Here ya go - Here's a whole career for you!" Sorry kids - life doesn't work that way. Well, for most people anyway - and especially not for me. But the point is - this business isn't easy for anyone.

I got an email this morning from a key player in my "BIG" project. Bottom Line:They aren't getting involved. They love the creative but the show isn't right for them at this time.

Fair enough - I can't argue with that. So what do I do? I picked myself up, dusted myself off and wait -- an email came in from someone I spoke with over a year ago. They weren't interested in the project than - but they are interested in the project NOW...

So as one door closes - another one opens. Funny how that happens...

Skinning A Cat

2010-05-17T10:32:00.000-07:00

Last Thursday as I ate my breakfast, I had an idea for a show. I thought it was a good idea - Hell, it's a genius idea. I thought it up, didn't I? And so my next thought was, "Okay. What am I going to do with it?"

Do I pitch it to a broadcaster?
Do I pitch it to a production company?
Do I pitch it to a distributor?

Hmm... Here's a fresh new idea - hot out of the cranium... Why don't I do something completely 21st Century with it? Let's do an "experiment". I decided to release it on the internet.

The idea is "High Concept" so I won't reveal it here. But when my teenage daughter and her friends saw the prop, the immediate reaction was, "I want it!"

I registered the name and some notes with the WGA and claimed the domain name. My production is going to be available on a YouTube Channel. Crazy? Here's a quote from a 2008 New Yorker article sourced from Mark Mayerson's blog. (If you aren't reading Mayerson's blog, YOU SHOULD BE.):

Cory Williams, 27, a YouTube producer in California, agrees. Mr. Williams, known as smpfilms on YouTube, has been dreaming up online videos since 2005, and he said his big break came in September 2007 with a music video parody called “The Mean Kitty Song.” The video, which introduces Mr. Williams’ evil feline companion, has been viewed more than 15 million times. On a recent day, the video included an advertisement from Coca-Cola.

Mr. Williams, who counts about 180,000 subscribers to his videos, said he was earning $17,000 to $20,000 a month via YouTube. Half of the profits come from YouTube’s advertisements, and the other half come from sponsorships and product placements within his videos, a model that he has borrowed from traditional media.

On YouTube, it is evident that established media entities and the up-and-coming users are learning from each other. The amateur users are creating narrative arcs and once-a-week videos, enticing viewers to visit regularly. Some, like Mr. Williams, are also adding product-placement spots to their videos. Meanwhile, brand-name companies are embedding their videos on other sites, taking cues from users about online promotion. Mr. Walk calls it a subtle “cross-pollination” of ideas.

Still think I'm crazy? "Emily the Strange" started in 1991 as stickers given away at concerts to promote a line of clothing. 20 years later its a multimillion dollar brand with a feature film in the works.

One thing that I've learned over the years - whenever I go into my studio, I come out with something that's interesting. Will it be a success? Honestly, the odds are against it. But I never worry about what will happen if I fail - I'm only concerned about, what if I win?

Putting My Money Where My Mouth is

2010-05-16T06:52:00.000-07:00

Since I'm always talking about what and what-not to do in the world of animation, TV and film, it's time for me to put up or shut up.
For those who've been wondering - here is a produced sample of my writing.
Hope you like it.

Questions From The Mail Bag...

2010-05-12T05:01:00.000-07:00

I actually get a fair amount of mail as a result of the blog. And I'm happy to provide the odd bit of advice, but sometimes it gets really, really odd...

I like to hear from people and trade war stories. Its fun. Its exciting and it keeps you on your toes. But TV is a business and its a tough one. Here's a disclaimer - Reading this blog will not teach you everything you need to know about pitching shows. I was working in the business for 10 years before I did my first pitch.

A guy wrote saying that he'd studied my blog, had written a pitch bible and was ready to sell his show. Hey great! Good for you!

Except - there are a couple of things that I don't touch on - on purpose. A couple of missing key elements, without which - he's going to look really stupid in that pitch meeting. As in - you get one chance, and you've blown it, Charlie.

Of course, the Pitch Bibles that I write on commission are complete in every way - ready to pitch.

Another person wrote, asking who at "Broadcaster X" should he pitch his show?

If it were me, I'd call the senior person who I've known for 15 years - and who knows me and my work. If it was a client - and I knew the person and the project, I might be able to make the introduction. But I won't introduce strangers because - unless I've seen the project, I can't vouch for its professionalism.

What I'm trying to say is - before you send a note saying, "Hey Steve-Baby! I read your blog so I'm as smart as you. Watch out - 'cause I'm out there pitching shows!" (And yes, I do get mail like that.) All I can say is "lotsa luck" - and you're not as smart as you think you are.

The most WONDERFUL idea for a show...!

2010-05-10T10:01:00.001-07:00

JUST A NOTE HERE. I'm not being bitter or mean to this lady. Its just that my vision of the afterlife does not include anything other than what I describe. Anything else that may or may not happen to me would be a huge shock to my system. Thank you. Carry on...

When word gets out that you create TV shows, people come to you with "interesting" ideas. Case in point. One day I was minding my own business when my phone rang...

SFX: Phone - Ring! Ring! Ring!

ME:
Hi. Steve speaking.

SWEET LITTLE OLD LADY
Hello. I have the most wonderful idea for a TV show that I'd like to share with you...

ME:
Sorry. I have to stop you right there. I legally can't listen to your idea, because it would open me up to civil liability. I could be sued for --

SWEET LITTLE OLD LADY
Oh, no no no! I don't want to make a show. I want to GIVE it to you, so that YOU can make it. I just want to see it get made.

(Note to self. This is always a bad sign.)

ME:
Well, I can't promise that I'd be able to do anything with it, even if I did like it.

SWEET LITTLE OLD LADY:
(Sadly)
So you don't want to even hear my idea...?

ME:
(not wanting to make Sweet Little Old Lady cry)
Okay. I'll listen to it. Sure. Go ahead.

SWEET LITTLE OLD LADy:
(Brightening up immediately)
Its all about the WONDERFUL things that happen to you after you die!

ME:
(sound of crickets chirping)

SWEET LITTLE OLD LADY:
Isn't that WONDERFUL???

ME:
Uh... Ma'am...? Did I hear you right? After I DIE? I mean seriously, after I die, I'm going to rot and be eaten by worms.

SWEET LITTLE OLD LADY:
Oh, no! No! No! No! You seem like a nice man. I'm sure that there will be many exciting things in store for you!

ME:
Honestly - I'm counting on rotting and being eaten by worms. Anything else would be a real shock to my system. I think I'd prefer to rot and be eaten by worms. In fact - I'm counting on it...

And that - more or less, is how I learned of the most WONDERFUL idea for a show, ever! I pass it along, in case someone else wants to develop it.