Still bemoaning the closure of Video Americain in Adams Morgan (okay, I know it’s been over six years … but still), I was late coming to this whole Netflix thing. Welp, they’ve beefed up their mondo and eclectic offerings and the whole shebang is pretty sweet.

To share queues with friends, scroll to the bottom of any Netflix page >> (far right bottom footer) Community >>> (under community) Friends >>> (Friends Page top header, third button over) “Invite Friends” >>> and enter their email address.

There’s also some code you can share.

http://www.netflix.com/BeMyFriend/Pas196MFHaYHoe0DMA22

Onstage, Sheila Bair, Chairman of the FDIC. That’s my feed on the big screens.

I was down in Hampton last week for the Navy and Marine Corps Public Health Center Conference (ahh, those government naming conventions just roll off the tongue).

For the general session, held in one of the main halls of the Convention Center, I shot with the following rig:

• Sony DXC D50
• Canon J35 EX zoom with rails
• Spider Pod
• On-cam monitor, cradle zoom and focus, other goodies

Signal came from my camera, which was the only one on the shoot (steady boy!), to the CCU at the tech table.

Good stuff.

Produced by Tom Caruana at

“Looking at a new way of film distribution where filmmakers maintain full control over their work from beginning to end…”

http://www.nytimes.com/2010/01/17/movies/17dargis.html

After a subdued conference this was the one panel with good news. Although the success of reality TV/documentary programming has cannibalized other segments of the market, non-fiction broadcast is alive, thriving, and looking for content.

But for a documentarian looking to make the jump to network programming, the panel advised that some pre-conceptions about the craft of documentary filmmaking and what it means to be a documentarian need to be set aside. To wit: you’ve got to deliver. On time, on schedule, within budget. Hoop Dreams this ain’t.

My favorite part of this panel was watching the interaction between A&E bigwig Robert Sharenow and independent producer Ken Druckerman, late of the same network and now out producing on his own. (DC production shout out: Walter Gottlieb explores a similar dynamic with one of his protagonists in the web-series “The Videomakers”.)

At the risk of sounding flip, they truly embodied their occupations, Sharenow being a ballsy straight-shooter whose body language and mannerisms screamed “tell-me-what-ya-got-I’ll-let-you-know-if-it’s-anything-good-comeOnHurry-up-now-Don’t-waste-my-time-let’s-get-this-thing-going” and Druckerman playing the more reserved, deliberate, producer type, slower to judge, digesting different angles, and mulling things over a bit before speaking.

Sharenow pleaded with the audience to have a fresh idea or concept when you come to pitch. It was clear this is a man who’s spent one-too-many meetings listening to hackneyed ideas quickly warmed over and re-wrapped as an inventive new dish. This may have been a veiled barb at Druckerman, who then responded, and Sharenow called him out. You can tell they’re friends–or at least friendly in a working context–but Sharenow said (I’m paraphrasing) “Ken, nothing personal, but if I have to sit through one more bad pitch from you or your team…”

(Big caveat: I wasn’t taking notes and my memory is dodgey from all the huffing I do, but I really believe that’s how it went. Feel free to correct me if I’m wrong.)

And that was to Ken Druckerman, a proven, highly-regarded producer.

Not that this was a panel just about them, but knowing that they’ve worked together and rely on one another in a symbiotic, yet still somewhat self-serving (that doesn’t really make sense, and yet, it kind of does …)  relationship made their interaction the most interesting to watch.

But enough Psych 101.

Things that help close the deal for a producer or house looking to sell a series to a network:

• Character-based. And enough so that the character(s) justify hours of network programming
• The concept is the most important thing. Yes, production values are important, but it’s the idea that ultimately sells.
• If you’re a first time producer or a little guy, walk in the door with a proven production company on board already. Yes, you’re going to give up your great idea, but if you don’t, it’s not going to get made. OR it will get made but the network will partner you with a production house of their choosing, which may not always work out. If you solicit your own at least you’re driving that much of the process.
• Sad but true, advertisers have to like the show. Or at least not be put off by it. Sharenow said that if someone came to him with Intervention today, it wouldn’t get made.
• Cast of characters or ensemble? Probably an hour-long. Strong lead, two, or three? Half-hour.

The BEST quote of the entire conference came from Sharenow on this panel, “Network execs are stupid overpaid monkeys–” (awkward silence/crickets) ” … well, except of course for us.”

Even though Sharenow’s sentiment may be true, remember, it’s those stoopid overpaid monkeys that have the authority to get your project made or not. So humor them. If they give you a suggestion and you say you’ll consider it, guess what? Consider it. Because if you don’t, they ask you about it again, and you’re caught spinning your wheels, that’s not going to look good. Caveat: if you’re an established producer, these rules don’t apply (e.g. Charles/Burrows/Charles, if you have a chance, watch Biography’s “Cheers” episode).

Sharenow also said, “Anytime an exec tells you what they’re looking for, they’re wrong.” This is when the panel jumped in a bit, clarifying that it’s up to individual producers and “the little people” to come up with the freshest, most-captivating new content.

Moderator:
Lynne Kirby, SVP, Original Programming – Sundance Channel

Panelists:
Nick McKinney VP – Honest Engine
Robert Sharenow, SVP, Non-Fiction & Alternative Programming – A&E Network

Josh Braun Sales Agent – Submarine Entertainment
Nick McKinney, EP – Wife Swap, 30 Days, Al Franken Show

Related:

• The Film Panel Notetaker
• IFW Blog
• Content Now
• Filmmaker Magazine Blog

Local Bar Manager

Stick thin legs, tube sox
You spent ten months in the clink
Leave me for cobwebs

FedEx Field

Fancy arm duck tattoo
I pay for all drinks and food
When game tix were free

Why?

36 years old
You still call yourself Spanky
Impotent herp dick