Every year at the Realscreen Summit, the producers represented by our sister company, CABLEready, gather to discuss the various networks we met with during the past few days. Tons of straight talk, speculation, recommendations and – most importantly – sharing. This is the kind of relationship we like to have with and among our program suppliers.
After about 45 minutes of info, all in the general theme of “Here’s what they’re doing and what they want,” one of us (name doesn’t matter, though she gets full credit from me) went contrary right off the bat:
“EVERYONE SAYS THE SAME THING,” she said. “y’know, strong characters, big stories, docusoaps, formats, blah-blah-blah.” Rarely does anything truly new come forth or are there any secrets revealed. Just about everyone of the 50 or so “30 Minutes With” participants had a mantra that became redundant sometime Tuesday morning.
Ya think a network is going to tell 100 or so people at a 1,000+ conference their plans? In this marketplace? (Or any other, for that matter.) Why leak your strategy to the competition? As a result, rare is the candor of a speaker in these settings. Though there are exceptions. A&E’s Rob Sharenow wins our award for SUMMIT SPEAKER OF THE YEAR. He turned up everywhere and was always smart, funny and brutally honest.
Not that we all threw away our notes last night, but it is a good thing to consider when submitting your programs to a network. The very best way to stay up to date more than once a year is to subscribe to CableU. We had most of this info (unadorned with conference hype) in our network needs section a full two weeks before D.C. Count on CableU.tv to get it to you first!!
Sorry for my promo but after two weeks on the road with NATPE and Realscreen, I’m still in a sales mode. And if we sell for you, that is a good thing.
One more thing: CableU’s Bulls&%t Bingo at The Summit was a big hit … dozens of buzz-words, overused phrases and silly slogans arrayed like a bingo card. We gave away some iPods to those who caught the words as they floated out from the daises in D.C. We also picked up a few new overused goodies for the list:
- DNA
- 3D
- Genre-busing
- Transactional Docusoap
- Credible-Obsessive
- New Jersey is the new Alaska
- Big Dream Shows
- Cloud
…and if you can explain this one, you’re in on the secret….
See you on the road, at a conference, or in your office. Thanks for a great couple of weeks everyone!
Filed under: CableU Announcements, Random, TV Commentary Permalink
CableU.tv is honored to bring you this exclusive interview with Elaine Frontain Bryant, Vice President of Non-Fiction & Alternative Programming for A&E and BIO, in July of 2007. Frontain Bryant is responsible for overseeing the development and production of A&E’s real life series. She has served as executive producer on several critically acclaimed and hit real life series including “Criss Angel Mindfreak,” “Paranormal State,” Psychic Kids,” The Exterminators,” and “Paranormal Cops.”
What is the key element that makes a program right for your network?
If I have to pick one, it would be authenticity – from “Intervention” to “Hoarders,” “Paranormal State” and “The First 48,” we are all about documenting a real experience.
What programs and/or genres are you looking for in the next year?
We are looking to build on the successes that we currently enjoy: shows that complement our Monday night block of real life drama – the “Interventions” and “Hoarders.” More Paranormal shows to complement “Psychic Kids” and “Paranormal State.” Crime and Justice that complements The “First 48,” Real life on the job type shows like “Steven Seagal: Lawman,” “Dog the Bounty Hunter” and “The Exterminators.” Celeb real life comedy that complements “Gene Simmons Family Jewels”. But in addition to finding shows that will build off of current successes, we look for producers to bring us what is fresh and new. We are always looking for the next hit that could be right for us.
How important are other platforms like broadband and mobile applications in the initial pitch?
Its good to know a producer has considered the extensions of a property, but for us as programmers, its got to be good tv first. Once we have that, A&E has a great team of people to blow out the full 360 plan.
What’s the best way for a producer to pitch you?
Happy to take an email inquiry, and if it sounds like it could be promising for us, set up a phone or in person pitch. If it doesn’t come through an agency, there is a release form to sign.
What do you look for in a first-time producer besides a great idea?
Passion about their idea, and a knowledge of the network they are pitching to.
What mistakes do producers make when pitching you?
Not being educated about our programming, and therefore not understanding how their show could be right for us. Also, I really dont like it when producers don’t possess a clear vision for what they want their show to be, but look to me to shape it for the network. I think its lazy development. Be collaborative, but do the work first.
What’s the best advice you’ve ever received?
When I was just out of college, and nervous to move to LA, my father said “Hey, just go and try it. You can always come home.” I went, and never came home, but just knowing I could helped me take the leap.
What’s the best advice you’ve ever given?
I have passed my dad’s advice on to interns and assistants who worked for me – go for it. You dont have to see the map of your whole career as you start out.
Who in this industry do you most admire and why?
As a working mother, I really admire working moms. AETN is filled with them, from the most senior position down. Its very inspiring to see these women do such focused work by day, knowing they go home to another job. No offense, dads…..
What’s the smartest programming decision you have ever made?
Bringing the paranormal genre to A&E.
What’s the dumbest programming decision you have ever made?
Passing on The Biggest Loser (not as a buyer but as a branded entertainment exec).
In all of television, which classic program should be revived?
Mr Ed. My daughter would love it.
Should NEVER be revived?
Barney and Friends -oh wait that’s still on.
Bio (continued): Prior to joining A&E Network, Elaine Frontain Bryant served as Vice President, Creative development and Productions at Magna Global Entertainment, overseeing the creation and production of original television programming funded by Interpublic Group’s Fortune 100 clients. She was an Executive Producer on TNT’s original movies “The Wool Cap” and “14 Hours,” on CBS’s Humanitas Award nominated film, “Saving Milly.” She was c0-executive producer for the first two seasons of Bravo series “Blow Out.” Prior to joining MAGNA Global Entertainment, Frontain Bryant directed and produced two seasons of The N’s teen non-scripted series “Girls vs. Boys” and produced more than 15 episodes of the Peabody Award-winning “A Walk in Your Shoes,” also for The N.
Frontain Bryant also produced the independent feature film “The Farmhouse,” starring Blythe Danner. Prior to that, she served as director of creative affairs for Fred Berner Films. Films produced during her tenure include Louis Malle’s “Vanya on 42nd Street,” A&E’s “Murder in a Small Town” and Ed Harris’ “Pollock.” Also as Fred Berner Films, Frontain Bryant associate-produced ABC’s Emmy-nominated prime time special “About Us: The Dignity of Children,” Hosted by Oprah Winfrey.
Frontain Bryant is a graduate of Texas Christian University and lives in New York with her husband and daughter.
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On behalf of CableU and CABLEready, we are proud to announce that AMP Productions has won the second annual Emerging Producers Contest at the Opportunity Knocks: Answer with the Perfect Pitch session at NATPE 2010. With their fun, upbeat, and well-produced demo for LONE STAR OPERA, and a truly exceptional oral pitch, Amy Lou Abernathy, Sandy Abernathy, and Russ Johnson most definitely deserved the title and recognition.
AMP Production full-serviced production facility is based out of Dallas, Texas. From their partnership with their first major corporate client, Kinko’s (now FedEx Office), AMP has been producing a variety of internal communications programs, from training videos to monthly video newsletters for executive teams, as well as external marketing videos. In addition to corporate work, AMP continued to develop their “camera and crew” provision service for national television networks and production company clients from around the country. In 2004, AMP began developing episodic television programming for the HD network, Veria. Series include SIMPLY BEAUTIFUL, EMPTY NESTERS, WHAT’S BREWING, and WHATTA YA THINK?
We congratulate AMP Productions on winning the competition, and Barbara Shearer’s Pink Slip Productions (THE AGENCY) and Brian Gee and Mark Combellick’s Brown Dog Media (VICIOUS CIRCLE) for making it an incredibly close competition and extremely fun and interesting panel! Stay tuned for this summer’s announcement about next year’s contest.
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We work the booth all day, with an hour for our annual panel, and a couple of great industry events. Wow! How lucky am I?! Despite all the cliches about where the economy is, how consolidation has changed the business — we’re in a pretty good place right now.
Then you pick up the paper and read this about Haiti: “New rules of hunger etiquette are emerging: no matter what is found, it must be shared.”
Just a thought: Why could that not apply to all sectors of all businesses these days?
There’s an old story: Parents have a child who is happy, happy, happy all the time. Nothing can ever break his mood. And while the parents love his cheerful disposition, they’re concerned that he might have a warped view of life, no matter how positive he is. So one day, the kid comes downstairs to an enormous pile of horse manure in the middle of the living room and before you know it … he’s jumping into the pile, flinging manure all around and laughing with joy!
His parents are surprised that even a pile of horse manure makes their child jump around with glee and they ask him, “Why are you so happy?” The boy says, “Hey! With all this horse s**t around, I figure there’s got to be a pony here someplace!”
Clumsy metaphorical anecdote aside, it struck me yesterday as the NATPE exhibition floor opened that the compact size and closer location were pretty good for most attendees and before you knew it, the aisles were a steady stream of NATPE attendees. Most of whom said that it’s been a pretty good conference for them so far. The sessions are A-list filled, business is being written, new relationships forged and old ones rekindled. Heck, even the notoriously reclusive Sinclair Broadcasting sent their top programmer (and good guy), Bill Butler. And Miami next year is very appealing to just about everybody.
So for all those who can’t wait to bury the organization, sorry … but it looks pretty good to a lot of us, so pardon me if we ignore all the s**t and continue to dig for the good things. Time to hit the booth!
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CableU.tv is honored to bring you this exclusive interview with William J. Abbott, President and Chief Executive Officer for Crown Media Holding, owner and operator of Hallmark Channel and Hallmark Movie Channel. Abbott oversees a team of seasoned executives who manage the day-to-day operations of all facets of the channels, including programming, marketing, ad sales, distribution, finance, legal and online initiatives. Abbott is an industry veteran with more than 20 years of leadership experience in family television, the last nine of which have been at Crown Media.
Can you talk a little bit about the uniqueness of Hallmark as brand? And the business challenges that come with being an independent channel?
The power of our Brand gives our independent status a huge boost and often works to our advantage on the cable network landscape. Advertisers and distribution partners place a high value on our Channels because of the strength of the Hallmark name, and the fact that it is synonymous with quality, family and celebration. They also appreciate competition in the marketplace, and having strong, viable independents is a plus for their businesses. Therefore, the Brand and our independence works in our favor.
How do you work with Hallmark Cards?
We have dramatically sharpened our focus on identifying and developing opportunities to work synergistically with Hallmark Cards so that we can leverage the power of this amazing Brand which is now 100 years old. For example, this past holiday season we introduced their popular characters, hoops&yoyo — which have sold millions of cards and other merchandise — as hosts of multiple ”Movie Nights with hoops&yoyo.” The response was terrific and more customized “Movie Nights with hoops&yoyo” are scheduled leading to Valentine’s Day. There is incredible value both for Hallmark Cards and Hallmark Channels in this unique relationship.
What is the difference between Hallmark Channel and Hallmark Movie Channel?
We are just beginning to truly embark on differentiating HC from HMC. Hallmark Channel will be the home for original and acquired series, specials, celebrations, holidays and special occasions. It’s where we showcase our year-round “Countdown to Holiday” programming and marketing initiative. Hallmark Movie Channel will celebrate 24/7 the heritage of Hallmark as a prolific, award-winning movie production group combined with a mix of classic theatrical films, presentations from the acclaimed Hallmark Hall of Fame library and our popular original family-friendly movies.
What is the key element that makes a program right for your network?
Any elements that are family friendly and help people connect – in the tradition of Hallmark Cards – would make a program ideal for our Channels.
What programs and/or genres are you looking for in the next year?
For Hallmark Channel, we will look to capture the essence of the Brand around home, celebrations, occasions and holidays. Hallmark Movie Channel will include World Premiere Original Movies for the first time in 2010.
How do you feel your time as Executive Vice President of Advertising Sales has helped prepare you to be well suited, as CEO, to lead the charge to improve Hallmark’s position and revenue generation?
Advertising Sales is a great springboard as it provides a very strong background in virtually all other areas of the business including marketing, programming and the numbers that drive the business.
What’s the best way for a producer to pitch to Hallmark Channels?
The best way is to know our channel and the sensibilities of our audience and what we program.
What’s the best advice you’ve ever received?
Be prepared for anything…and success is a choice!
What’s the best advice you’ve ever given?
Who you work for is often more important than where you work.
Who in this industry do you most admire and why?
Anne Sweeney for her great success at transforming ABC/Disney.
In all of television, which classic program should be revived?
The Brady Bunch
Should NEVER be revived?
Fantasy Island
Bio (continued): Most recently, Abbott served as the company’s Executive Vice President, Advertising Sales, where he is credited with increasing advertising revenues for Hallmark Channel from $10.2 million to $223 million in 2008, setting the network apart as an industry leader. In that role, he oversaw offices in New York, Los Angeles, Chicago and Atlanta, and was responsible for all of the national advertising sales operations for the channels, Internet services and digital network development.
Abbott and his team have positioned the channel well within the ad sales community where it is known for its high-quality family programming, continuous top 10 ratings leadership in C3 audience retention and length-of-tune among all ad-supported cable networks.
In 2008, Abbott led the ad sales team to secure the first Upfront deal of the ‘08-‘09 season. The multi-million dollar deal with ad agency Starcom included multiple clients across the agency and featured a multi-platform promotion, “Every Day is a Holiday,” which featured on-air and online presence. The partnership allowed the agency’s clients to choose a specific time of year important to their brands and products in order to break through the clutter with customized packages that include vignettes.
In January 2004, Abbott launched the “Sponsorship Solutions Unit,” a revolutionary department that provides advertisers with unique opportunities to prominently showcase their message within Hallmark Channel programming. One of the Unit’s most successful ventures to date is “movie entitlements.” The entitlements allow advertisers to platform their brands and products in programming with a reduced commercial load that is proven to increase viewer engagement and length-of-tune.
Abbott has been with Crown Media since 2000 after serving as Senior Vice President, Advertising Sales, for Fox Family Worldwide where he was responsible for advertising sales activity for Fox Family Channel and Fox Kids Network. He worked in a variety of advertising sales and research positions within Fox Family Worldwide (and under its previous operation as The Family Channel) since 1988. His experience includes both cable and broadcast television advertising sales, having represented Fox Family Channel, Fox Kids Network and The Family Channel.
Abbott’s additional experience includes positions with CBS Radio Networks, Seltel, Inc. and Nadler & Larimer Advertising. He is a graduate of the College of the Holy Cross in Worcester, Mass.
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As a self-proclaimed TV junkie and foodie, I think my heart skipped a beat when, last week, I attempted to tune into Paula Deen and, instead, was confronted with a chipper voice reading aloud Cablevision’s statement against Scripps network for choosing to pull Food Network and HGTV from its lineup.
After self-medicating in a half-gallon of Edy’s Peppermint Chip and a piece of leftover pumpkin pie, I started flipping through channels, angry and annoyed that I no longer had a connection to my beloved Paula Deen, Rachael Ray, and that cute little Giada DeLaurentis. What was I going to do?
But… well… I’m learning to adjust.
As I flipped through the channels, I started to realize that there were more than a handful of ways to get my food fix. I didn’t need a network devoted to it – I could catch food shows on practically every other channel. Here’s my current list of non-Food food favs:
- Travel Channel (which is owned by Scripps but miraculously is still on the air) could moonlight as Food Network, with seemingly endless marathons of MAN VS FOOD, BIZARRE FOODS, ANTHONY BOURDAIN, and that super catchy CHOWDOWN COUNTDOWN special.
- TLC doesn’t always focus on food, but they sure do focus on the repercussions of eating too much of it.
- Bravo’s created a new brand with TOP CHEF – unfortunately, there’s so much fashion on the channel that it turns me off from eating any of the delicious recipes
- Lifetime – I swear, everytime I turn that channel on, I’m watching some made-for-tv movie about eating disorders, so that totally counts.
- WE – Hello, you can’t have a great wedding without some amazing food! Can you zoom in again on those shrimp cocktail, please?
And that’s just the beginning – it’s very clear that food is a genre that permeates across all genres and all demographics. But… there is something that’s just so comforting about a cold day, warm blanket, and Paula Deen deep-frying her butter. So, while I know I can survive, I have one message for Cablevision and Scripps: Can’t we all just get along?
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Filed under Programming, Random, Reviews, TV Commentary, The State of the Business Permalink
Note: Ed Hersh is currently the SVP of Strategic Planning at Investigation Discovery. Formerly, he was the founder and Chief Creative Officer of StoryCentric, a programming/production consultancy providing insights to both networks and content creators. His experience as an executive and producer includes Court TV, A&E, and ABC News.
In my consultancy, StoryCentric, I worked with networks that were looking to define, articulate, and execute a unique programming strategy that would grow their audience, their reach, and their brand identities; and producers and production companies that were looking to come up with unique ideas that could develop, sell, and produce successfully for those networks.
As someone who has spent three decades as both a producer and a network programming executive and decision-maker, I know first-hand how hard it is to stay current in a competitive environment that is changing daily, sometimes hourly. Media companies are bought and sold; executives move in and out of their jobs and their offices rapidly; names, brands, and target demographics are constantly being rethought and redefined. With so much at stake, understanding the marketplace and having both quantitative and qualitative insight are critical for success for both producers and networks, and so knowing how to use CableU to your best advantage can provide a competitive edge no matter what side of the table you sit on.
For Networks
Most network programmers, production executives, and PR/marketing teams have access to their own research departments with mountains of information, but CableU can be an important complementary resource to what their own in-house staff can provide; a kind of “Cliff Notes” to the mountains of detailed reports and ratings information that we all receive, but rarely have the time to sift through.
Having this info distilled and organized in a readily digestible form by the team at CableU allows you to access it in a really useful, “top line” way. So to keep current, I’d recommend visiting CableU at least twice a week, in three steps:
1) Go Wide
Start with the homepage, which synthesizes the latest news. Then move on to the “Network Needs” section, which is updated often. See what’s new that you want to explore further, need to know more about, or requires further context.
2) Go Deep
If there’s information on a network that interests you, visit that network’s section at Cable U. Check out “In Development,” “Press Archives,” and “Network Analyses.” CableU provides important context to what you are reading in the trades, what you think a competing network is interested in, or how another network is touting itself and its needs. And don’t forget CableU’s powerful search function that allows you to enter keywords and find related entries on the site.
3) Follow Up
For those broader or more granular questions, take what you’ve learned and any questions that your reading has raised and follow up with your network’s own ratings and research team.
For Producers
It’s not easy staying on top of competitive trends, coming up with original ideas, figuring out what networks might be interested in them, determining how to frame that pitch, or even who to pitch it to in a world of constant churn. And there’s SO much information contained in CableU it can be daunting. So whether you have a programming idea, or are looking to come up with one, here’s a hand 7-step plan for making the most of CableU:
1) Take the Tour
Put aside an hour or two to go surfing through the “Network Profiles” section… it’s like taking a quick guided bus tour through the landscape of cable television. You’ll learn quickly which networks produce original programs, cater to young, old, male, female audiences, and how widely the channel is distributed. You’ll begin to get a sense of the marketplace and where channels are placing their bets, so you can begin to figure out where to place yours.
2) Create your Shortlist
Next, start narrowing your prospects. If you have an idea that you are thinking about pitching, you’re likely to figure out the 5 to 7 channels that are the most logical places where your idea might fit. And if you’re looking to develop an idea, you’ll also see 7 or 10 networks that might be looking for original ideas that dovetail with your experience and/or expertise. Note them or bookmark them on your browser.
3) Dig Deeper
Now that you have a list, start exploring each of those networks in depth, starting with the “Network Analyses” section: What’s working? How are the ratings? What has been said about them in the press? Has their focus or strategy changed? Using the relevant sub-sections, you can drill down into many of these areas. And don’t forget the links to the network’s own website, which is an important way for you to learn more about what the network is saying about itself.
4) Answer a Need
Networks are always looking for good ideas, but the ideas that get sold most often are the ones that answer a specific demographic or scheduling need. So with your now (probably even shorter) shortlist in hand, start looking closely at the “Network Needs” section, along with “Strategic Opportunities.” This will allow you to see if the idea you have is a fit for what a network wants, and if not, how you can shape it to meet that need. And if you are trying to come up with an idea that a network wants, it will allow you to brainstorm specific pitches that are the right fit.
5) Know Who To Talk To
The most frustrating part of my job as a network executive was getting cold calls and unsolicited pitches from producers who heard my name somewhere (maybe on the credits). I never took those calls, because program development wasn’t my job. If they had used CableU, they would have known that, and been able to direct their pitches to the right person… which is critical in getting your idea submitted in the right form and getting it the consideration it deserves. Don’t call the president, GM, etc, unless you know him or her. DO use the “Network Profiles” section to find out who is in charge of program development and/or acquisitions, and direct your inquiries to them.
6) Know what else is out there
Networks have dozens of projects in development at any given time, and only publicly announce a few of them. Still, nothing can be more embarrassing or demoralizing than carefully crafting a pitch for a show and discovering that the network already has it in development, or even worse, already on the air! Use the “In Development” section to see if they have announced they are working on a similar idea; it doesn’t mean don’t pitch it, it means you will have to explain how it can and will be different. But it will also tell you if your idea can be complementary to other programs on their slate. Use the “Network Overview” and “Performance/Schedule Analysis” sections to see what else is actually on the air… and of course, use the links to that network’s own site to scour their schedule for similarities. Again, CableU’s search function is powerful way to quickly cross-reference everything from broad genres to names of specific programs or even competing producers.
7) Stay Current
Remember, whatever you learn on your visits to CableU and in your discussions (hopefully) with the network are only a snapshot taken at that moment. In a business that changes so rapidly, bookmark CableU and visit and revisit and revisit regularly, especially the home page, with its headlines and breaking news, and the “Network Needs” section, which reflects the latest market intelligence.
There’s never enough time in the day to do all the reading, listening, and thinking that you need to do to stay successful. Whether you are buying, selling, or making programs, I find that knowing how to use CableU efficiently can put critical information at my fingertips – and those of my clients — and that can make our decisions that much smarter. Happy Hunting!
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Filed under CableU Announcements, Programming, Random, Reviews Permalink
CableU is honored to present Robert M. Ecker, VP Programming / Executive Producer, for the Speed Channel. Note: This is an interview from our archives that we are reposting for you to be included among our main executive interviews on this blog.
CU: What is the key element that makes a program right for your network?
BE: Well, clearly we live and breathe the automotive genre, so any non-event program we commission generally has to have a minimum of two tires and a combustible engine. Beyond that, in the original program category we are primarily interested in automotive lifestyle shows that have a combination of the following five elements – adrenaline; competition; cars; bikes; and girls. We’ve found over the last couple of years that our biggest opportunity to attract young male viewers lies in this arena and so we are aggressively pursuing and developing such properties.
CU: What programs and/or genres are you looking for in the next year?
BE: Simply stated, we’re in the hunt for something we don’t already have. We are actively developing personality-based programs with strong characters in various automotive-related settings. While the genre is diverse enough to accommodate a variety of different themes, the fact is that you are never going to see a show about base jumpers or talking animals on this network – and believe me, we’ve been pitched just about everything under the sun.
CU: How important are other platforms like broadband and mobile applications in the initial pitch?
BE: The ability to distribute content over multiple platforms has become increasingly important, that goes without saying. Perhaps now more than ever, content is truly king, and many of our partners and vendors are looking for exclusive content that can be spun off from long-form programs. Having said this, the actual initial pitch is not itself critical to this discussion. Once we’ve bought into the concept, that’s when we delve more deeply into the various ways in which we might disseminate the content; it’s much more tied up in the terms of the actual deal for the program.
CU: What’s the best way for a producer to pitch you?
BE: Come in prepared. Make it short and sweet. Include a brief video demo that’s illustrative of what the show is actually intended to look and feel like. Please do not come in with the intention of pitching any more than two programs at one time.
CU: What do you look for in a first-time producer besides a great idea?
BE: We try and get a gut sense as to his/her innate ability to execute the concept. Passion and commitment will go a long way to this end, but we also require proven ability to manage a budget. We’ve been pitched by prospective producers that have worked in various capacities on other shows while never actually running one, and unfortunately this has sometimes proven to be a significant liability.
CU: What mistakes do producers make when pitching you?
BE: It never ceases to amaze me when people come in with little or no knowledge of the network, our programs, or our audience, yet they insist that what they are bringing to us will absolutely be “your new Number 1, top-rated show”. Not everyone is equally adept at pitching his/her ideas, and so it’s our job to recognize the potential of any given prospect. I’m willing to cut someone some slack in this regard, but there’s really no excuse for not having done a little homework to familiarize oneself with the network.
CU: What can global programmers learn from the US cable network market and from your network in particular?
BE: The concept of broadcasting per se is largely a thing of the past. More and more, this industry is about narrowcasting; it’s about identifying a niche and owning that space as completely as possible. Even inside a niche, however, there is a risk of trying to be all things to all people, and that’s neither possible nor is it a particularly solid philosophy. So while we all look for that breakout hit with potential to crossover to the mainstream, we need to remain mindful not to disenfranchise our core audience in that pursuit.
CU: What’s the best advice you’ve ever received?
BE: Think before speaking.
CU: Ever given?
BE: Learn from your mistakes.
CU: Who in this industry do you most admire and why?
BE: I see the tremendous body of work that HBO has produced under Sheila Nevins and I’m amazed by the quality, quantity and sheer breadth and variety of the material; it’s virtually unparalleled.
CU: What’s the smartest programming decision you have ever made?
BE: Teaming up two original series, PINKS and Unique Whips on Wednesday nights in an effort to attract Men 18-34 was a gamble that’s paid off nicely.
CU: Dumbest?
BE: Believing there was any hope for a show called I Wanna Date a Race Car Driver on this completely male-dominated network.
CU: In all of television, which classic program should be revived?
BE: Playhouse 90
CU: Should NEVER be revived?
BE: The Prisoner with Patrick McGoohan – it’s virtually perfect as is.
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Around since 2000, the Asia TV Forum (ATF) in Singapore is a place where the main players in the Asian TV programming industry come together and meet once a year. While just about all companies with international interests are in Cannes for MIPTV and MIPCOM, part of ATF’s mandate is to provide a venue for addressing the Asia-specific issues. This year, the event’s 10th anniversary, brought together over 700 companies from more than 50 countries and has grown impressively from the hotel-suite based set-up it once had to taking over part of Singapore’s massive Suntec Convention Center.
The event’s organizers, Reed Midem, were happy to report an 18% increase in attendees this year, when everyone is still feeling the effects of a worldwide recession. Talks of budget freezes and stretching dollars further than ever could be heard in the convention aisles through the entire week. During a one-day summit held around ATF and organized by Content Asia, the region’s top TV programming trade magazine, Starhub’s head of content Kathleen Syron pointed out what she sees as the market’s current state: “We’re coming to a point where we have enough channels… What’s happening now is that everybody is coming and pitching channels – either new channels or branded channels that we have relationships with or some extension of the branded channels that we have already – and it’s getting crowded and people aren’t noticing the difference between them.” Starhub is Singapore’s leading pay TV provider, in the business of offering as many choices as possible to customers. It was interesting to hear programmers’ takes on the latest market challenges: Karen Johnston, head of programming for NBC Universal Asia noted at the Summit that “our audience is fragmenting, General entertainment (unless you’re on free-TV) just doesn’t work anymore. There are too many options, you need to have directed entertainment.”
This is what drove her major programming investments this year. “When things go bad, we (programming) are the first place hit… so we go from being the gods with the great decisions to being the people that cost all the money. Everyone who does that role understands what that is about.” I can quote a majority of the buyers I met with at the market who voiced a strong desire for 2010 to usher in better economic conditions. Programming suffers otherwise. The market seems to be hungry for something new, certainly not more of the same; we all just need the dollars to make it happen.
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The team at CableU would like to congratulate the producers of the top three entries in the 2nd Annual CableU Non-Fiction Emerging Producer Competition! We had so many fantastic entries to choose from, but these three really rose to the top of the pack. They are, in alphabetical order:
THE AGENCY – Pink Slip Productions – This docu-reality series showcases the incredible characters behind one of the top advertising agencies in the US. The show featured incredibly artistic photography as well as some incredibly funny characters who had our judges laughing out loud and left us all eager to see more.
LONE STAR OPERA – AMP Productions – Who knew opera could be so cool… and so juicy! LONE STAR OPERA introduces the world to the world of opera – and it’s a far cry from the stereotype of the fat lady singing!
VICIOUS CIRCLE – Brown Dog Productions – This reality show takes an in-depth look at the women who make up a roller derby team in California. We’re eager to see if this team can really put their differences aside to succeed – and have a wild time in the process.
The production teams behind of each of the shows will each pitch their idea during the panel session at NATPE, Opportunity Knocks: Answer with the Perfect Pitch. The ultimate winner will earn a year of CableU! Again, we thank all who entered and extend a special congratulations to our finalists!
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