Which one of you independent
producers has got the next Power Rangers? That is
the question networks secretly ask. They search. They
pray, but inevitably, they will take second best:
a great story with great characters.
OK, so you have a great story
with unforgettable characters. You are ready to go
to the networks. Wait. If it is not totally unique,
something they have never seen before, don't bother.
The children's networks want fresh.
'Fresh' is a Hollywood buzz
word. No one really knows what it means. Summing it
up for children's television, it is like this: unique
loveable characters finding themselves in outrageous
situations. Add gross and you'll hook boys. The girls
will watch anyway. This is the winning formula pitched
by the heavy hitters who guest spoke on a panel for
the Second Annual OnScreen for Kids and Teens Conference,
which took place at the Universal Hilton in Studio
City, Los Angeles March 6-8, 2001.
If you do have this fresh
formula, pitch it. The state of the industry is wide
open for independent producers. Because of all the
programming needs, networks like the Disney Channel
and Nickelodeon are turning to independent producers.
On the first panel, Kenn Viselman
of the itsy bitsy Entertainment Company, creator of
the phenomenon, Tele Tubbies, says simply, "Children
want something new. We are a fast food society." A
program, be it entertaining or educational, if it
is a kid's show, "Éit has got to be funny and you
need to be able to tell a story."
This information is fundamental,
but independent producers aren't following this lead
and aren't producing their product. Why? Network execs
say, independents aren't doing their homework. Ellie
Diekel, President, Saban and Fox Family Worldwide
and maker of Power Rangers says to producers, "Know
trends of young audiences. Find out what is happening
overseas. Figure out the Kid's Biz when submitting
ideas and concepts. Charles Falzon, President Gullane
Entertainment, looks for passionate and creative teams
who have done their homework. This reduces the risk
of not following through with creative development
of a project.
Networks claim they don't
want to buy a concept and develop it themselves. They
want a fully developed show and a committed team to
see it thorough. Ideas may come in the form of a one-minute
promo or based on art work. Diekel adds, "It has to
be easy to look at." If it is, you'll at least get
a peek from him.
Let's say you do have a meeting
set up with Fox Kids. Have a good lawyer. If you are
an independent pitching an idea -consider your personal
goals for the project. After it is sold, creative
deviances are likely to occur. Says Diekel, "Have
clear parameters with the networks so that your independent
vision comes through." Stay involved in all the different
step points along the process. You want your story
told with purpose. "Independents have integrity,"
directs Kenn Viselman, "they are all about telling
stories." But who is buying and who is selling these
stories?
When discussing whose market
it is, buyers or sellers, the vote was split, but
three ways not two. Statistically, the major networks
produce one third home grown, one third acquired and
co productions and one third independent. That is
33% producers. Get on a plane. Fly to LA and set up
a meeting with Adam Bonnet, VP Original Programming,
Disney Channel. If you have product that fits into
the industry now, pitch it. If not, produce your own
material and broadcast over seas.
If you are in tune with what
the industry thinks, you may agree with Diekel. He
illustrates that kid's time is taken up by the internet,
reading books again and video games. Reaching kids
through TV has become fractured. The broadcasters
who control the airwaves are very choosy about what
they broadcast. Is this a negative view about the
evolution of media technology? Perhaps. On the same
subject, Kenn Viselman disagrees.
Kenn believes that this fragmentation
of kid's leisure time spent on entertainment affords
ample opportunity for broadcasting, merchandizing
and marketing. Having recently acquired the property
of Harry Potter, Viselman sees the ability to unite
media sources and gain critical mass. On the down
side, this type of project can be more demanding due
to negotiation procedures, but the returns in merchandizing
make the project a gem. Hit animations are just these
gems.
Stories like the Rug Rats
have off screen success. Universally symbolic, these
hits have an international and global appeal. Latin
America is the largest consumer market for children's
merchandise.
Merchandising is the main
ingredient networks look for when considering a project
as a whole. After you have done your homework, put
your project to the test. First, does it have unique
characters and a great funny story? Second, what from
the show can be merchandised? Third, how can it be
promoted and marketed? Can you envision a T-shirt,
a pillow and a backpack?
The story and the characters
have to resonate beyond the screen. This is the key
to children's programming. Properties may lend themselves
to toys or publishing. The biggest question to ask
yourself is, "How can I make this product a part of
a kid's life twenty four hours a day, seven days a
week?"
Exploitation? I think again.
I would never have given up all my hundreds of hours
playing with my beloved Barbie for watching Sesame
Street, Romper Room or Scooby Doo. Would you? Use
your imagination. Pitch it. And for you fellas, Ninja
Turtles was a dream in a pipeline that no network
would touch. Until one dayÉ
Kelly
E. Keough is at the American Film Institute getting
her Masters in Screenwriting. A native of Boston,
she wrote and directed Children's Theater and educatinal
television. Kelly recently won a PRISM Award from
the EIC for her Frasier spec called, Bottoms Up.
