![]() While most companies under a first look deal do have the ability to shop material elsewhere should their studio reject their proposed project, many tend to develop material with their specific studio in mind as their home studio is incentivized to give priority to any of their projects in order to justify the significant cost of the deal and preserve a prestigious relationship.įor individual television writers who are seeking to develop content with a studio on board, there are two deal options: The first is the BLIND DEAL. In such a deal, the production entity receives annual funds to cover all or some of its overhead costs (including salaries for company principles), may receive on-the-lot privileges and offices, and in return make the studio with which they made their deal the first destination for any new project it is looking to develop. Bad Robot, for example, has its feature deal with Paramount, and a TV deal with Warner Bros. ![]() A production company can have a single deal with a major entity, or multiple deals for work done for different spaces. Such deals – in which a studio or mini-major empowers a production company – initially began on the feature front, and has since evolved into the television space. If the studio rejects every single show the showrunner presents, the content creator is likely to pack his bags once the deal has lapsed, and go make a home in a studio more friendly to his storytelling sensibilities and overall brand.Īnother high-level deal is a first-look deal. ![]() If the studio wants to nurture the relationship with the creator and ultimately capitalize on its investment in the showrunner, it is incentivized to help the deal holder develop, package and sell the show. Not only are these deals lucrative for the content creators, who often collect an upfront fee, annual fees, and additional writing and production fees for anything the studio picks up during the term of the deal. For most, it also means that they can not shop their projects elsewhere those projects are developed specifically for the studio they’ve made a deal with. That means that they have signed a deal under which they are obligated to bring anything and everything they are developing to their studio, and work on it under the studio umbrella. ![]() There iare a variety of deal options that may over time become available for the represented writer who makes an impact in the space with a strong voice, strong series concept, or who is moving up the television ladder in an effective and inspiring manner.įor the big dogs, the established showrunners and EP’s (executive producers) such as the Vince Gilligans, Kurt Sutters and Ryan Murphys of the world, you are likely looking at an OVERALL DEAL with a studio or even a network. ![]() However, not all TV deals are created equal. Not only do TV deals signify that the writer has arrived in the television stratosphere, they represent – at best – a financial windfall and employment security, or – in the very least – the presence of a powerful partner with whom to develop and shop the writer’s work. In the world of television, any writer already working their way up or seeking to break in with a strong original pilot is likely to look forward to the day when a TV deal is put on the table. ![]()
0 Comments
Leave a Reply. |