Hi All - I've created a sizzle reel and pitch deck for a real estate centered docuseries with a unique twist.
1. I've noticed that some reality production companies accept submissions. Is it a good idea to submit to those? And are there any drawbacks?
2. I'm familiar with the screenwriting world, but less so the reality world. If you create a docuseries, is it best to seek the same kind of representation in order to pitch networks and/or production companies?
Any advise would be much appreciated! I really believe in this project.
Thank you!
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Alexandra FitzGerald My advice is NEVER pitch except through representation, and that goes at least double for reality/unscripted (which docu-series generally fall into). I have many years in unscripted and have successfully pitched/sold some projects. So when I say it's more important to protect yourself in that space, I come from experience. Here are some pointers:
1. Remember, there is no copyright in an idea. So if they like the idea and think they can make it work without you, they might just do that. Ask yourself before you pitch: why do they need ME to implement this idea?
2. So, never show materials without getting an NDA. Anyone in the industry who balks at executing an NDA in advance has nothing good on their mind. That's a rule you can count on.
3. In unscripted/reality shows, theme, mileau, etc. are a far second in interest to the personalities of the cast. In other words, producers are less concerned about whether your idea involves say, shady quasi-criminals (a-la Mob Wives) or apparently unsophisticated people traveling the world (a-la Red Neck Vacation), than they are about the interest that the specific cast might engender in an audience.
4. Many, if not MOST of the unscripted producers you pitch to are actually 2nd or 3rd-tier companies who will massage your idea, and in turn pitch it to other companies, who themselves have a track record of producing for a particular network. For instance, Left Field Pictures may refuse to talk to you. But they may still see your project through one of the producers who worked on one of their shows. There is no reliable way for you to know what actual capability any given producer has to get your project in front of a decision-maker. (Another reason to go only through professional representation).
5. All producers, especially the higher up on the tier, want to be able to add their take onto your show. In other words, they want to make it into the kind of production they are known for. So if your idea is too fleshed out, or if cast are already signed on, if too many things are hard to change, they will lose interest.
6. If they lose interest, refer to point #1.
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Hey Alexandra FitzGerald - Great to have you here. I am the Director of Script Services at Stage 32. Feel free to reach out to me at j.mirch@stage32.com - I would be happy to give you some thoughts on this. Look forward to connecting!
I'd agree with Shadow Dragu-Mihai, Esq., Ipg you should only submit through an agent or lawyer. More so than fiction, docuseries ideas are not difficult to rip off as by just changing a few aspects it's someone else's idea! Not that you should be thinking people will always rip your idea, it's likely they won't. But such factual formats can have huge value if sold on throughout the world. America's Got Talent for example. You can probably work with a lawyer on a price per submission basis, obviously on the understanding if it gets picked up, they get the job.
BTW, on Shadow's point 1, true there is no copyright in an idea, but once it's written down in a. document to be pitched, copyright exists in what's in the document. That's how it works in the UK, I guess it's the same in the US?
Geoff Harris That's correct. The particular expression is protected, but still not the idea itself. There is literally no way to protect that (nor should there be). That's the same as in the UK and common-law world.
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I worked almost a year at FOX reality department. The Exes only take meetings/pitches with prod companies they know/worked with in past. They don't take individual meetings. Basically, you need a whole team before you meet Fox Execs, and when Fox buys a concept, Fox owns it. The idea and everyone else outside of Fox becomes salary "contractors." (Pre-Disney era)