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Women's Impact Network (W.I.N.) Panel Discussion on Marketplace and Pitching

Posted By Administration, Wednesday, July 1, 2015
From the PGA Women's Impact Network's (W.I.N.) first major event, Pitch to W.I.N., we are happy to provide you with the full panel discussion that was led by the Stage 32 staff and industry executives to discuss the marketplaces, what buyers are looking for, and how to hook an executive with your pitch.


Panelists included:

  • RB Botto (Founder & CEO, Stage 32)
  • Joey Tuccio (President, Stage 32 Happy Writers)
  • Tiffany Boyle (VP of Packaging & Sales for Ramo Law)
  • Mara Tasker (Associate Producer, VICE Media)
  • Jennifer Breslow (VP of Scripted Series, Lifetime)
  • Stephanie Wilcox (VP of Development at Rumble Films)
  • Moderated by Carrie Lynn Certa (PGA & W.I.N. Committee Member)

See the full panel video below.

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An Important Reminder Regarding Safety on Set

Posted By Administration, Wednesday, June 17, 2015

On March 24, 2015, following the tragic railroad accident that occurred in Jesup, Georgia in 2014 resulting in the death of one crew member and injury to six others, the National Transportation Safety Board ("NTSB”) issued a safety recommendation to the film industry asking that the Producers Guild of America ("PGA”) and other industry organizations remind producing team members that "(1) railroads are private property requiring the railroad’s authorization to enter and (2) that, if authorization is given, everyone on scene must follow the railroad’s safety procedures to reduce hazards.” See NTSB Safety Recommendation R-15-13 at

The PGA is concerned about the health and safety of those involved in connection with every production, not just productions involving the use of private property or, specifically, railroad property. The PGA hereby reminds all producing team members that the use of private property for production purposes of any kind requires the advanced authorization of the property owner. If such authorization is obtained, anyone accessing the property and its surrounding areas must follow the safety procedures provided by the property owner in order to reduce potential hazards to those on or near the property. This authorization is particularly important when the property being accessed involves dangerous activity, as is the case when filming at or near locations that include airplanes, trains, vehicles or moving objects of any kind, or property that is otherwise inherently dangerous. If producing team members intend to film on public property, the PGA asks that all involved be aware of potential risks that may prove hazardous to those on or near the production and asks that all appropriate precautions be taken.

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RULES OF ENGAGEMENT: The New Essentials of Digital Series

Posted By Meghan de Boer, Tuesday, June 16, 2015
Tyler OakleyThese are exciting times for content creators and storytellers. There are more avenues for distribution than ever before, and the content is startlingly diverse as creators are able to target niche audiences and cater to their personal investment in characters and stories. As technology continues to manifest itself in ever-creative and useful vessels for consumption, creators are not only telling their stories but packaging their products into full interactive and immersive experiences. There’s no ceiling on the opportunities for creativity and invention.

In this playground of digital, producers are encouraged and challenged to innovate and find new ways of reaching and engaging their viewers in these niche markets. In this landscape, the measure of success is not necessarily which series has the most views but which series resonates the loudest with the community that identifies with the content.

"The views report the views; that’s one thing,” says Bernie Su, PGA member and Emmy Award-winning creator and showrunner of The Lizzie Bennet Diaries. "But when you have conversation in the threads, now you’ve actually resonated with your audience. Now they’re discussing it, or debating it, or loving it, or hating it. Now you have this emotional reaction to the content that you’ve created, and to me that’s the measure of success. Does anybody care?”

On the executive side, Chief Content and Technology Strategist for Endemol Beyond USA David Williams agrees with that sentiment. "People tend to look at views and subscribers, but the truth is, what’s much more important is what is underneath those numbers.”

David’s essential barometer for success? Total watch times. If the audience is connecting with the content, that measure of success will be reflected in the length of time they are watching.

Viewers today are hungry for programming, none more so than millennials (18–34), who consume more online content than previous generations. For the content to resonate with these viewers and elicit a share, a comment or a like, it must connect with them on a personal level.
Sarah Malkin, Vice President of Programming at Maker Studios, describes it as "content that feels authentic to its creator(s)–meaning it reveals something personal or shares a truthful perspective on the world; content that is interactive or social by nature—asking the viewers to participate and share their own feelings across platforms; and content that sets up a promise that it delivers on consistently (e.g., a fun format that is always followed; a strictly adhered to publishing schedule).”

For a case in point, look no further than This American Life and its new series Videos 4 U. Their episode "I Love You,” about a young couple who have been dating for eight years but have never said "I love you,” has garnered a ton of buzz, conversation and press, amassed more than 1 million views across platforms and just won a 2015 Webby Award. It’s easy to see why, given the story’s approach to a universal rite-of-passage through a unique, personal and deeply authentic point-of-view.

YouTube personality Grace Helbig

Likewise, YouTube personalities like Tyler Oakley and Grace Helbig have found tremendous success by just being themselves on camera. Tyler’s unabashed "fan-girling” has endeared him to a broad millennial audience, while Grace’s winningly awkward comic delivery has helped her secure a place as a YouTube everywoman.

Anyone curious to get inside the mind of this generation and understand why they are drawn to this type of content should stream "Teens React to Grace Helbig” on TheFineBros YouTube channel. Young people aren’t shy about what they like. YouTube is full of free focus groups, if you know where to look. (TheFineBros, Tyler Oakley and Grace Helbig have 12.1 million, 6.8 million and 2.2 million YouTube subscribers, respectively.)

Misconceptions of Producing Digital Content

Since the online market is so different from linear television—from the attitude of the consumer to the multi-directional interaction with the content—there isn’t a one-size-fits-all mentality that can be helpfully applied to producing in both media. As producers from mainstream television begin to move into digital territories, they find that different rules apply.

Producer Bernie Su (left) works on-set with cast and crew.
Bernie Su thinks one of the biggest misconceptions about digital content is that "If it’s shot well, it will do well. A lot of people overvalue the production value of the show and undervalue the writing or the acting,” he says. "It may look great, but if the heart of the character and the story isn’t there, you won’t get that personal connection with it.”

"It’s become a little bit of a trope to say that,” David Williams agrees, "but I think there’s still a big disconnect between what people associate with high production and success with audiences.”

This seems to be the natural inclination of the rising generation, bucking against the highly produced concepts in favor of authenticity. They value story lines or characters that speak to them above all else.

Of course, if you can have both a high production value and a story with heart, you have a winning combination. But a story that deeply connects with its audience—even despite a low production value—isn’t something to sniff at these days. As long as it can resonate within its niche, it can persevere.

Sarah Malkin says another misconception is "it’s easier or takes less effort to pro-
duce because it’s meant for a digital platform. Producers know that making content is always a challenge, whether it’s made for $100 or $1 millon. Digital producers put a huge amount of planning, preparation and perfectionism into their work, with the added stressors of lightning-fast turnaround times and the expectation to pivot based on audience feedback.”

Budget and turnaround times for a digital production can be vastly different than a series for broadcast. Digital producers have to be adept at wearing multiple hats and crewing their shows efficiently. If you can’t afford to put 100 people on your crew, you have to prioritize and determine what you can do without.

Chris Thomes, Vice President, Digital Media Studio at ABC, observes, "The viewer appetite for video programming has really evolved with the proliferation of different viewing devices, platforms and content formats. Their expectations around look and feel for content are more flexible than ever before, so production values can follow. Like a Silicon Valley startup, where you may have employees wearing multiple hats to get a new company or product off the ground, digital productions can leverage smaller teams, with each crew member being expert in more than one skill. The key is having a great line producer who is savvy at budgeting and crewing a production in a compressed way.”

Contrary to popular belief, some producers thrive on quick turnaround times, incorporating feedback based on the fans’ comments. Best of all, the fans feel listened to, which fuels their engagement even further.

"There’s also a misconception that if you just plug in an influencer,” Su believes, "you’ll get views.” In digital media parlance, these "influencers” are the stars of social media—personalities with millions of subscribers on their YouTube Channels and/or massive followings on Twitter, Vine, Snapchat or any other social platform.

If only we could recall the name of this YouTube star...

PewDiePie is a YouTube personality who posts videos of himself playing video games while commenting and reacting. While it may not be high art, it does speak to a certain audience—and that certain audience happens to be huge. PewDiePie’s YouTube channel has more than 36 million subscribers.

The comedy channel, Smosh, has more than 20 million, and vlogger Jenna Marbles is just shy of 15 million subscribers.

Influencers aren’t always the shortcut to wide exposure that they seem to be. "There’s a lot more to it than that,” continues Su. "You can’t just plug in someone who has a million Twitter followers into something and expect that million Twitter followers to all come to it. It has to be on brand with them, it has to be on brand with you.”

"Sometimes people overestimate the power of influencers to move the needle on audiences,” adds Williams. "It’s not automatic, and the content itself has to be highly tuned to a community’s interests if it’s going to work. If you can tune the content with the community, then the influencer is actually tremendously helpful in establishing a brand voice and communicating a brand promise.”

In short, there’s a lot to be said about the social reach and the marketing potential of including an influencer, but it’s not necessarily a box on the checklist for "Make Show A Hit.”

"A lot of people obsess about runtimes—that it has to be short. I don’t think that’s true. If the audience loves the content, they will share the content with their peers, regardless of how long it is,” says Su.

"If you have an existing, passionate fanbase, longer content will work and will work well.” says Williams. "However if your goal is to acquire new audiences, shorter content is likely to serve you better as you build,” says Williams.

Vlogger and YouTube personality Jenna Marbles
Creating Content & Engaging with Your Audience

"Now the larger companies are competing in this Darwinian ecosystem for consumer engagement, so the big challenge—from my perspective—is how to create digital series that are appealing to advertisers and brand marketers, while at the same time being appealing to audiences. Especially when you consider a lot of the successful formats online are these highly efficient, inexpensive programs. But it’s also a big challenge because they are not necessarily appealing to brand marketers who want to associate with more aspirational content. So the challenge is: How do we leverage our resources and our operations to create programming that can do both?” asks Williams.

In Bernie Su’s development process, he always asks himself, "What makes the content fresh? If you have your television on, [the network] shows you what they show you, and you decide whether you consume it or not. But online, you have this massive choice of things, and it’s search-based or feed-based. We’re not trying to fill inventory; we’re trying to actually spur discussion and reaction.”

Ultimately his target is content that is buzzworthy and that invites the fans to talk about the "world” within the show.

So as a content creator for digital series, how does a producer stoke the fire and fuel fan engagement? For Bernie Su, the key is accessibility. He gauges his audiences’ passion by their user-generated content, such as fan-art or music videos using cuts from the show. "It shows that the [series] has hit these viewers at a different level than just the casual viewer” says Su. "It’s a measure of success.”

To keep the fans engaged with the content, he honors requests for logos, key art or stills. "Give your audiences the tools. Make them feel like they are welcome and valuable and part of the whole experience of the show, and I think they’ll be more passionate as well.”

Malkin adds, "Creators who communicate regularly with their fans and ask for their responses inspire great loyalty. It’s largely about establishing and maintaining a connection. Also, demonstrating appreciation for serious fans by providing extra access or exclusive offerings goes a long way. Creators will find ways to reward their most devoted followers with special bonus content available only on certain platforms, in-person meetups at the fan events, etc. By doing this, they’re creating a real community for their fans to interact and share with each other, in addition to expressing themselves to the creator.”

The Future is Digital

A new survey was just released from Deloitte, in which they found 53% of U.S. households stream TV shows on a monthly basis, compared to 45% of U.S. households that still watch traditional live TV each month. Netflix CEO Reed Hastings also recently has discussed his stance, as published in Business Insider.

"Linear TV has been on an amazing 50-year run. Internet TV is starting to grow. Clearly over the next 20 years, internet TV is going to replace linear TV. So I think everyone is scrambling to figure out how do they do great apps. That will just keep getting built up, and so it’s a transition into figuring out the internet.”

"This is the most exciting time to be in this industry,” says Williams. "We’ve all been waiting for the moment the market begins to flip, in terms of classic media leading digital, and we are at that moment where that changeover is occurring in tangible ways. The amount of excitement and opportunity that that brings is immeasurable.”

During this exciting shift in the market, content creators win. The world is their oyster, as they say. Without the confines of a finite amount of programming opportunities and the constraints of needing huge budgets, content creators can explore new types of programming, new platforms, new ways of marketing and niche audiences.

With an abundance of creative outlets for storytellers, digital media has provided an opportunity not only to serve the mainstream—but for the smaller, niche, more authentic markets to have a voice and, frankly, to matter. After all, every market matters. Every audience deserves creative voices speaking to and with them.

Digital media didn’t create those audiences, but it’s given storytellers an unprecedented moment to find and connect with them. That moment is here. Don’t miss it.

-Written by Meghan de Boer

This article originally appeared in Produced By Magazine. View more article here.

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Produced By Conference: Press Recap

Posted By Administration, Monday, June 1, 2015
Thank you to all of the attendees, sponsors, crew, staff, and everyone who came together to make the 2015 Produced By Conference at Paramount Pictures as memorable a conference as we have ever had!  From professional networking, educational panels, mentoring tables, producer spotlights, sponsor exhibits and more -- Produced By Conference offered all the staples that our audience has come to expect.  On top of that, for the first time ever, Produced By Conference featured sessions focused on the Art and Craft of pitching for Television and Film, respectively.  Headlining speakers also included Eva Longoria, Tyler Perry, Kevin Smith, and Reese Witherspoon with Bruna Papandrea.  Oh! and don't forget our 360° profiles on booming micro-budget house Blumhouse Productions and the smash TV hit Empire.  If you want the latest and greatest on producing community, you know where to find us.

Checkout the links and images below for a glimpse of what you missed out if you were unable to attend this extraordinary event.  Later, select session highlights will be available at and select full sessions will be available to PGA members exclusively at

Produced By: Reese Witherspoon, Bruna Papandrea on Making Movies With Great Roles for Women

By Rebecca Ford

May 30, 2015



Reese Witherspoon on Portraying Hillary Clinton, Finding Great Roles for Women

By Dave McNary

May 30, 2015



Reese Witherspoon Gets Sassy Over Gender Equality, Calls for Female Hires at Entry Level in Film

By Matt Donnelly

May 30, 2015



Papandrea: Women Deserve Equal Time – Produced By

By Anduka

May 30, 2015



Tyler Perry Talks Calling the Shots and Leaving a Legacy

By Reece Ristau

May 31, 2015


Produced By: Tyler Perry Says He's "Not the Person to Ask About Racism" in Hollywood

By Austin Siegemund-Broka

May 31, 2015



Tyler Perry Details Rise to Fame, First Movie Deal to ‘Selma’ Director Ava DuVernay

By Joe Otterson

May 31, 2015



Tyler Perry & Ava DuVernay Talk Hollywood & Race, ‘Empire’ & Owning It – Produced By

By Dominic Patten

May 31, 2015



Produced By: Kevin Smith on How 'Tusk' Rebooted His Career, His Ideal Comic Book Movie

By Austin Siegemund-Broka

May 31, 2015



Eva Longoria Talks ‘Devious Maids’ Backlash, Latino Perceptions at Produced By Conference

By Reece Ristau

May 31, 2015



‘Empire’ Creator Lee Daniels Reveals He’s Received Death Threats for Drama’s Gay Storyline

By Matt Donnelly

May 31, 2015


See below for additional Photos:

 Attached Thumbnails:

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Branded Entertainment Network (BEN) - A Unique Benefit to PGA Members

Posted By Administration, Friday, May 29, 2015

Branded Entertainment Network (BEN) is the leading global entertainment marketing company delivering premium brand integrations across streaming, TV, film, influencer, and music programming. A Bill Gates Company endorsed by the PGA, BEN brings 35 years of brand integration experience to support your creative projects. Our mission: to connect global brands to consumers through the power of entertainment.

Through BEN, our team has access to some of the biggest global brands across key categories that want to be a part of compelling and relevant storytelling. We do the heavy lifting of identifying opportunities from development and pre-production to principal photography and post production, with extensive experience working with key stakeholders in Transportation, Costumes, Props, Sets, Playback, Locations, and more.

We create a collaborative ecosystem that brings together brands, creators, and audiences in order to offset production costs, maintain your creative control, provide valuable assets, and be your turn-key solution to brand integration.

We have been proud partners of the PGA since our launch and are excited to hear from you, PGA members, about how we can support your properties through brand integration.

How to Get started with BEN:

Simply fill out and email the attached attached BEN Opportunity Checklist (.DOCX) file to and a BEN team member will follow up with your inquiry. Please include any additional documents (ie. scripts and mood boards) that you feel may be helpful for our team to utilize to effectively evaluate your project for integration opportunities.

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