If you asked critics and fans who the greatest actor of the 20th century was, it would be very likely that Laurence Olivier would be first on the list. Remeber I said the greatest actor, not necessarily the biggest movie star. When he was young Olivier made women's hearts flutter in Wuthering Heights. He won an Oscar for Hamlet in 1948, but also redefined film with his groundbreaking Henry V, not to mention Richard III. Later he in life, he made an indelible impression as the evil Nazi dentist Szell in Marathon Man, and as the romantic old man in "A Little Romance." These are all great films.
Yesterday Turner Classic movies devoted their afternoon to a series of films Olivier made in the 30s and 40s which were less than stellar. They did show his Richard III, but also included potboilers like "Westward Passage" and the Divorce of Lady X. I wouldn't recommend seeing them if you haven't already, but take my word for it that even Olivier can't look good as a Russian inventor falling for an Englishwoman. I'm sure Olivier brought the same talent to those films as he did to Wuthering Heights; why are these films so bad?
Because even the great Olivier couldn't succeed alone. He needed talented writers, directors, co-stars, and designers to show case his genius. Without a talented team, even the greatest actors look mediocre.
So when you're creating your content always find the best available people for your team. They will spur you to greater heights, and together you might create something extraordinary.
Thursday, July 14, 2011
Tuesday, June 28, 2011
Queen is still popular
Last night I watched a two hour biography of the band Queen on the Bio Channel. I was a teenager when Queen released "A Night At the Opera" and "Bohemian Rhapsody" I became a big fan, and their songs remain on my favorites list on my ipod.
The documentary included recent interviews with the three surviving members of the band and lots of archival footage. For some years even after they began releasing albums Queen made very little money. Their management told the drummer to stop breaking sticks in concert because they couldn't afford to buy new ones. But they kept working,creating new music and eventually became fabulously wealthy stars.
Once they became famous, they lived a rock star life. But despite the temptations of stardom, they kept working: writing new music, recording, touring, and pushing themselves to get better.
The takeaway for you is this: Stars work hard. Creating hit songs and movies, bestsellers, and viral videos may be fun work, but it's still work. It requires an enormous investment of time and creative energy. Are you happy with the response to your content? If not, how hard are you working? Try putting more time into your content creation, and see how much the end product improves.
The documentary included recent interviews with the three surviving members of the band and lots of archival footage. For some years even after they began releasing albums Queen made very little money. Their management told the drummer to stop breaking sticks in concert because they couldn't afford to buy new ones. But they kept working,creating new music and eventually became fabulously wealthy stars.
Once they became famous, they lived a rock star life. But despite the temptations of stardom, they kept working: writing new music, recording, touring, and pushing themselves to get better.
The takeaway for you is this: Stars work hard. Creating hit songs and movies, bestsellers, and viral videos may be fun work, but it's still work. It requires an enormous investment of time and creative energy. Are you happy with the response to your content? If not, how hard are you working? Try putting more time into your content creation, and see how much the end product improves.
Saturday, June 18, 2011
It's not about You
A few years ago I heard a lecture from poet laureate and teacher Ted Kooser. He told the story of a student who came up to him after class and showed him some poems, saying, "I wrote this for myself. Would you mind taking a look?"
If you're creating content for yourself that's great. We all have hobbbies. You never know, someday your novels or videos may be found by historians or critics and you will become famous for your art after death, just like Emily Dickinson, who never sent her poems to be published while she was alive.
But if you want success while you're alive, keep in mind Ted Kooser's advice about writing poetry. It is great advice for creating stories in all media. He said to "write with the reader in mind." Remember, at some point you're going to share your video, your story, or your film with someone. Is it going to make sense to them? Will your work engage your audience, transport them to a place they'd always wanted to go, and give them a satisfying surprise when they're there? If not, you might want to revise your work.
It's great if you want to express yourself. But creating successful content -- content that reaches the audience and moves them -- is not about you and your feelings. It's about the effect you have on your audience. Can you make them laugh? Or cry? Can you change the way they think or feel about their lives? Can you make them forget their problems, even for a few minutes?
Create your content with your audience in mind. Think about the effect you want to achieve. How do you know if you've achieved it? You'll know when your audience starts recommending it to their friends either buy e-mailing links, buying books as presents, or just posting positive reviews on Facebook.
If you're creating content for yourself that's great. We all have hobbbies. You never know, someday your novels or videos may be found by historians or critics and you will become famous for your art after death, just like Emily Dickinson, who never sent her poems to be published while she was alive.
But if you want success while you're alive, keep in mind Ted Kooser's advice about writing poetry. It is great advice for creating stories in all media. He said to "write with the reader in mind." Remember, at some point you're going to share your video, your story, or your film with someone. Is it going to make sense to them? Will your work engage your audience, transport them to a place they'd always wanted to go, and give them a satisfying surprise when they're there? If not, you might want to revise your work.
It's great if you want to express yourself. But creating successful content -- content that reaches the audience and moves them -- is not about you and your feelings. It's about the effect you have on your audience. Can you make them laugh? Or cry? Can you change the way they think or feel about their lives? Can you make them forget their problems, even for a few minutes?
Create your content with your audience in mind. Think about the effect you want to achieve. How do you know if you've achieved it? You'll know when your audience starts recommending it to their friends either buy e-mailing links, buying books as presents, or just posting positive reviews on Facebook.
Wednesday, June 15, 2011
Copycat shows
How many talent/singing competitions have launched on television since 'American Idol?' I can list at least a dozen without searching the internet. How many can you name?
I am looking forward to Simon Cowell's latest: the American version of his British hit, "the X Factor." The pre-show publicity has been great. Without giving away details of the show, they've let us know there might be a judge even meaner than Simon! I can't wait.
Why do networks keep creating similar programs? Wouldn't they get more viewers if they only aired unique, original programs?
I'll answer the second question first: no. In general, viewers prefer familiar forms of story telling. TV history is filled with innovative formats that didn't catch on with viewers (look up "Cop Rock" on the internet for an example). It makes sense for networks to put their own spin on formulas that work for viewers.
Remember, too, that most television networks are headquartered in New York or Los Angeles. Because of that, most production companies are headquartered in one of those cities. The production heads and programming executives attend the same parties; rumors run rampant about shows in development. Also, shows are usually pitched to several networks, so most executives know what shows are available.
Therefore, if a development executive at one network hears there's a singing competition show in the works at Fox, they may start development one at their network, just in case. Then, if it becomes a hit, the other network has a concept ready to go.
Say you don't live in Los Angeles or New York, and you believe you have a completely original idea that will transform television as we know it. Good luck with that; those are the most difficult ideas to sell. Think about trying your concept on the internet first.
I am looking forward to Simon Cowell's latest: the American version of his British hit, "the X Factor." The pre-show publicity has been great. Without giving away details of the show, they've let us know there might be a judge even meaner than Simon! I can't wait.
Why do networks keep creating similar programs? Wouldn't they get more viewers if they only aired unique, original programs?
I'll answer the second question first: no. In general, viewers prefer familiar forms of story telling. TV history is filled with innovative formats that didn't catch on with viewers (look up "Cop Rock" on the internet for an example). It makes sense for networks to put their own spin on formulas that work for viewers.
Remember, too, that most television networks are headquartered in New York or Los Angeles. Because of that, most production companies are headquartered in one of those cities. The production heads and programming executives attend the same parties; rumors run rampant about shows in development. Also, shows are usually pitched to several networks, so most executives know what shows are available.
Therefore, if a development executive at one network hears there's a singing competition show in the works at Fox, they may start development one at their network, just in case. Then, if it becomes a hit, the other network has a concept ready to go.
Say you don't live in Los Angeles or New York, and you believe you have a completely original idea that will transform television as we know it. Good luck with that; those are the most difficult ideas to sell. Think about trying your concept on the internet first.
Sunday, May 29, 2011
Tom Hanks at Yale
Last Sunday Tom Hanks gave the Commencement speech to Yale graduates. Like many Commencement speakers, he urged the class to choose faith over fear and move forward with their lives. But the real star of Hanks' talk was not his message, but Sam Tsui, one of Yale's graduating seniors.
Some of you may not know Sam Tsui, Yale class of 2011, although I've written about him before. Search for "Michael Jackson medley" on the web, and you'll see a video of several versions of Sam signing all the parts to an accapella medley of Michael Jackson songs. The video was produced by Kurt Johnson, Yale 2010, and has received millions of views since it was posted. Sam and Kurt created other videos that made Sam an internet star, whose video views run in the hundreds of millions. Tom Hanks referenced Sam Tsui's success at this several times during his speech, and using him as an example of someone who followed his passion, and still got his Yale education.
Can Sam's success teach content creators anything? I wouldn't be writing about this if I didn't think so. One thing we can learn is the value of actually creating the content you're dreaming about -- no one can watch your videos unless you make them. Go and do it. Second, it's important to be original. This concept was fresh when it appeared, and became viral when people started sending it to their friends to view. So make your video fresh. Don't imitate others: create your own compelling content. Remember you have no control over how the public will respond to your work; your job is to make it as compelling as you can.
If you dedicate yourself to creating your content and making it as good as possible then perhaps one day you'll be as famous and accomplished as Tom Hanks -- or Sam Tsui.
Some of you may not know Sam Tsui, Yale class of 2011, although I've written about him before. Search for "Michael Jackson medley" on the web, and you'll see a video of several versions of Sam signing all the parts to an accapella medley of Michael Jackson songs. The video was produced by Kurt Johnson, Yale 2010, and has received millions of views since it was posted. Sam and Kurt created other videos that made Sam an internet star, whose video views run in the hundreds of millions. Tom Hanks referenced Sam Tsui's success at this several times during his speech, and using him as an example of someone who followed his passion, and still got his Yale education.
Can Sam's success teach content creators anything? I wouldn't be writing about this if I didn't think so. One thing we can learn is the value of actually creating the content you're dreaming about -- no one can watch your videos unless you make them. Go and do it. Second, it's important to be original. This concept was fresh when it appeared, and became viral when people started sending it to their friends to view. So make your video fresh. Don't imitate others: create your own compelling content. Remember you have no control over how the public will respond to your work; your job is to make it as compelling as you can.
If you dedicate yourself to creating your content and making it as good as possible then perhaps one day you'll be as famous and accomplished as Tom Hanks -- or Sam Tsui.
Monday, May 9, 2011
What Programs do networks want?
Fans of this blog and friends in the busines frequently ask me "What are the networks looking for?" I also ask cable networks a similar question -- "What shows do you want to air?"
It's tough for most networks to answer that question except in the most general terms. Even if you have aimed your network at a particular audience segment -- for example, Women 25-49, or men 35+ with average incomes of $75,000 per year -- your audience is always changing and evolving. Women ages 25-49 do share similar interests in products, for example, but they don't all buy the exact same products. Each member of that group is a person making their own individual choices. Every year, fashions change, tastes change, and a network needs to evolve with their audience or lost them.
While network executives can usually articulate what sorts of shows they will consider, they are also willing to push the envelope if that means they can add a hit show. For example, MTV started as Music Television. When was the last time you saw music videos on MTV in prime time? The network changed, because their audience's taste changed
So the answer to the question, "what do networks want?" is simple. They want hits. But no one really knows for sure where the next hit show is coming from. So in my opinion you shouldn't spend a lot of time tailoring your idea for a specific network in the beginning. Create as strong an ida as possible. Prove to the network that you have a potential hit for them. Then what will the networks want? They will want you.
It's tough for most networks to answer that question except in the most general terms. Even if you have aimed your network at a particular audience segment -- for example, Women 25-49, or men 35+ with average incomes of $75,000 per year -- your audience is always changing and evolving. Women ages 25-49 do share similar interests in products, for example, but they don't all buy the exact same products. Each member of that group is a person making their own individual choices. Every year, fashions change, tastes change, and a network needs to evolve with their audience or lost them.
While network executives can usually articulate what sorts of shows they will consider, they are also willing to push the envelope if that means they can add a hit show. For example, MTV started as Music Television. When was the last time you saw music videos on MTV in prime time? The network changed, because their audience's taste changed
So the answer to the question, "what do networks want?" is simple. They want hits. But no one really knows for sure where the next hit show is coming from. So in my opinion you shouldn't spend a lot of time tailoring your idea for a specific network in the beginning. Create as strong an ida as possible. Prove to the network that you have a potential hit for them. Then what will the networks want? They will want you.
Thursday, April 7, 2011
Why not call it a Variety Show?
When I was young The Ed Sullivan Show was the #1 show on television. Ed was endlessly imitated and kidded for his stiff manner -- he would never be a show host today -- but he was a savvy promoter and showman. Ed had a great talent for booking acts that America loved -- not just the Beatles, but also the Rolling Stones, along with vaudevillians, comedians, dancers, and novelty acts. There was something that appealed to everyone in the family, and families watched Ed togther.
The #1 show in America today is American Idol. American Idol brought competition to the variety format, and has been followed by a host of imitators: America's Got Talent, Dancing With the Stars, and very soon, the new Simon Cowell show, the X Factor.
I recently watched the American Idol results show. It did feature some competition elements: they told us who was safe, who was in the bottom three, and who was going home at the end. In between those moments, it looked like a variety show. Popular singers performed, Ryan made some jokes, and the ensemble sang a number. Would a variety show without a competition element succeed in primetime? The networks wouldnn't produce one -- variety shows are dead. Yet competitive variety shows have never been more popular.
What does that mean for you? As a content producer, look for ideas that worked in the past, and aren't on television today. Think about them: Can you give a classic idea a modern twist? If you can, you might have a hit on your hands. Just don't call it a variety show.
The #1 show in America today is American Idol. American Idol brought competition to the variety format, and has been followed by a host of imitators: America's Got Talent, Dancing With the Stars, and very soon, the new Simon Cowell show, the X Factor.
I recently watched the American Idol results show. It did feature some competition elements: they told us who was safe, who was in the bottom three, and who was going home at the end. In between those moments, it looked like a variety show. Popular singers performed, Ryan made some jokes, and the ensemble sang a number. Would a variety show without a competition element succeed in primetime? The networks wouldnn't produce one -- variety shows are dead. Yet competitive variety shows have never been more popular.
What does that mean for you? As a content producer, look for ideas that worked in the past, and aren't on television today. Think about them: Can you give a classic idea a modern twist? If you can, you might have a hit on your hands. Just don't call it a variety show.
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