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Overseeing more than 800 titles sold to over 200 countries, with offices in Munich, London, New York and Hong Kong, Michael Schmidt, Chief Creative Officer, Red Arrow Entertainment Group, a ProSiebenSat.1 Group company, knows a thing or three about oversees global format development, acquisitions, creative partnerships and worldwide production rollouts. And one thing he…(Read More)

Every demographic has its stratum but few are as dramatically delineated as kids’ television programming because the distinctions between age groups are so profound. “Strong, relatable, believable characters are key drivers, particularly for a pre-school audience where they become a child’s friend,” explains Rick Glankler, President/General Manager, FremantleMedia Kids & Family Entertainment. “For…(Read More)

As the creative and business worlds of film and television continue to collide, the formerly distinct channels of advertising-supported broadcast television, subscription-supported premium cable, and transactional digital offerings have morphed into an overlapping spectrum of fiercely competitive hybrids. While most distributors look to attract the best (i.e.: already successfully proven) talent, how…(Read More)

If anyone has worked out how to best pitch games shows, it’s Murray Boland. A BAFTA-award-winning executive producer and Creative Director for CPL Productions. His knowledge has been hard-earned over two and a half decades of developing, pitching and producing all sorts of non-scripted programming – but especially game shows. “Quiz…(Read More)

The primary goal of a television pitch is to get the powers that be to request or read your script. Sometimes you will be pitching to professionals who will have actually already read your script (and that’s how you got in the room), so then the purpose of the meeting shifts to your translating…(Read More)