Archive for the ‘Production Expert Interviews’ Category

9 Jul

Interview with SizzlePitch.com President Jijo Reed

Posted by docsandtv in How To's, Production Expert Interviews. Tagged: , , , , , , , , , , , .

Sometimes in independent production, it seems as though getting a project green-lit is harder than actually producing it.  Often times, new producers (and even seasoned ones) need just the right connections to get networks or funders to look at their proposals.  To really impress, a sizzle reel (3-minute trailer) is needed to convince the big bosses that a project is worth their time.

The new website SizzlePitch.com serves as a conduit for all types of producers to get their projects in front of the right eyes.  The SizzlePitch staff, led by President Jijo Reed, have over forty years of combined experience developing and producing for television and film.  The website and staff help you get your ideas in front of the execs by allowing you to upload an already produced sizzle reel (that’s free).  If you need a sizzle reel that really sizzles they can produce one for you starting at $2,500 depending on the scope of your reel. And the good news is, you don’t need to have any connections or an established name in the industry for them to do it.  As the website states “Finally there’s a destination where you don’t need to have “connections” to be connected.”  Jijo and I recently discussed the mission behind SizzlePitch.com.

What gave you the idea to start SizzlePitch?

In 2002, I had the idea of creating a reality show that took place in a rehab in Malibu. I found a rehab that was willing to let me shoot and talk to the residents in this program. After shooting for days on end, I put together a “sizzle” trailer to pitch the concept. VH1 loved it and ordered a pilot based on the sizzle. It’s now the hit show Celebrity Rehab. At the beginning of this year, I took a look at a list of my credits and realized that of the hundreds of projects I have produced, I enjoyed creating sizzles the most. The prospect of giving life to a concept, whether through “borrowed” footage or specifically shot footage, is extremely rewarding and, nowadays, necessary to the pitch process. When a visual representation of an idea is introduced, as opposed to just a verbal pitch, the chances of closing a deal is increased exponentially. My background in producing trailers for finished films has definitely been helpful in creating the right “flow” in the footage.

Or what are some successes you’ve had with SizzlePitch?

Our most recent successes are USS Indianapolis and Headshot.  We created what we call “film sizzles” for both of these “yet to made” projects. With only a script to go from, we created the sizzles by using clips from various movies and other miscellaneous content, wrote trailer copy and created title graphics, then of course, cut it all to music. USS Indianapolis has both an “A’ list director and actor attached; and foreign pre-sales are in the works. The sizzle for Headshot, a horror film, was the major reason the entire budget was financed.  It is in Pre-production now and shooting starts July 7th.

What has been the industry reaction to SizzlePitch?

The reaction has been amazing mainly because there are no real companies that specialize in sizzles at the level that we do. There are companies that offer this type of service but we are dedicated to packaging prospective film & TV projects.  Also we have an online component to showcase sizzles, so not only are we creating these pieces, but we offer a platform for producers to gain exposure and share their projects. We also offer script budgeting, profit & loss projections, website creation and digital key-art (poster art) for film & TV projects.

What is the most important thing that producers should know when creating a pitch reel?

A pitch reel should be able to “stand alone” without a verbal accompaniment. It should leave no questions as to what type of show it is or what it’s about. Also the production value of the piece should reflect the production value of the intended finished product. There’s never a benefit in under-selling or over-selling a project. Furthermore, it should be fun and interesting to watch and not be longer than 3min 30 seconds.  2 and 1/2 to 3 minutes is an ideal running time for most pitch reels.

What is most fun about working on SizzlePitch?

We love what we do here! Every project is a “passion” project because of the heart behind each project. I applaud anyone who is willing to put their dreams and goals in action. There are so many “producers” out there and even more people with “an idea” but the ones who really take action win my respect immediately. It’s so very rewarding to see a project get picked up and know that we were instrumental in that specific achievement.  Sizzlepitch’s lead editor, Karo Blikian sums it up “When a writer or producer sees their script come to life in our sizzles, we can’t help but to share in their excitement. It definitely doesn’t suck to see the reactions.”

To check out some of the reels produced by SizzlePitch visit:

http://www.sizzlepitch.com/video/145/HEADSHOT

http://www.sizzlepitch.com/video/137/USS-INDIANAPOLIS-SIZZLE

http://www.sizzlepitch.com/video/210/Chasing-Gary

For more information about SizzlePitch visit:

www.sizzlepitch.com

www.vimeo.com/jijoreed

http://www.facebook.com/SizzlePitch

28 Jun

George Bolden – Jib Operator Extraodinaire

Posted by docsandtv in Production Expert Interviews, Television Production. Tagged: , , , , , , , .

If I could just a jib on every shoot I would.  Large sweeping shots add class to the look and feel to any project. I worked with George Bolden earlier this year when he worked as a Technical Director, Camera Operator and Editor and a television series that we worked on.  Because of his breadth and depth of technical expertise, I jumped at the chance to work with him as a Jib Operator when the opportunity presented his self.  I recently had the chance to chat with George about the art of operating the jib.

What do you like most about being a jib operator?

I enjoy creating dynamically interesting visuals for the audience that can reveal or subdue a point of interest.

How much work is involved with setting up the jib?

There is a considerable amount of work involved in the set up process.  This is more of a “10,000 foot view” of what needs to happen but there are lots of fine details and procedures omitted:

First, the jib operator has to confer with the Director of Photography to understand the vision of the story they are trying to capture and suggest composition of jib shots.  Second, is determining the physical operating space requirements, type and weight of camera to be operated, identifying any hazards such as overhead power lines and weakness of the ground footing and correcting for any issues before construction of the jib.  (On average, the complete jib setup can weigh between 250-800 pounds or more split over three or four points of contact.) Third, determine length of the jib arm needed to accomplish the vision. Then level and build the system.  Fourth, balancing the camera and jib arm to very delicate touch.  Finally, power up and test and start shooting.

All in all it takes between 2-3 hours to set up and test out depending on the shooting situation.

How do you think using a jib helps enhance a production?

Jibs are not utilized as much as they could be and I attribute that to a lack of understanding of the tool by many who have little or no experience in what they can deliver.  A jib can help a producer by adding smooth controlled movement in almost any direction to aid in telling a story as well as helping to keep the audience’s attention by stimulating the brain.  Movement can be very subtle or  dramatic and will add to the production value of the project.
You do all sorts of things as a production professional.  What do you do besides operate the jib?

Well, I have primarily worked as an On-Line Editor for over 25 years utilizing every form of videotape to the latest digital NLE systems, which led to my appreciation of the jib camera.  I also do a fair amount of Technical Directing. I look at being a TD as a natural extension of editing because in reality, it is just live editing.

 

30 Mar

My Dream Interviews

Posted by docsandtv in Opinions, Production Expert Interviews. Tagged: , , , , , , , , , , , .

As a non-fiction television producer, I get to meet and interview people that I would not normally cross paths with.  Sometime the are average people and sometimes they are famous.  Here is a list of well-known people that I would absolutely love to interview. They are in no particular order.

President Barack Obama – Self explanatory really. However, my husband is also half-Kenyan and my father-n-law knew Barack Sr. so at least there is some connection.

James Lipton – Besides interviewing artists who at are the top of their creative craft, Mr. Lipton has impressed me with his ability to sample all that life has to offer and not judge others for doing the same.  His friendship with Dave Chapelle is intriguing. I’d love to interview him despite some of my respected colleagues calling him the biggest sycophant ever.

Questlove – A pure musical genius.  If you ever get to see him live as a drummer or deejay, go!  If you ever get to hear him talk about music, get ready to get schooled!  Anyone who has converted a room into a music library then tasks his sister with managing it, must be given credit for dedication to his passion.

Phillipa Gregory – I almost hate to admit this in writing, but I love literature, television and film about the Tudor period.  I find the social stratification and people’s willingness to adhere to social rules as if they are hard and concrete things absolutely fascinating.  No one brings the Tudor period to life like Gregory.

Malcolm Gladwell – One of the most interesting “thinkers” of our time. I love the way Gladwell is able to connect ideas in new ways to shed light on old problems.  One question I’d like to ask him is why, when describing people he has interviewed, he always talks about their hair?

Toni Morrision – A pure literary genius.  There is no question that her books are among the best ever written but her Nobel Prize speech was also a work of art.  

Mira Nair – I actually got to speak to her on the telephone once for an extremely brief pre-interview for a documentary called “Understanding: Race” that aired on The Learning Channel (now TLC). I never got to meet her and have always wished that I did.  She has produced and directed some of the most luscious looking movies of our time including one of my all time favorites “Karma Sutra.”

But then again, perhaps I really DON’T want to interview these people.  In the past, I have interviewed people that I admired and is isn’t always all that it is cracked up to be.  Sometimes, being up close and personal with them takes some of the shine off their glow.  I won’t name names here in case I disrupt the glow for you.  I guess, you never really know until the interview happens.  I think I’ll take my chances with this group.

9 Mar

Interview with Hilarey Kirsner – President of Women in Television and Film DC

Posted by docsandtv in Production Expert Interviews, Television Freelancing, Television Production. Tagged: , , , , , , , , , , , , , , .

Hilarey Kirsner is the current board president at the professional organization Women in Film and Video (WIFV).  She is also an award-winning producer whom I’ve had the pleasure to work with on two cable television series.  Hilarey is very smart, very organized and very cool under pressure.  When I joined WIFV several years ago, she was the head of WIFV’s events committee.  I joined that committee because of her.  Because of her hard work planning events and with WIFV overall (the board and committee members are all volunteers), she was voted as board president.

WIFV is a Washington, DC based media organization that supports and celebrates women’s achievement in the television and film industries.  Women, and men, join for the support system, growth opportunities and production contacts. I’ve enjoyed many of their informational panels, being a panelist and asking questions on the email list-serve where I can draw on the collective intelligence of the entire membership.

I recently spoke with Hilarey about her role as WIFV President.

What type of work do you do?

I am a freelance producer and I do a lot of different types of work –  in fact it’s usually different everywhere I go.  Sometimes I’m on set directing the camera and actors, sometimes I’m in an office setting up shoots and writing scripts; and sometimes I’m sitting in an edit suite and working with an editor to create a story.  I started off producing videos for live events. Then I moved to producing more corporate and government programs for the web and marketing purposes.  After that, I got into producing for cable broadcast (read: reality programming) and now I’m doing work for non-profits, which I love.

Why did you join WIFV initially? And, why run for board President?

I joined WIFV back in 2002 when I had just moved back to DC after spending a year working in LA.  I had just started freelancing and thought I had better start networking in DC if I wanted to find a job and everyone said- “join WIFV!”  So I did.  The first thing I participated in was the Image Makers program, which is a community outreach program where WIFV volunteers teach local high school students how to produce a Public Service Announcement (PSA) from start to finish. They produce the PSAs for local non-profits, who give them creative direction.  I not only fell in love with the kids’ creativity, but I made some really great friends and business contacts while working alongside other WIFV volunteers.  I ended up doing Image Makers for the next four years and ran the program for two of those years.  From there I started attending more WIFV programs and became more involved.  So, a few people encouraged me to run for the WIFV board in 2004. 

I spent one year on the board and then ended up moving to Florida for two and a half years.  When I moved back to DC in 2007, I was elected to the board again.  Denise Moak was president and the two of us knew each other from college – so I already knew we worked well together.  I served as her Executive Vice President for one year and then ran Programming for the second year.  By that point, I was heavily involved in the comings and goings of WIFV and was talking to our Executive Director daily.  I guess it just made sense that I move into the role of President when Denise’s term was finished.  Denise gave me a lot of great training and is still there to help me if I need it. There’s also a great support system of past presidents to call and of course our Executive Director, Melissa Houghton, is wonderful and is always there to help.

What do you hope to accomplish as WIFV President?

We’re a 501c3 non-profit organization so we have to raise money for everything we do.  Fundraising is always challenging, especially in an economy where everyone is tightening their belts. That’s why I wanted to put development in on the top of our agenda.  WIFV is such a great resource to women and men in DC, but unfortunately we always need more funding to support the large number of programs we put on annually.  I wanted to make sure our sponsors were benefitting from WIFV as much as we are from them, so we’ve been working hard to update our sponsor benefits and increase communication with our sponsors to see how we can work best together.

I also think it’s very important to listen to the members to see what they want out of WIFV.  I rely a lot on their feedback for program ideas and suggestions on how to make things better.  I am also hoping to establish practices in our office that will stay with the organization from board to board (we turn over half the board every year) so that there isn’t a ramp up period for new board members each time.  I’m hoping they will be able to jump in with all the information right from the start.

What are some projects that WIFV has going on right now that you wish more people knew about?

Image Makers is going on right now, which obviously is close to my heart.  I do wish that more people in the community knew about it because it benefits so many groups of people in our community.  We try to choose students who do not have any media classes at their schools so they that are getting the most out of it.  We’re always looking for good volunteers with media and teaching experience as well as non-profits who are in need of video marketing for their organization.  And of course we need sponsors for this program – we give the students a gift at the end for participating and we would love to be able to buy some cameras and editing equipment for WIFV to own for this program so that we’re not relying on our volunteers to bring their own equipment every year.

We are also hosting a screening series every Tuesday in March in honor of Women’s History Month at the Martin Luther King Jr. library.  All the films are about women’s issues and are made by woman – many of them local.  The screenings are free and open to the public.

March 26, 2011 is SWAN (Support Women Artists Now) Day in Georgetown, DC where we’re going to screen our Women in Film and Television International Shorts compilation.  The day is packed with readings, discussions, exhibitions and performances.  For more info on this and other upcoming programs go to: www.wifv.org.   We just revamped our website and are very proud of it!

What does the future look like for WIFV?

We are celebrating our 32nd anniversary this September (2011). It’s really amazing that we started with 15 members and now have about 900 plus two full time employees and an office.  WIFV DC started as a group of women freelancers who wanted to get together and share ideas and honestly, the mission hasn’t changed –  that’s what we still want today.  I think the future is really bright for our organization and we hope to continue educating, supporting and bringing women media makers together for 30 more years.

For more interviews from production experts, visit the Expert Production Interviews category.

4 Dec

The Work of Indpendent Documentarian: An Interview with Emmett Williams

Posted by docsandtv in Grants and Funding, Production Expert Interviews, Television Freelancing, Television Production. Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , .

Just what does an independent documentarian do?  Where does he/her get  ideas?  How does he/she make a living at it?  I recently had a conversation with Emmett Williams, independent producer, to find out how he manages a career making documentaries.

I’ve had the opportunity to work with Emmett on several projects and am impressed with his scope of work.  His television credits include producer, writer, editor and camera operator.  His work can be seen on such national networks as The Discovery Channel, Animal Planet, TV Land and public television.  Emmett is also a song writer/performer, photographer, concert producer and journalist.  his passion for media and the arts is clear to anyone that has worked with him.  Emmett, a vegetarian, even ate seal meat to connect with his subjects during a shoot in Alaska.  What I’ve found particularly striking is his commitment to his projects and his ability to keep a sense of humor about everything his does.

As an independent producer, what type of productions do you produce/work on?
Mostly, I produce long and short form documentaries. Sometimes they’re ideas that I’ve come up with and sometimes I’ll partner with a non-profit organization to make a film about a topic that is important to them. For example, the film “Camp Twitch and Shout – The Movie”, which will be available online December 7, is a partnership between myself and the Tourette Syndrome Association of Georgia.

There are also a few online only projects that are in the works that are destined for YouTube or the Mission Man Media website, like a series of shorts about artists called “The Form Appears” and another series entitled “Everyone Has A Story”.

Finally, there are a few things I want to do that will be specifically for museums and galleries.

How do you find the projects that you work on?
It’s rare that I go out searching for stories to tell. Usually the stories just arrive serendipitously. For a documentary that will start production in January, the idea came from a conversation I had with a friend in a bar just a few months ago. There are an endless amount of stories out there that are waiting to be told, you just have to keep your ears open. I’m fortunate to be in some form of production on projects that will keep me busy through the first half of 2011.

How have you raised funds?
Every way possible. I’ve won grants, been funded by the organizations that I’ve partnered with, friends, family, the coin jar in my bedroom. Any way possible. I read somewhere that it takes 3 years on average to raise money for a documentary. You have to spread your fundraising wings as far and wide as possible.

I’m in the process of raising money now for a project in Africa and I’ve literally sent hundreds of emails, applied for grants all over the world and spoken with people on three continents trying to get it made.

Sometimes you work on freelance gigs for other people.  How do you feel about that? Do you limit the size and scope of freelance gigs?
Making documentaries is cyclical in that you make a film, then raise (beg) for money for your next one, so you have to earn money during that downtime in between projects. If I’m inbetween projects, I’ll preferably do some freelance writing or producing for television or for a company that needs something small, but I’ll do anything really to keep me out of an office.

BUT if someone from an office is reading this…and hiring on a temporary basis….

You often work as a one-man band producing, shooting and editing. Is there a lot of pressure to be responsible for every aspect of a project?
I really prefer working alone because I like the intimacy of just being one-on-one with the subject. I’ll often spend a few days just hanging out with whomever I want to interview before I even bring out a camera. I think if you are prepared ahead of time and really know your equipment it cuts down a lot on the possibilities of something going wrong. Of course, life would be easier with a crew as far as dealing with the equipment.  But for me, its worth the few times when I’ve forgotten briefly to turn on the audio or left something back at the hotel to continue to work independently. And the more you do it, the easier and more organized you become. The real key is a comfortable backpack and pants with lots of pockets. If you have those two things you’ll be fine.

Do you feel that there is a lot of room for creativity when producing a documentary?
The style of documentary that I like to do relies a lot on serendipity to be honest. I like to leave a lot of time to wait for things to happen.  Often, things are happening quickly and you are happy just to get the shot. While this style doesn’t lead itself to as much creativity as a fiction film, there is always a little room to put your own personal stamp on a film. It really takes sitting down before you start shooting and making a firm decision about the look and feel of your project.

I also think the most important aspect of making a documentary is the story and content. No matter the style, if you have those two things you can craft a strong project.

What is your favorite part about producing and why?
My favorite part is that moment that happens in most interviews where the subject finally lets their guard down and really opens up about whatever you are trying to get out of them. I really think everyone has a story and it’s my job to get it out of them.

What is your favorite project to date and why?
I’m editing the first of a four-part series called “Native Past, American Present” about the efforts Native Americans are making to hold on to their history, culture, and identity. I recently spent a month in Alaska on the project and everything about it was special. Incredible people, important stories, and beautiful landscape. That’s been my favorite so far, and I plan on going back next fall to spend two months working on part two of my series. And while I’m there I’ll be working with the Sitka Tribe of Alaska to teach filmmaking to Native children.

How did you get started?
I’d worked in television for about ten years when I decided that I really preferred working for myself, or at least on projects I really believed in. One day I decided that’s what I would do. In hindsight, it might have been less complicated to ease into documentary filmmaking instead of jumping into it blindly, but I knew what I wanted and somewhat knew how to get there. So, I just announced that I was a filmmaker and it’s grown from there.

Any advice for those seeking to do what you do?
Just do it. Cameras are dirt cheap, editing software most likely comes with your computer, and its free to put your stuff up online. There are an infinite amount of stories to tell. There are really no excuses if it’s something you truly want to do.

For more information about Emmett Williams and his work, please visithttp://www.emmettwilliams.com.

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