US TV: packaging for the perfect pitch

Isabella Zoltowski is an agent at WME, the company that came out of the 2009 merger of William Morris and Endeavor. Based in London, she runs a department that links UK talent with US TV. WME is a formidable player in the TV market and wasone of the first to enter the reality fray. Alumni of the agency include Jeffrey Katzenberg, Michael Ovitz, George Shapiro and Barry Diller.

What’s the role of an agent?
To navigate the producer through every stage of selling a show from development to pitch/sale, and deal-making to marketing. Most importantly, US agents package shows - they attach talent, producers and other key elements to projects before approaching networks.

The US market is substantially different from the UK in almost every aspect. We get many referrals directly from networks and cable channels, which often prefer to work via an agency. We also get approached by a lot of producers who have done one deal without an agent and regret it.

What have been your key achievements?
Taking the helm of the TV department of WME London at a time of great change in the economy, the TV industry and our company. We now represent a large range of production companies from the UK and international market as well as on-screen talent from both sides of the pond.

We work with the US and other London departments (such as books and music) to package and get the most out of our slate.

My first major deal as an agent was The Singing Bee. We sold the show in the UK first, then in the US (NBC, then CMT). This retained ownership for the US producer, which we could then roll out internationally via a distribution partner. It was a textbook deal that we’re still replicating with other scripted and US non-scripted producer clients.

What have been the key shifts in the business?
These days, we can’t just turn up and tell the US networks a show had a 35% share in Ireland so they have to buy it now, or command huge fees on paper formats. The US cables are particularly savvy in their deal-making when it comes to distribution and international ownership of both finished shows and formats, even those with a track record. Consolidation in the indie sector and at the networks has been rife and we’re seeing a huge impact as cable channels roll out as international brands.

As an ex-producer, what do you see as the strengths of the UK business?
The favourable rights position in the UK means producers are incentivised to be creative, to push boundaries on formats and genres. Creativity and execution are both key factors because the networks and audience have a huge appetite for novelty and risk. What UK producers can do on small budgets is incredible.

How do you build relationships with Brits?
My team is based here in the UK, which makes things easier, so relationships grow organically. Personal relationships really form the foundation of the business. As individuals move around in their careers, our relationships with them keep us on top of trends, emerging patterns, new talent and shows.

Are most of your dealings with big UK indies?
A lot of hits come from the superindies, but it’s important to remember anyone can have a brilliant idea. We represent indies across Europe, Asia and the rest of the world, so our team is constantly researching the various international markets and trends to see what’s in development and production.

Do you work project by project or form ongoing relationships?
We do work project by project on occasion, but our role is more about building businesses than fl ogging individual projects. That could involve advising a client on whether to open a US production arm or partner/co-pro strategically. Having close relationships with the producer’s development team means we can advise from the paper stage. One indie we represent is in production on what was a paper format with a big entertainment show for a US network. This only happens in the context of an ongoing relationship.

What are the key programme content and commercial trends?
Repo/salvage/pawn-based shows such as Operation Repo and Hardcore Pawn do well as long as they have strong characters in interesting worlds. The soft-scripted genre has reached its apex with MTV’s Jersey Shore; the UK is cracking this with The Only Way Is Essex and now Mersey Shore.

From the UK, an interesting trend is lightly formatted documentaries like Pineapple Dance Studios and Showbusiness, or fixed-rig shows like OneBorn Every Minute, which can sell as a format. People want to feel like the action will happen even if the camera is not rolling. I predict more shows like these and Big Fat Gypsy Weddings.

I’m always on the lookout for the next Beauty And The Geek and think the explosion in UK comedy will also translate.

What is your advice to Brits who want to crack the US market?
Concentrate on developing for your primary market and don’t secondguess the US. The risk is you don’t stick to what you’re good at and lose focus on the bread and butter. Big, strong, original ideas will fi nd a home. The key is to have at least one element that means your idea is chosen over another. That could be huge ratings, a hot showrunner, a new production method or strong casting.

Alan Braun is an agent at Creative Artists Agency (CAA), a leading entertainment and sports agency based in Los Angeles with offices in Nashville, New York City, London and Beijing. Its clients include American Idol’s Ryan Seacrest. Braun joined the agency in 2009 from Kaplan-Stahler-Gumer-Braun- bringing with him clients such as Authentic Entertainment and Thumbs Up Productions (Britain’s Next Top Model).

What’s your take on the role of an agent?
The agent’s initial role is to bring people together and then help them negotiate terms, and to make sure clients know what the networks want. Sometimes, it can seem like a miracle when all the elements come together and a show gets ordered. So part of our job is increasing the odds and packaging clients together in a way that network executives will find attractive. After that, our job is to make sure our clients get the best possible commercial return.

What does that entail?
A lot of on-screen talent has 15 minutes of fame, so it’s about working with them to make sure they capitalise on their success. We also play a role in major corporate transactions - when Endemol acquired Authentic, we were involved.

Are agents really necessary?
I think they can make a world of difference. It would have been tough for Wild Rover’s Phil Morrow to walk into ABC and pitch Take The Money And Run by himself. But it was much harder for the network to say no when his format had Jerry Bruckheimer and Bertram van Munster (creator of The Amazing Race) involved. It got a six-episode order.

What are your key attributes as an agent?
There’s a range of commercial skills you need. But more than anything, you have to have a passion for TV. I love the reality genre. I love that TV isa people business. I like the ideas, I like solving problems with people, and I like the sale.

What is your key insight into the US TV business?
It looks like there are a lot of places to sell - which is true to an extent. But keep in mind that there are only about six owners of the major networks and channels. Everybody knows everybody; it’s a small community. You have to do business with integrity and sensitivity. I think that’s more important than ever, given the explosion in the number of production companies.

What is your key advice when it comes to pitching?
Find interesting characters. You have execs like Nancy Dubuc at History/ Lifetime and Eileen O’Neill at Discovery/ TLC who have a fantastic instinct for characters. Then you need the skill to bring that talent to life. In practical terms, that means you need to show what you can do by going into a pitch with a sizzle tape [show reel] around two to fi ve minutes long.

Do you work with Brits, and how do you discover British talent?
Yes we do, because the Brits have a really genre-busting approach to genres like docu-soap and reality. One of our most successful clients is Raw TV, which has made series like Locked Up Abroad for NGC and Gold Rush for Discovery. There are various ways to find them, but one obvious way is to ask the commissioners in the UK ‘who is extraordinary? To whom should we be talking?’.

Do you expect reality to run out of steam?
It’s here to stay. It’s consistently in the top 10 in network and cable ratings and does a great job of reaching the 18-34 demographic. The genre will survive because it’s constantly evolving and reinventing itself.

Michael Camacho is partner and head of alternative TV at United Talent Agency (UTA), a company he joined in 2008 after 15 years at Creative Artists Agency. Camacho helped develop the careers of reality gurus such as Mike Fleiss (The Bachelor), Cris Abrego (The Surreal Life), Allison Grodner (Big Brother US) and Tom Forman (Extreme Makeover). He also represented Mark Burnett for a time and worked with Oprah Winfrey on the deal to launch her own cable network via Discovery.

What is the role of an agent in the US TV market?
The agent represents creative talent, both on-screen and off-screen, which also includes writers, producers and their companies. He or she puts together creative teams, working with decision-makers at networks and cable channels. The agent’s goal is to find the right creative platforms and most marketable talent, then build a 360° business around it.

What does it take to be a good agent?
The key is to traverse the sector, building relationships with production companies, studios, cable channels - everybody in the creative value chain. We’re constantly on the phone, making sure we are the hub of information in the industry.

What have been your key achievements?
While at CAA, I packaged The Amazing Race for CBS and The Bachelor for ABC - both unbelievable franchises for the past decade. In the past couple of years, one of the stand-out events was Endemol’s $200m acquisition of 51 Minds, the reality company co-founded by one of my clients, Cris Abrego. Another highlight was working with Oprah Winfrey on her new network. I really enjoy being involved in the process of crafting game-changing deals.

What have been the big changes during your time as an agent?
The rise of non-scripted content, which has more or less coincided with my time in the industry. In the past two to three years, the big change has come in the cable industry, where channels have really understood the value of owning a successful longrunning non-fiction series, such as Jersey Shore (MTV), Iron Chef (Food Network), Pawn Stars (History) or Real Housewives (Bravo). This has made them less niche. It has created a lot of opportunities for agents and producers - though it has also made the cable space very competitive. The question for us as agents is: can we take our talent into other areas? Pawn Stars has led to a clothing line and Iron Chef resulted in a food line. And, of course, there is Oprah, who is now a big enough brand to be a network.

How significant is the UK market?
The UK over the past decade has been interesting. It has had the advantage of offering completed shows that come with a ratings track record. I don’t think that’s so important now because the US industry has looked at the back catalogue of content from the UK. But it is still an amazing incubator of talent. It has been of interest to agents because individual producers often own their content, creating potential for return over the long term. This is changing a bit now because US channels want to own content IP, but there is still an opportunity there.

Are you working with any Brits right now?
We work with Richard Mc Kerrow of Love Productions. He’s exactly the kind of producer we like: creative, independent, entrepreneurial and with a great sense of what it takes to make a partnership work. He has shown he can succeed in the US, exec producing a version of UK format Baby Borrowers for NBC, and producing a new series of Kidnapped By The Kids for Oprah Winfrey Network.

Would you advise a UK producer to set up on the west or east coast?
The distinction is irrelevant and I think it really limits your opportunity to succeed. With iPads, emails and cellphone, you can be in touch with bothcoasts. My advice is to base yourself where you’re producing your show. If you’re not ready to put down permanent roots, rent for six months at a time.

Have you any specific advice for young talent?
Have patience. A lot of young talent matriculates too quickly, and doesn’t always have the maturity or expertise to make the right quality of show. Producers used to spend a decade in local news or syndication before they produced big shows. The key to good reality shows is execution, and you can see where experience is lacking. In my view, that has an impact on quality. We like McKerrow because he has a creative vision, and the ability to execute that vision.

• US TV: Commissioning Strategies 2011 is available to purchase now at www.ustvreport.co.uk