Reality Pro Tip: Superteases


Many newcomers to reality television may be unfamiliar with the concept of a supertease or supertrailer. 

Think of them in much the same way as you would a movie trailer. The idea behind a supertease or supertrailer is to convey a sense of what a full season will look like, and convince viewers to tune in.  These may run at upfronts, online to promote a new show or season, or at the end of a first episode.

While there are many ways to approach cutting these, I have always found it useful to divide the supertease or supertrailer into a series of clips and soundups categorized by similar emotional tone.

For example, you may wish to open a super tease with a question or hypothesis for the season. A character might make a statement like “If they think I’m going down without a fight, they’ve got another thing coming.”

From that hypothesis, take the first turn into a group of loud or exciting moments. From there, consider grouping five or six sound bites that are of a dynamic nature… argument, exclamatons, pronouncememts. 

After that, consider taking a downshift in intesity into some more personal or emotional moments.

You get the idea.

After four or five good shifts in tone, bring your supertease/supertrailer home with a heavy string of conflict moments (or, if more appropriate, liveliest positive moments) the biggest, baddest sound bite you can find.  A declaration.  Something that packs a wallop that will define your series and season as it puts a button on the 90 seconds to three or four minutes your supertease or supertrailer will run.

You can apply this same philosophy to your sizzle reels, too. 

By realitytvtroy

Excerpt from AND ANOTHER THING.


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Response to AND ANOTHER THING, my new book on the TV network notes process, has been mostly sunny now that everyone’s figured out I’m not bashing anyone.  Boy, are we touchy about the notes process!

Here’s a brief excerpt from the book, which is downloadable for free at Amazon.com through Saturday.

WHAT MAKES A GOOD NOTE?

When you are writing or reviewing notes, keep the following five things in mind:

Is it necessary? Think about what the note buys you. If you are adding something, is it worth the time that will have to be lost elsewhere in the show?   Will you sleep that much better knowing that this change has been made?

Is it in service of the story? So you remember a clever thing that happened on set or (for reality) in the notes that doesn’t relate to the story. Does it need to be in the show? Can it live as a web extra instead of being crammed into a scene, getting a laugh but letting the air out of the story you’re supposedly moving forward?

Is it worth the financial cost to address? (Reality example, but universal in terms of reshoots) You could really use a pickup scene where A talks to B about what happened last Thursday, but the show’s wrapped. You’ll have to hire three people and fly them to Wisconsin to get the pickup. Is there another way to solve the problem, like a simple VO from the cast member from the scene who lives in town? (If it’s worth it and within budget, ask away)

Is it worth your relationship with the team? In the event that the note is contentious or controversial, ask yourself why you’re not willing to let the content pass as is. Again, if you feel strongly about it, give the note.

Is this an issue that can actually be solved? Don’t waste your time and others’ by tilting at windmills.

By realitytvtroy

New e-Book: AND ANOTHER THING promotion at Amazon.com


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Just wanted to let readers of the blog know that AND ANOTHER THING, my e-book on the television notes process, is finally available at Amazon.com.  The book is free through Saturday July 4 as part of a release promotion at Amazon.com, after which, it’ll still be around for just $2.99.

The book takes aim at the notoriously contentious television notes process, wherein execs and creatives often bump heads.  The intention here is to get both sides of the equation on the same page with early-career advice on how to give constructive notes, checklists for assistants and new execs to consider during the notes process, and much more.

By realitytvtroy

Update: The REMEMBER, WE’RE NOT HERE Podcast and Documentary Projects


The documentary and podcast are alive… ALIVE!

I’m finally realizing I can’t pull everything off that I’d like to without a little help, though… so if you might, for some reason, be in need of a shirt with my cheery mug emblazoned on it, here’s where you’d get one and support the effort.  

The REMEMBER, WE’RE NOT HERE Podcast and Documentary Project.

By realitytvtroy

Moving On, Staying Put


Another friend just gave up on reality television and moved into a more stable profession… and I can’t blame her. 

I’ve always loved reality television, but it has its pitfalls… one of which is the unpredictability of employment.

Case in point… I recently wrapped an incredible gig on a show that was pulled from production not because of its quality, but because the new network president opted to go another direction with programming.  Many shows in production, not just ours, were unceremoniously ditched, and the hell of it was —  it’s just one of those things that happens.  No bad guy in the scenario, just business.

I’ve always hated that line on the back of my book cover that says something about getting in, getting real, and maybe even getting rich.  It can be done, but it takes a long time and a lot of hard work to get there.  That’s why the focus of my book is on craft, and not the sexier, dreamier prospect of creating shows.

It takes years to make it in L.A. or New York — and those places aren’t cheap.  You can’t reward yourself too early, because you could always end up in a situation like I did last year and not land somewhere for months after 14 years of wall-to-wall work on countless hits… and as much as I try to practice what I preach when in comes to being financially conservative, six months at home is an unexpected sock in the guts to pretty much ANYONE with no notice.

New to this? Save your money.  Have a roommate… the kind that pays in cash instead of excuses.  Don’t try to be a baller, because no one cares if you drive a 1991 Nissan except you.  There’s a major studio head out here driving a Subaru Outback, and I spent two and a half years on the train/bus in LA before replacing my dead Buick with a ten year old Jetta.  I’d been working 11 years before I finally bought a “nice” car, and frankly, it’s sometimes the most expensive one in the parking garage.  You can bet I think about that stuff during my dry spells.

Remember how you used to feel when you had a few hundred bucks in the bank after paying the bills?  Imagine having tens or hundreds of thousands fifteen or twenty years into a career.  Remember how you felt when you were a few hundred in the hole at the end of the month, sweating a thirty dollar overdraft fee?  Now try feeling that way with 20 grand in credit card debt after watching your savings atrophy because the work dried up.

Those are the times you think about finding something else.  My friend saw that exit from show business life and jumped at it.  Me, I’m a single guy.  I can stay at the craps table and keep rolling.  I’ll be up again tomorrow on some other smash hit, feeling like the world is my oyster, because I live to tell stories and teach the next generation how it’s done.  It’s all a never-ending gamble that could end with me selling a company for tens or hundreds of millions… or as a kindly old greeter at a big box store.

Do this… do anything… because you love it. 

By realitytvtroy

Reality Pro Tip: Tops n’ Tails


Several years ago, I worked on a show that shot a series of interviews in what we referred to in post as the “God chair,” a big red chair set against all-white background, shot with a diffusion filter.  The resulting effect made it seem almost as if our cast was addressing camera from the afterlife.   It was a creative decision that seemed like a great idea but ultimately didn’t pan out, and the decision was made to go back in and reshoot the interview content.  Problem was, it would take more than a week to try to wrangle everyone back in for interviews.

I went back into interviews from previous seasons to look for tops and tails that could be added to the interview content to give the editors something to show while the God chair content could be buried under picture.  Simple phrases, like “All I have to say about that is…” and “I can’t believe he just said that.”  Those phrases would be tacked to the top or tail of the God chair interviews to form phrases like, “I can’t believe he just said that. // This was an important day for me, and now it’s ruined” or “All I have to say about that is… // If she thinks she’s getting away with that, she has another thing coming.”

We actually managed to bury almost all of the God chair content by employing those tops and tails, and didn’t have to worry about doing pickups at all.  The scene-specific stuff still packed a wallop buried under picture, but the generic interview look from the past season served well enough to show who was speaking.  Best of all, it saved us a few hours of cast wrangling and reshooting.

By realitytvtroy

MWP/Divine Arts Authors’ Summit


Yesterday marked another gathering of authors whose works have been published by the wonderful Michael Wiese.  It’s been nearly a quarter century since I first volunteered to man his book sales table at a Florida Motion Picture and Television Association state convention and bought Steven Katz’s SHOT BY SHOT; Now I have my own bestselling MWP title and find myself kneeling next to Katz in a group photo with pretty much every major speaker and author in the universe of how-to film and television books.

It was positively surreal, I can assure you.  But more than that, edifying and inspirational in unexpected ways.

'Swiping another shot from Jen... here's the whole bunch from yesterday's MWP/Divine Arts summit.  That fella next to me in front is Steve Katz, whose SHOT BY SHOT was one of the first MWP titles I ever bought... while volunteering at Michael Wiese's book table in Orlando, Florida at the FMPTA state convention in the early 90s.'
This is the first year I’ve attended since the addition of Divine Arts, Michael and wife Geraldine Overton-Wiese’s other imprint handling books on mind, body and spirit, came into being and joined the fold.  They’re more than two dozen titles in in just a few years, which is incredible.  It also made for an interesting day in a number of ways, in that the infusion of authors dealing with the spiritual into the day’s events that impacted me deeply on a level I didn’t expect to deal with at an authors’ gathering.

It’s a special thing to be an MWP author.  It’s a wonderfully no-bull bunch of people who know their business inside and out, and can somehow translate it all in a meaningful and inspirational way into materials for the generations following them into their professions.  I’ve read the books written to make a buck, and I’ve listened to the lecturers who have more ego and subjective opinion on display than knowledge.  Ours are different.  At least every one I’ve managed to read, right up to Catherine Ann Jones’ The Way of Story, which I picked up yesterday and am already about halfway through.

I’ve got to jump back into edit (yeah, I know it’s 5:30 on a Sunday), but wanted to share with you my sheer delight at being part of such a great bunch.

By realitytvtroy