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Mojito
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Country: France
Metro: Paris
Birthday: 5/26/1977
Gender: Male
Interests: Shoes...and girls (duh)
Expertise: dancing like Tom Jones
Occupation: Executive Producer and project
Industry: Entertainment
Message: message meEmail: email me
Member Since:
10/12/2003
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| shiva bar tonight - think coyote ugly french style bar. Then Cha Cha club or Sens, or St. Peres. depends, as there are some fashion parties and I'll see where my posse rolls to...
xoxo
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| morning Twitter!
errr, ooops, wrong site.
merde.
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| Why oh WHY do people submit show concepts like this
"Jack is a normal boy, dealing with adult problems in a kid's world"
I sometimes wish I didn't have to be diplomatic with my rejections and say "Listen you moron, Jack is NOT a normal boy if he's dealing with adult problems. While we're on it, what kind of adult problems? Cheating wife? Tax evasion? Charging strip clubs on the company card? And even so, how does this be a part of a kid's world? Jack is FUCKED up."
The worst part is people manage to get money to develop these ideas...
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| I just finished exec producing 3 pilots, and directed 1 of them. As they are purely marketing material and not for the consumer, we never release them or show them to the general public - only buyers for various tv channels worldwide.
You can however catch one on the company website www.loonland.com (shameless plug) - show's called "My Life Me"
But no rest for the weary, so I'm now overseeing 3 others in production currently. I'm done with directing them, as it's a full time job and takes me away from my duties as a content buyer and producer. I loved it, but know that directing isn't what I enjoy most; it's setting the shows up and providing the editorial vision and managment of the brand all while dealing with our investors to ensure everything fits in our global media strategy.
One thing to know about producers - anyone who walks off the street and has a supposed idea can claim to be a "producer". They're a dime a dozen and 80% have no clue about what they're doing. Another 15% have a general opinion, but lack crucial skills (managment, financial foresight) but yet survive and make a living. Another 3% got lucky, have had a popular show and are still surfing off of that. 1% are moderatly successfull as they have managed to surround themselves with people smarter than them. The last 1% are the super producers and the Jerry Bruckheimers of this world.
I hate being a producer, I prefer my position as executive producer and am not ashamed of it. I am one of the few who climbed from the low ladders in the depths of production and found that hybrid balance of being a creative & business managment person. I get asked if I missed being a pure creative and I don't, as I can call the shots now and garner the respect of the teams across the board as they don't see me as the "Managment" but as "he's one of us, so he knows what he's talking about as he can do it too". It's a non negligeable asset and capital to have to make sure a creative vision is carried enthusiatically by all echelons. Top it all off, I don't have to get my hands dirty and jump in the production pool, because I can. If I have to, then it's the producer's head which is going to fall as for me, the buck stops with him (as I'm paying him...).
Anyways, it's an ever shifting balance of power and mangament in production. Egos are big, opinions change like the wind and people who work for you one day can be your boss the next. So what I always tell myself is: "Listen carefully, speak quietly and carry a big fucking stick"
Summer's out and you can follow me on twitter if you want ---> "ParisDT"
ciao les amis
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| So rolling for two years now at this International brand management & distribution company. It's been a nice shift from production to executive production...I've been given a raise and a new addition to my lofty title of Head of Creative, Development (business and otherwise)...they gave me Head of Acquisitions too.
What does it all mean? Well, considering how we purchase the rights to content (mainly kids) to then exploit them internationally across all medias, I define the strategy for the next couple years by what I acquire for our company. In an nutshell, everyone else in the company has got to bring in the cash, I am the only one who gets to spend it. It's a nice job to have, but the pressure isn't so much as meeting the quarterly targets as making sure what I do pick up is relevant and sellable in the future...so no pressure on being solely responsible for sinking the ship if I don't buy the right sails (or whatever)...really, no pressure.
Great otherwise, been traveling a lot to New York, Cannes (for mipcoms & markets), Zurich, maybe I trip to Korea soon. My life is basically split between Paris - London - New York, meeting broadcasters to sell them our brands, meetings licensees to expose our fabulous brand strategy and why they should collaborate with us at an early sage and meeting writers, producers for whatever content they have and if I can spin it into a revenue stream internationally once they get it produced (with some of our money).
A lot is building solid relationships, provided insight to the international market for usually local producers as I relaly am on a B2B model, finding the right content for the right home. Broadcaster, meet show x from producer y. You'll love it. After all, we all only want to work with people we appreciate in this business. Why? Because we can.
I'll leave it on a saying a great man in this business told me about what it all boils down to in TV
"make them laugh, make them cry, take their money"
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