Reality TV. Troy DeVolld

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СКАЧАТЬ Composing A Stringout

       Option One: The Paper Cut

       Option Two: The Avid / Final Cut Pro Stringout

       A Word On Act Breaks

       Teases

       The Rough Cut

       The Rough Cut Goes To Network: First Notes

       The Fine Cut

       The Locked Cut

       Chapter Seven Exercises

       CHAPTER EIGHT: GET TO WORK!

       Entry-Level Positions

       The Story Department

       The Politics Of Reality

       “That Stuff Has Writers?” – Building A Reputation On An Invisible Job

       Ethics

       Saying No: Building The Resume You Want

       Advancing Your Career

       Networking In The Reality Community

       Networking In The Broader Television Community

       Professional Organizations

       Maximizing IMDb And Other Resume And Credit Websites

       Some Final Thoughts On Networking

       Chapter Eight Exercises

       CHAPTER NINE: CREATING YOUR OWN SHOWS

       The Workable Concept

       The Pitch

       The One-Sheet

       Chapter Nine Exercises

       CHAPTER TEN: PARTING SHOTS

       Nick Emmerson

       Brian Gibson

       Pam Malouf

       CHAPTER ELEVEN: CLOSING

       APPENDIX A: GLOSSARY

       APPENDIX B: WRITING HOST COPY AND VOICE OVER

       APPENDIX C: THINGS IT’S NOT YOUR JOB TO WORRY ABOUT (BUT THAT YOU SHOULD SWEAT ANYWAY)

       Rights And Clearances/Releases

       Art

       Castmembers

       Extras/Background

       HINs

       Landmarks

       License Plates

       Logos

       Minors

       Personal Life Land Mines

       Phone Numbers

       Wide Area Releases

       APPENDIX D: PRODUCT INTEGRATION / PRODUCT PLACEMENT / TRADEOUTS

       APPENDIX E: UNDERSTANDING DEAL MEMOS

       The Non-Disclosure Agreement And Cross-Indemnification

       ABOUT THE AUTHOR

      Acknowledgements

      This book would not exist without the generosity of a number of individuals and institutions.

      First and foremost are the men and women of Reality Television, from whom I have learned so much and made so many friends and so few enemies over dozens of projects. Thank you. It’s been a pleasure, even on the worst days.

      Then there’s Michael Wiese and Ken Lee, who put so much care into the books they publish and in doing so, challenged me to create the best version of this book possible. I also extend my thanks to my dear friend and Sound Effects Bible author Ric Viers, who generously put my idea for this book forward to them.

      Thanks are also due to:

      My parents, Robert and Gail DeVolld, who never faltered in their support of a son whom they put not only through art school, but film school. There should be medals awarded for that kind of parenting.

      Patric Verrone, for contributing such a thoughtful foreword to this book and for his many years of championing for and rallying the Reality TV community during his tenure as President of the WGAw and beyond.

      My agent, Beth Bohn, who “gets” me — which means more than you might imagine when it comes to finding great representation.

      The unbelievable Allee Willis, who time and time again inspires me by her creative example and her litmus test for all good work: “Does It Have Soul?”

      Patricia Harrison, who kicks me in the can creatively on an almost daily basis. Everyone should have someone who challenges you to do your best work. Sometimes I almost regret teaching her so much about Reality Television.

      In closing, I’d like to offer my appreciation to the professionals who offered advice and quotes over the course of this book as well as those who are simply quoted or have works cited within¹: Eric Anderson, Vin Di Bona, Michael Carroll, Christo Garcia, Mark Cegielski, Adam Daroff, Nick Emmerson, Brian Gibson, Dana Gould, Albert Fisher, Prof. Henry Jenkins, Joseph Lawrence, Thomas Lennon, Sybil Lindenbaum, Nancy C. Lutkehaus, Pam Malouf, Margaret Mead, Heather J. Miller, Les Moonves, Dan O’Shannon, Ken Paulson, Eduardo Penna, Hector Ramirez, Phil Rosenthal, George Schlatter, Kevin Thomas, David Timoner, and John Wells.

      Note

      1. The author acknowledges the copyright owners of printed or otherwise recorded materials referenced in this book for purposes СКАЧАТЬ