By
Scott
Manville
Why do I care about
this person, and why is it important
that this story be told right this
second?...
...Such is the self-imposed tough-love standard Executive Producer,
Darryl Trell lives by when forging
paths for new programming as Sr VP
Production & Development at Brian Graden Media. And
story is the
touchstone for this renaissance
producer whose talent sees no
boundaries, delivering both
scripted and unscripted
entertainment on the highest levels
of TV and Film.
From his formative years at
Discovery Networks producing
cornerstone programming when
reality TV was real- to his move
into feature film producing for
legendary studio chairman Bill
Mechanic at 20th Century Fox ("
Caroline"
and "
Hacksaw Ridge")- to his
arrival at Brian Graden Media where
he creates original TV formats
and acquires international format
rights for the trend-setting
trailblazer, Graden, Trell knows story
as the singular force behind all
success, no matter the genre, no
matter the medium. And he knows how
to deliver it.
In our conversation, Trell shares some clear
insight on his approach to pitching
and producing, along with some sharp
advice for new creators and
producers pitching in today's TV
industry.
He also throws some cold
water on everyone clambering to
pitch and sell a TV show idea or
movie to Netflix. We invite you to
enjoy our talk with this prolific
producer.
Scott Manville |
TVWritersVault.com: Thanks
for the time, Darryl. I've known you
as an industry member of our
platform as your company (Smoke &
Mirrors Creative.) had optioned a
few projects pitched here, but I
first started following your career
when you launched 'Mobbed' at
FOX...one of my favorite shows at
the time- just a great format with
feel-good-drama, performance, and a
big pay-off moment in each episode.
You brought some real heart to
Reality TV with that.
Darryl Trell | Brian Graden
Media/Smoke & Mirrors Creative:
Thanks so much. That show was really
a turning point in my career and how
I view the TV medium. For the most
part, my early years in this
industry were spent developing and
producing TV for the Discovery
Networks. It was tremendous learning
experience and an incredible place
to work, but I got the itch to do
more and widen my horizons. As it
does for many producers, it led me
to want to go strictly into
scripted. I spent the next 5 years
working for Bill Mechanic (former
studio head of 20th Century Fox) and
did the deep dive into producing
feature films. That too was an
invaluable experience which gave me
access to top talent and a view into
the creation of incredible projects.
It was also during that time that
the writers strike happened. I
wanted to keep busy, so I
reconnected with an old buddy and we
formed a partnership and dove back
into unscripted TV with the creation
of
Mobbed. After seeing the reaction
to the project (both on set and
through the outpouring of support
after it aired), I came to realize
that, for me, the medium and the
genre didnt matter. All that
mattered was that the material evoke
some sort of emotional reaction. So,
today, I am working on scripted
projects, unscripted projects and
even a stage play.
|
"From
Bill Mechanic to
Brian Graden, David Permut, Howie
Mandel - they all
have impressed upon
me that everything
starts with a good
story." |
Scott Manville: As
we have seen the ebb and flow of
popularity between unscripted
programming and scripted
programming, tossed back and forth
over the past few decades, you seem
to thrive in both arenas, and always
deliver great story. Is
understanding story the common
thread for success in any genre? Can
you peel that onion back a bit and
share with us your approach to
discovering and developing both Film
and TV projects that resonate with
audiences?
Darryl Trell:
Absolutely. Ive been fortunate
enough to learn from icons in
Hollywood. From Bill Mechanic to
Brian Graden, David Permut, Howie
Mandel, they all have impressed
upon me that everything starts with
a good story. In scripted, you
really have to forget the package
for a moment, forget who the writer
is or who is attached to star or
direct. If the material moves me,
it's worth a further look. The
packaging is icing on the cake (and
needed to sell). For unscripted, it
needs to be based in more than a
notion. For me, it has to answer the
question of why do I care about this
person, and why is it important that
this story be told right this
second? In the case of a format like
Mobbed, it all started with the
phenomenon of the flash mob. We knew
we wanted to start there, but that
wasn not enough to get someone to come
back week after week. So then we
began the exploration with Howie
Mandel into how to use the flash
mob to tell an emotional story. The
actual emotion does not matter. It
can be anger, grief, happiness, as
long as you walk away from it
feeling something.
Scott Manville:
When you are in a room with TV or
Film executives, pitching and
selling shows...What is your
strategy to engage them? What is your
touchstone that keeps your focus in
the right place?
|
"I
started reflecting
on my pitch style
and noticed that I
was far more
successful in
selling shows that I
had some sort of
personal attachment
to." |
Darryl Trell: My
strategy has evolved over the years.
I used to be very scripted in my
sales approach � learning every
statistic behind the reasons this
concept will work on that particular
network, but as I spent more time
out here and the network executives
became friends of mine, and the
meetings became less and less
formal, I started reflecting on my
pitch style and noticed that I was
far more successful in selling shows that I had some sort of
personal attachment to. My passion
for it came through as genuine. In
that way, I always try to pitch
every show from a personal
perspective � starting simply with
why I first got interested in the
project. I may have had a friend
going through the same life crisis
as the character in the script, or I
may have been moved personally by
this chef when I went to his
restaurant and that�s why I think
the world needs to see this on their
screens. If I have to convince
myself why a particular project
should sell, I can never do it
justice in the pitch room.
Scott Manville: In
contrast to that, when you�re on the
other side of the fence and a
screenwriter or producer is pitching
a show to you for collaboration on a
series, what do you hope to
experience or find when being
pitched? What often disappoints you?
Darryl Trell: I was
actually just having this
conversation with a producer-friend
of mine and he had the perfect way
to describe the shortfalls in most
pitches � so I will steal his
thoughts here a bit� Most people, be
it scripted or unscripted think that
they have an incredible show
concept, when, in fact, all they
have is a notion � not at all a
fleshed-out pitch. For example; in
reality, if you were to come to me
and say �I�ve got a show about
tracking one serial killer in every
state,� and that�s it� well, then
you don�t really have anything
except a notion. That�s not
something I could get behind and
sell. However, if you had come to me
with the same idea, but as told from
the point of view of the country�s
foremost criminologist who also has
an amazing backstory about how s/he
got into that line of work (and you
have the person signed to a
contract) � then that�s a starting
point for development that I would
be interested in.
Further, in scripted; if you were to
send me a script or treatment for a
buddy comedy set in the college
fraternity world (aside from the
fact that it has to be funny), there
needs to be a new and unique way
into the material that has not been
explored before.
Ultimately, you should always assume
that at least 5 other people are
currently pitching the exact same
project. That�s just the reality of
pitching anything that's in the
zeitgeist. That means there has to
be a reason for a buyer to pick
yours above the 5 others. That means
a unique way into the material,
amazing talent, or undeniable IP.
ScottManville: We
have a lot of people pitching
docuseries at TVWritersVault.com-
that genre brought our first
pitches from our creative members to
production and broadcast...So for
those everyday people whose
business, family or lifestyle may be
�TV worthy�, what do they need to
get on tape to back up the details
of what they're pitching as the
show? Let�s say it�s a family
business�
Darryl Trell:
Docuseries comes down to 3 things:
1. A unique view into a world that
no one has seen before (is your
family business so unusual that you
have never seen anyone else do what
you do? A unique product or
service?)
2. Does that business lend itself to
exciting television? For instance,
what is the process of creating that
product or performing that service
that would make for an exciting 45
minutes of TV (and different every
week)? And�
3. Are the personalities of everyone
involved on the level of the best
characters you�ve seen on TV?
As far as what they should get on
tape to back this all up �
interviews with everyone involved
and an explanation of exactly what
it is they do and the steps involved
in doing it. The biggest mistake you
can make is to �tell me� how �we are
all so crazy� or �every day is
completely nuts around here.�
Telling me that doesn�t make me
believe it. Show me. And, further,
it�s not all about being
�crazy/nuts� anymore. It�s just
about being genuine and passionate.
|
"Don't
waste your money and
time creating an
elaborate reel. If
we like the pitch,
we'll do that for
you." |
Scott Manville: A
technical question...For a new
producer who�s piecing together a
sizzle reel or a short
film...proof-of-concept...what are
some of the fundamentals that need
to be there technically to let the
potential of the story or idea be
communicated while minimizing the
distraction of �production quality�
or lack of, as an Executive puts
eyes on it?
Darryl Trell: This
really depends on what you are
pitching. If you are pitching
yourself as a filmmaker and you want
me to look at you as the �asset� in
the pitch � your unique eye into the
material- then the piece really
needs to have a totally new visual
style. Budget shouldn�t stop you.
You need to work within that budget
to get my attention in a new way.
Someone was pitching me a very
expensive format surrounding
skydiving, mountain climbing and
world travel. They obviously didn�t
have the budget to travel the world
and shoot a proof of concept, so
they made an incredible sizzle using
stock footage, stand-ups,
projections and dolls! It was such a
fresh way to present the material
that we immediately optioned it.
If you are pitching talent or a
business, don�t waste your money and
time creating an elaborate reel. If
we like it, we'll do that for
you. Spend the time on fleshing out
a well written pitch on the show
format and then get your talent on
tape with a simple interview (even a skype will do), but make sure that
the personality comes through on the
video.
Scott Manville:
We�re in a golden age for
independent producers, especially
with digital content and streaming
outlets. How does Brian Graden Media
navigate and integrate with that
stream of business?
Darryl Trell: We�ve
done quite a bit of business with
digital content and streaming
outlets. We have a series on YouTube
Red (Escape The Night), One on
Complex/Rated Red, one on Facebook,
and even one on Spotify. With the
rapidly changing industry and the
trend going to a la carte pricing,
we see these digital distribution
outlets no different than any other
cable or broadcast pitch. The
budgets may be small (though some of
these are even higher than cable),
so you really just need to know your
audience and be able to scale the
show up or down without losing the
essence of the show.
|
"Brandon
and his team over at
Netflix are in a
position to be very
selective. In order
to break through the
clutter, you need to
stack the deck with
both the concept and
the packaging." |
Scott Manville:
Your company has found success
pitching and selling shows to major
streaming outlets. What are some of
the key factors for developing and
pitching an ideal project to
Netflix?
Darryl Trell:
Netflix is an interesting beast. For
many of the reasons discussed above,
they have become THE go to. Everyone
wants to do a project with them and
because they have such a broad
demographic and wide slate, they
hear just about every pitch in town.
Because of this, Brandon and his
team over at Netflix are in a
position to be very selective. In
order to break through the clutter, you need to stack the
deck with both the concept
and the packaging. An A-list talent
EP or voice over, an extremely hot
director, writer, or DP � coupled
with an undeniably original concept
or a piece of IP that is
recognizable or in the zeitgeist�
Short of walking in with all of
that, you really won�t get any
attention there.
Scott Manville:
Where do you see the future of
broadcast TV Networks heading by
comparison to independent streaming
studios? Or is it a convergence of
the two and we�re all just watching
whatever rectangular device is in
front of us?
Darryl Trell:
Ultimately, I don�t think the
broadcast networks are going away
anytime soon. The budgets may shrink
a bit and we may see more integrated
marketing and product placement, but
they will be viable buyers for years
to come. As a content producer
though, I think that the
distribution model matters less and
less with each passing year and the
quality of the product matters more
and more. With DVRs, on-demand, and
streaming, the consumer is time
shifting and screen shifting
everything � so when you ask someone
what they watch, they may be able to
name their top 10 shows, but I doubt
if they could name what network they
all air on and at what time, and on
what day. It doesn�t matter anymore.
Good product, marketed correctly is
now far more important then the
network it�s on. �
This Is Us� could
have just as easily been on Netflix
or HBO, but NBC took the swing and
it�s a hit. There is nothing that
defines a network by the product
anymore (other then a few outliers
like HGTV) so every single
distributor (broadcasters included)
is looking for premium content in
each and every show they consider.
Scott Manville:
Reality TV has reinvented itself
time and again over the past 60
years, from Candid Camera, to
Survivor, to Duck Dynasty, The
Voice, along with standout hits
you�ve created. We�ve also seen
reality TV programming brimming with
docu-style series, allowing us to
vicariously experience other
people�s lives and worlds. What is
the trajectory of �Reality TV�
programming now?
Darryl Trell: The
buzzword right this second is
�premium.� More than ever, networks
are looking for projects with a
story that has to be told right this
second and have attachments that
take the project to the next level
creatively. From top notch directors
and DP�s that bring a unique eye and
shooting style to the material - to
cutting edge filming technology, to
A-list star�s involvement in a very
intimate way � every network seems
to want producers to walk in with a
strong package that takes the
project to the next level. By the
way � I actually think this is a
really good thing for alternative
programming. Anything that pushes
the genre creatively to step up the
product, in my opinion, is a great
thing.
|
"He's
created new genres,
trends and new shows
that are just ahead
of their time. He
pushes us to do the
same every day." |
Scott Manville:
What�s on the horizon for Brian
Graden Media and Darryl Trell?
Darryl Trell: At
BGM we have been meeting on this
every week to discuss where we
should be focusing our efforts in
the future. From a 10,000 foot view,
we have been and will always be a
product first company. Brian�s
entire career has been about
creating trends. From his work at
the MTV Networks, to South Park, and
Hit Record � he has created new
genres, trends and new shows that
are just ahead of their time. He
pushes us to do the same every day.
On a more micro level, we are
constantly looking at the
distribution models to find the new
entries into the market that are
hungry to make their mark in a new
way and develop a business model
that allows us to service those
outlets in the most efficient and
mutually beneficial way possible.
For me specifically, I continue to
look for great projects no matter
the genre or medium and develop and
package them into undeniable, fresh,
and premium entertainment. Very
simply, I just want to share more
and more stories with the world and
find the best way to do that.
Scott Manville:
What are three pieces of advice you
can share with new producers and
creatives pitching TV shows?
Darryl Trell:
1. Before you meet with an exec,
make sure you do some research into
the types of projects he/she does.
Don�t come with 20 projects like a
watch salesman. Put your best foot
forward by pitching 1 or 2 projects
that fit with that exec�s
sensibility.
2. Pitch a show concept, not a
notion. If someone else could be
pitching the exact same show right
now then you shouldn�t be pitching
yours yet. Package it with talent
(an expert, author, writer, or
on-screen talent) or find some
underlying IP to option or get a
fitting A list talent to EP. You
have to assume that at least 4 other
people are pitching the exact same
show at the same time you are. So
why is yours better? What do I get
with yours that I can�t get anywhere
else?
3. As part of your pitch, you should
have an idea of what network or
networks would be an ideal home for
the project. And have anecdotal
evidence to support it. You need to
actually be familiar with the
networks and types of programming on
the networks you suggest. Just
because there is a travel element to
your show, does not mean that it�s a
fit to pitch the Travel Channel�
Scott Manville:
What do you love most about your
work and career producing
television, and what single task do
you most look forward to within the
many specific steps of creating and
producing TV shows?
Darryl Trell:
Producing television has allowed me
to meet some of the most interesting
and inspirational people in the
world. I love getting to know them
and telling their stories. It�s a
privilege I do not take lightly and
a part of the job that I love.
As with any job, there are parts
that I dislike � the deal making and
the slowness of this industry is
overwhelming to me on a daily basis.
But once the deals are done and we
get through the tediousness of
pre-production � it�s exhilarating
to show up on set that first day and
see it all come together. The cast
and crew become family and there is
a bond created through production
that I don�t see happening in other
work environments. I feel privileged
every day, to do what I do for a
living.
Scott
Manville founded TVWritersVault.com
creating the first industry marketplace online to
deliver shows from new creators to global broadcast
on major cable networks, including;
Lifetime TV(U.S./U.K.) Discovery Channel, A&E(U.S.,
Australia), SyFy (U.S., U.K.), UKTV,
Foxtel and
others. Manville has served as Producer at
Relativity Television and is a former head of
development for Merv Griffin Entertainment.