Peter Tortorici Interview

Mon, 20 Apr 2009 23:37:22 +0100

We're launching NATPE News' podcast with one of the television industry's most respected executives, Peter Tortorici. Peter has served as president of two broadcast networks -- CBS and Telemundo -- has developed some of television's biggest hit series, and today serves as CEO of GroupM Entertainment Worldwide. Peter speaks to NATPE News about the realities of developing brand-funded entertainment content.

NATPE Mentor: Pat Quinn

Tue, 03 Mar 2009 18:26:17 +0100

Looking to set the record straight on the often misaligned role of agents in Hollywood, Innovative Artists' Pat Quinn says: "A lot of people think of agents as some kind of angel in that once you get one, we solve all your problems and create this perfect force that opens all doors and catapults you past all the Hollywood obstacles. It's as if once you sign with an agent you automatically have a career. But I think we're more like magicians, because we can add sparkle and intrigue and help to make things appear, but we need to start with something that focuses the audience's attention -- a rabbit, a scarf, an empty hat. And it's not just waving the magic wand either, there's a lot of work being done behind the curtain."

With more than 20 years' experience as an agent, interspersed with stints in development, producing and program packaging, Pat Quinn is a fast-talking and faster-thinking executive with a reputation for directness and tenacity that has made her a well-placed resource for anyone interesting in knowing how Hollywood works and who the players are.

Her earliest career experience was earned in live theatre -- Quinn earned a Master of Fine Arts degree from Yale School of Drama -- and her first foray as an agent came in 1985 when she was recruited by International Creative Management to create and head the agency's West Coast theatre department. Moving to Los Angeles, Quinn spent the next five years building the agency's client base of writers, production companies, actors and producers, identifying co-production opportunities and expanding the agency's theatre department as well as its international and television packaging business.

Says Quinn modestly, "ICM needed someone to run their West Coast theatre office and I knew how to do all that stuff." In fact, talking about past accomplishments is about as interesting to Quinn as reading month-old newspapers. Definitely a woman who lives in the now, she'd much prefer to discuss her latest clients, two young men whose user-generated content on the Internet led to a series of commercials for a major mobile phone company. "We looked at their video and just flipped," says Quinn. "There is a completely new approach for getting into Hollywood now because of the video capability of the Internet. I'm not sure if Hollywood is combing the Internet looking for talent, but there is certainly a value in knowing a low-budget approach for getting stuff done."

When it comes to growing her business and signing new clients, Quinn admits that most of her clients come through referrals. "A client sees that I have a success rate and they like my style or the way I work appeals to them, and when I meet with them, I sound reasonable to them. What I'm really doing is inside entertainment marketing. I'm giving them exposure and connections and working on a game plan and problem solving. I hate to make it sound boring, but what I'm really doing is business development."

"A lot of people think of agents as some kind of angel in that once you get one, we solve all your problems and create this perfect force that opens all doors and catapults you past all the Hollywood obstacles," says Quinn. "It's as if once you sign with an agent you automatically have a career. But I think we're more like magicians, because we can add sparkle and intrigue and help to make things appear, but we need to start with something that focuses the audience's attention -- a rabbit, a scarf, an empty hat. And it's not just waving the magic wand either, there's a lot of work being done behind the curtain."

As an example, Quinn points to a project from one of her U.K. clients, which she calls "brilliant." The project has been picked up by several big-name studios and networks but is only now coming to fruition. "I'm thrilled about it, but I've been working this project for three years," says Quinn. "Maybe that's just what it takes for something outside the traditional Hollywood track. But what I love about the international business is working more as a consultant with those clients. When I sit down with a U.K. company, for example, the conversation is more about strategic planning, business objectives, looking at what I think I can sell and what's appropriate for the marketplace, and identifying what we'll need to add as far as the sparkling magic dust. It's important for people to know this because they need to have a realistic perception as to what we can do and how it works."

Quinn also says that often, it's the client who needs to make a change in order to advance toward their goal. "Maybe they need a career coach, but the agent can't do it for them. We can suggest, we can guide, but with all of the irregularities and cycles of the business, we can't make the rejection go away. It's basically a freelance business that's very cyclical and tied into the world economy and advertising and you're subject to incredible external influences that have little to do with talent or experience."

Quinn is also very excited about advances and changes in the European entertainment sector. "You can't ignore it, particularly with the cell phone content and technology, you just can't ignore that. The big networks will continue to operate status quo but there's a huge appetite for content and the Europeans seem to have figured out how to do things less expensively and quickly and inventively to catch people's attention. It's very much a two-way street now between Europe and the U.S."

Asked how the development process has evolved since her time as vice president of comedy development at Warner Bros. Television in the early '90s, Quinn responds: "Well, now they all own networks, which has made a huge impact on the business. At the time I was in development, the FinSyn rule was still in place and networks couldn't have an economic interest in the shows they put on air. Also at that time, the networks only wanted to do multi-camera comedies, family shows that would work at 8 p.m. If you look at the development this year, the networks are trying everything. And they've definitely been influenced by larger international forces -- The Office, Ugly Betty -- I don't think you would have seen those 15 years ago. They would have thought I was out of my mind if I'd suggested that. But now, there is such competition for viewers, and the impact of reality, especially on cable, it's not so much the idea anymore as it is the execution."

Working for independent production companies packaging projects and negotiating co-production agreements for three years taught Quinn the reasons why people buy shows. "There's a corporate mandate to buy a particular style or type of show; they also buy because of competition -- not wanting to pass on something that could be a hit for the competition, that certainly enhances a sale; and the elements you've attached to the show -- the star, the director, the showrunner, the writer -- the caliber of the elements attached are essential."

Having worked at Metropolitan and Paradigm agencies before joining Innovative Artists in 2004, Quinn says the last ten years have taught her to go with her instincts on quality. "Sometimes in the past I made the mistake of passing on something when my first instinct was to grab it. But then you have second thoughts or someone questions your initial reaction, or any one of a million outside influences, so you pass, only to regret it later. Now I grab it, and nurture it and sell it."

Advising people interested in becoming agents, Quinn says the best way to start is by getting into one of several good agency training programs. "That's a fabulous way to start. USC also has great courses and internships at the various Hollywood agencies, another fantastic opportunity. But you really need to check it out and see if you like what being an agent entails while you're still in college. Get an early start. When you're an intern, people seem to be more generous with you, so it's a great way to check it out or get started."

Quinn, who teaches in the entertainment studies department at UCLA Extension, credits her students for helping her remain innovative. "The great thing about students is that they're always asking you 'why?' It causes you to stop and examine the process and, potentially, look for a different way. I think it's essential to always be looking for new ways of approaching this business. We're starting to see a lot more innovation now because of the Internet and mobile and technology. It's an exciting time."

NATPE Mentor, July '08

Wed, 01 Oct 2008 20:33:55 +0100

With NATPE's LATV Festival fast approaching, we thought we'd share some sage advice from many of this year's festival participants, including: Jordan Hoffner, YouTube; Jonathon Leess, CBS Television Station's Digital Media Group; Lori Schwartz, Interpublic's Emerging Media Lab; Bruce David Klein, Atlas Media; Philip Irven, Rebel Entertainment Partners; Brian Seth Hurst, The Opportunity Management Company; Daisy Whitney, Television Week; Philip Gurin, The Gurin Copmany; Pat Quinn, Quinn Media Management; and Laurie Scheer, Media Consultant/Pitching Coach.

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For the latest details and registration information for NATPE's LATV Festival, visit http://www.latvfest.net

NATPE Mentor: Stephen J. Cannell

Wed, 01 Oct 2008 19:28:27 +0100

Writer/Producer Stephen J. Cannell

Stephen J. Cannell’s taut physique and rugged good looks are more suggestive of a Hollywood leading man than one of its most prolific writer/producers. But since selling his first script in 1968 to It Takes a Thief, Cannell has created or co-created more than 40 shows, scripted more than 450 episodes of television, and produced or executive produced more than 1,500 television episodes. Included among his hit television series are The Rockford Files, Hunter, Riptide, Hardcastle & McCormick, 21 Jump Street, Wiseguy, The Commish and syndicated hits Renegade and Silk Stalkings. NATPE TV had the pleasure of interviewing Cannell in 2007, when he was awarded NATPE’s Brandon Tartikoff Legacy Award… [view video]

NATPE Mentor: Peter Roth

Wed, 01 Oct 2008 19:03:03 +0100

Warner Bros.’ Peter Roth

From his earliest role as manager of children’s programs for ABC Television Network to the more recent achievement of overseeing production on a combined 31 programs during the 2007–2008 season for Warner Bros. Television and Warner Horizon Television, Peter Roth, president of Warner Bros. Television, says modestly: “My role in each of the shows I’ve been involved with is nothing more than being a creative cheerleader.”

NATPE - National Association of Television Program Executives

Peter Tortorici Interview

NATPE Mentor: Pat Quinn

NATPE Mentor, July '08

NATPE Mentor: Stephen J. Cannell

NATPE Mentor: Peter Roth