Develop, Package, Pitch
+ back to basics for your Series in the lead up to MIP
I was having a conversation with a sales agent friend of mine who is prepping for MIPCOM in a few weeks and when I asked her what she’s focused on she said simply -
Develop, Package, Pitch
That’s her mantra! (kinda like wax on, wax off huh?)
I was reminded that for those of us who aren’t able to completely self fund our series we are still at the mercy somewhat of dealing with gatekeepers and third party decision makers when trying to get our projects funded and green lit.
As in, you want to get your series into production so you can’t get paid and have something on air next year? Then you can’t get around tackling all three of these things in some way shape for form.
However!
You CAN leverage a few strategies to help move things along….
One client that I’m working with has a Documentary that I secured a distribution deal for and now we’re leveraging that ‘IP’ to pitch a series version. A completed feature can be a strong development asset for pitching a series.
Another client produced a podcast that will serve as the IP for pitching a related series - another strong development asset ✅💪
I’m working with a You Tube creator with strong proof of concept videos that we’re developing into a series idea for pitching out into the market. Quality storytelling and built in audience are huge assets here.
A sales agent I know is even packaging up You Tube channels on specific topics for licensing to AVOD and FAST around the world 📺 🌎
I have a few clients I’m working with on reducing their series budgets down so that it’s a ‘can’t say no’ proposition for buyers ($50K-$100K per hour is a sweet spot depending on genre and subject).
Another sales agent I work with is pitching proofs of concept videos to celebrity led production companies for partnerships as a way to package their ideas and make them more of a no-brainer for commissioners
I have a client who is focusing on solely pitching to smaller international broadcasters and streamers to cover half of the budget while deficit funding the other half, and keeping ownership of the series for licensing in the US as completed shows later
The list goes on!
My point is this - for as much doom and gloom as there is out there, I sense MIP will be a hive of activity far away from ‘Hollywood’ realities. Hollywood may feel down on it’s luck, but the rest of the world is open for business in a way that most people can’t see from here.
If you have the opportunity to attend MIPCOM at some point, I highly encourage it.
☝️ Either way, if you need help with developing, packaging, and pitching out your series, hit me up at stacey@filmspecific.com as I’m taking on a couple more clients in the lead up to MIP. Would love to get a few more Series in the works with you guys!
What do you think?
Ask me any questions below and have a wonderful weekend ahead!
Stacey
+++++++++
"I have a few clients I’m working with on reducing their series budgets down so that it’s a ‘can’t say no’ proposition for buyers ($50K-$100K per hour is a sweet spot depending on genre and subject)." Can you clarify this a bit? Is the 50K-100K the cost of the series per hour or is someone willing to pay that for each hour or...? TIA
Spot on. Hollywood's meltdown has opened the door for smaller independent producers and studios to find money in markets outside North America, and a spike in co-productions.