Writers and Producers together

By DTL
Posted December 10, 2011

This past Wednesday, I attended “Writers and Producers Together”, an event put on by the Praxis Centre for Screenwriters [dead link; see sidebar]. The format was that 30 movie-production companies would send a speaker each, and they would have four minutes to tell an audience of aspiring screenwrights what they want to see from Writers.

We had to reserve our seats in advance, and arrive by 17:30 for the 18:00 event, our ten-dollar admission fee in hand. If we were too late, our spots would be given to people on the waiting list. Praxis said the event was sold out, but the chair beside me was vacant, and two in the row in front of me, and a couple further down that I could see. I don’t know why they weren’t filled with people from the rush line.

There was a handout on every seat that listed the production company and the speaker, and a brief write-up about the company. One noticeable oversight: no Web links! (I have attempted to include links below, when I could find them.) Several of the speakers said we could learn more about their companies on their websites, so it would have been handy to include that information right there on the handout.

I was pleasantly surprised to see the theatre full of aspiring screenwrights — and I wasn’t the only one (see Raymond Massey, below). It was also good to see a healthy ratio of girls to boys in the audience; of course the boys were the majority, but there were more girls than I had feared there would be. I was amused that there was a clear break in the audience between 20-year-olds and the 40-plus-year-olds.

Many of the speakers made the mistake of spending most of their allotted time talking about their companies and / or themselves, listing their track records and quoting their résumés. We already had this information on the handout, and we could also get it from their websites, so it just seemed like bragging. They used up their entire four minutes before they got around to talking about what they wanted to see from Writers, and had to rush at the end.

Key points

1) The Canadian market alone isn’t big enough to support a project, so projects have to appeal to at least the USA audience, and preferably the world-wide audience.

2) The most-sought-after projects are thriller, sci-fi, horror, and action movies, in that order. Comedies are right out for the most part; several speakers said that comedy doesn’t work in the international market. (I would guess that’s because our sense of what’s funny is often socially constructed, and (especially today) depends on getting the cultural references and in-jokes.) Dramas are an uphill battle to sell. It’s an older, mature audience who watches arthouse movies.

3) It doesn’t matter if you’re a member of the Writers Guild of Canada or not — and it can be a disadvantage, because it means that the production company will actually have to pay you for your work. However, having an agent is a definite advantage, as some companies won’t read submissions that don’t come through an agent.

4) From Raymond Massey: “Are there this many writers in Vancouver?” From Blake Corbet: “So you all want to write movies? Get ready to be broke.” And from Alexandra Raffé: “It’s extremely hard to get into this business. It’s even harder to make a living at it.” Richard Craven said he often feels as though there isn’t a movie industry in Vancouver.

5) Brush up on your industry terms so you don’t sound like a complete newbie. There’s a certain irony to the fact that everybody wants to discover new talent, but nobody wants to work with newbies because they’ll have to train you to bring you up to speed. So learn what “MOW” and “STV” stand for, what a “beat sheet” is, what ingredients are in a “package”, what it means for a project to be “fully developed”, and what they want when they say, “I’d like to see tape on this.”

The companies

Ameland Films

From the handout: Ameland Films Inc. is a Vancouver-based film and television-production company. [ . . . ] The company produces a wide variety of film genres from independent drama to comedy to thriller to historical drama and documentaries as well as short films, TV commercials & virals, and music videos.

Productions: Moving Malcolm (2003), See Grace Fly (2003), Ill Fated (2004) [see also Iron Horse, below]

Speaker: Paul Armstrong, Producer

Paul seeks historically-driven fiction and documentaries. He’s also looking for a Story Editor for his documentary Revolution: The Legacy of the Sixties.

Paul also promoted The Celluloid Social Club, of which he is Producer and co-founder. I’ve found this to be a very cliquey and unwelcoming meetup, but your mileage may vary. He also promoted the First Weekend Club’s Canada Screens programme, where you can see movies you might not get a chance to see elsewhere.

Arcana Studio

From the handout: Since 2004, Arcana has established itself as an innovative leader in developing content in numerous mediums [sic]. Arcana owns one of the world’s largest libraries of graphic novels and comics, and has adapted this library into live-action feature films, stereoscopic 3D animated features, episodic television series, and toys.

Speaker: Sean Patrick O’Reilly

Sean originally started a comic-book publishing company, and that still seems to be mostly what Arcana does; it’s adapting many Hollywood properties into comics form. It won a Joe Shuster Award as Publisher of the Year in 2005.

Arcana takes a “transmedia approach”, seeking “story worlds” to develop into comics, movies, video games, etc. (One lesson some comics creators learned the hard way in the ’90s and ’00s is to make sure your contract gives you something for the rights to your creation in other media, or you may find yourself getting nothing for the Hollywood movie based on your creation.)

Arcana’s website is alarmingly poor: low information, blank pages, broken images, and doesn’t really tell you anything about the company or what it does.

Blake Corbet Productions

From the handout: Blake Corbet Productions Inc. is a wholly-owned spin-off from Anagram Pictures, where Blake was president for 10 years. He produced Anagram’s first feature, the critically-acclaimed Mile Zero (2001), and [co-]wrote and produced The Delicate Art of Parking (2003) [see also Quadrant, below].

Speaker: Blake Corbet

Blake began his four minutes by saying, “So you all want to write movies? Get ready to be broke.” That got a laugh. He said that one thing he learned in marketing The Delicate Art of Parking was that ultimately it’s the exhibitors who decide whether a movie will be shown. He seeks original, funny romantic comedies.

Cinemontage Productions

From the handout: We produce broadcast documentaries and docu-dramas, in French and English, in a variety of genres. [ . . . ] Our goal is to build on our success and expertise to expand production in Canada and move into the USA and international markets. We are looking for writers to help research, develop ideas, and write episodes that can be produced in British Columbia or within Canada. We need writers with knowledge and experience, and a genuine interest, in science and crime-based stories for international broadcast.

Productions: Dark Waters of Crime / Eaux Troubles du Crime (2007)

Speaker: Greg Nosaty

Greg said that Cinemontage burns through Writers; that’s not a good sign. He seeks unique ideas to develop, or people to research and write the company’s ideas.

Escape Factory

From the handout: Escape Factory is a Vancouver-based boutique production company established by producer Ian Birkett in 2007. EFI is focused on the production of feature-length dramatic films of theatrical quality. All genres excepting straight horror are welcome, while thrillers are preferred.

Productions: Altitude (2010)

Speaker: Ian Birkett, President

Ian said he is drawn to features that provide escape and evoke a sense of wonder — that take us somewhere we couldn’t otherwise go or introduce us to characters we couldn’t otherwise meet. He seeks projects that are high-concept and commercial.

He likes writers who work quickly. He would rather receive a one-pager than a one-liner or a completed script.

EVOS Media

From the handout: EVOS Media (formerly RedBear Entertainment) is an independent production company founded in 2009 to create, develop, produce, and co-finance theatrical motion pictures and television content. The company is developing story-driven, commercial pictures across all variety [sic] of genres targeting a world-wide audience (specifically thrillers, family, sci-fi, and action films).

Speaker: Jason Riley

Jason said he is always looking for material: thriller, sci-fi, and action; think Alien (1979) or Predator (1987). He is “not so fixated on [it being] original”; for example, he mentioned that he has acquired the rights to remake several Chuck Norris movies.

For EVOS, character is not as important as the concept and tone of a piece. They also view Writers as replaceable cogs in the machinery of production, so don’t get too attached to your work.

Jason said that he prefers to meet with Writers and get to know them, and isn’t that interested in seeing spec scripts.

Props to Jason for being honest and saying that if you mention Writers Guild of Canada minimum rates, you’re out the door. I mean, good for him for being honest, but run far away from his company for stating outright that they want Writers who will agree to be exploited.

Foundation Features

From the handout: Foundation features is an independent production company developing, packaging, and producing high-quality feature films and television series by collaborating with some of the industry’s most critically-acclaimed and established directors, writers, and creative talent.

Productions: Hard Core Logo 2 (2010), Capote (2005), The Imaginarium of Doctor Parnassus (2009)

Speaker: Rob LaBelle, Executive in Charge of Television

Rob said that he wants dynamic storytelling with a compelling vision, for both scripted and unscripted projects. He seeks writers who know their genre and are hard-working.

I’m not sure what they’ve produced on their own. They seem to be one of those companies that exists so American productoions can get Canadian tax credits.

The Foundation Features website notes, “Foundation Features Inc. regrets that we are unable to accept unsolicited material of any kind. Our policy is to return unsolicited materials unopened (when possible), and emails will be deleted to protect your privacy.” So if you don’t have an agent, cross them off your list.

Front Street Pictures

From the handout: Front Street Pictures is a Vancouver-based company that produces a broad range of independent films, movies-of-the-week, and series for worldwide distribution. [ . . . ] The company is looking for cast-driven independent films, with roles that can be packaged with main talent, as well as fresh concepts primarily for one-hour TV series.

Productions: Mrs. Miracle (2009), Call Me Mrs. Miracle (2010), Little Girl Lost: The Delimar Vera Story (2008), We Don’t Live Here Anymore (2004)

Speaker: Marnie Young

Marnie replaced the announced Harvey Kahn as Front Street’s speaker. She said they have been working mostly in television, and want to move back to features. They seek thrillers (especially) and dramas, but no sci-fi or horror.

She said that the package is very important; you need to have a cast attached. We can assume by this that she means actors whose participation in the project will draw an audience (i.e. stars), not just your friends from film school.

Front Street’s website is a professional-looking (albeit slow and annoying) Flash-based site. The company seems to be in the business of partnering with American production companies so they can qualify for Canadian tax breaks.

Gang of 2 Productions

From the handout: Gang of 2 is a Writer-centric film and television production company. We are always on the lookout for new feature-film projects as well as scripted drama and half-hour comedy [ . . . ] and are interested in looking at creative material at the early “idea” stage as well as fuller- or fully-developed projects.

Productions: Terminal City (2005), The Cult (2010), Fancy (2011)

Speaker: Angus Fraser

Angus said that they want to work with writers from the ground up to develop a series they can take to a network.

He lamented that Vancouver used to have an independent-movie scene with such movie-makers as Lynne Stopkewich, but that now “it’s a conservative time.”

(Personal note: I found their name amusing, as years ago my parents set themselves up in the painting business as “The Group of Two”. Canadian and fine-arts fans will get the joke.)

Iron Horse Motion Picture Studios / Etch Media

From the handout: Iron Horse Motion Picture Studios is a Vancouver-based production company, focused on the production of independent feature films, television, and new media. We are currently accepting full-developed content in all genres.

Productions: The Thaw (2009) [see also Quadrant, below], Ill Fated (2004) [see also Ameland, above]

Speaker: Rob Neilson

Rob said he’s looking for genre stuff. He wants sci-fi and thriller movies that can be made for $1 million. (For comparison, that’s about one-quarter the budget of an episode of Fringe (2008 – 2013).)

Iron Horse’s website is one of those annoying ones that uses Shadowbox, so you can’t bookmark any pages within the site.

Etch Media sponsored the “Motion Picture and New Media Career Expo” in November. Iron Horse advertised, “Iron Horse Motion Picture Studios is in need of developed screenplays! If you’ve got a one-sheet or synopsis for that perfect project you’ve been putting blood, sweat, and tears into for years, come by our booth and drop off your information. Any genre — any medium — we’re interested.” However, Iron Horse didn’t have a booth at the Expo; I’m not sure how they accepted submissions.

Joker Films

From the handout: Joker Films is a full-service sales agency selling to over 50 countries worldwide. Joker deals with all levels of distribution (theatrical, STV, pay / free TV). [ . . . ] Joker is also a production company with [a] focus of family films.

Productions: Not applicable

Speaker: Tim Brown, President & CEO

Joker is not an actual production company itself, but (according to its website), was created to “focus on worldwide sales, packaging, and equity financing for third-party production companies who make movies, films, and television programming for worldwide distribution[.]”

Tim is always looking for high-concept projects, especially thrillers, but no gore movies. He said it’s important that you know who your movie is for — and no, it’s not for everybody; different demographics have different interests.

He pointed out that comedy is hard to sell to the international market, and there are a billion low-budget horror movies out there already. He said it’s good if your movie is broadcaster-friendly, as sales to television are very important; the DVD market is way down, and video-on-demand is not yet making up the numbers.

Lark Productions

From the handout: Lark productions Inc. is a television-production company that develops scripted drama series, comedy-drama series, non-scripted formats, and entertainment content for Canadian as well as international television markets.

Speaker: Stacey Landers, Development Executive

Stacy said she seeks Canadian projects that can be sold to the international market. She wants one-hour, episodic continuing series with universal themes — and no comedies. Her company works only with writers who are members of the WGC. They receive a large volume of submissions.

In the unscripted market, what she hears is that companies want big characters doing unusual things to make money.

Mad Samurai Productions

From the handout: Mad Samurai Productions develops and produces dynamic film and television projects, focusing on edgy, indie feature genre films and original, high-concept feature film properties. [ . . . ] Genres that we do not work with are romantic comedies, most dramas, scripts with budgets surpass[ing] $35+ million, zombie films, and family films. Everything else would be considered. What we are truly looking for are projects that are dark and edgy, in whatever genre they fall under.

Speaker: Matthew Cervi

Matthew wants to produce feature movies. He said that it takes a long time to make a movie — about five years, most of which time is unpaid — so he has to fall in love with a project. He says he can judge a script in ten pages.

He seeks genre projects: thriller and action movies, no comedies or dramas.

Mad Samurai’s website not only has an annoying Flash intro, but it plays music without asking. (N.B. to website designers: don’t do that; if I want music, I’ll ask for it.) The one annoying page appears to be all there is to the whole site.

Massey Productions / Anji Bridge Media

From the handout: Massey Productions is Raymond Massey’s small Vancouver-based production company which develops and produces primarily feature films for theatrical and cable. Anji Bridge Media is a financing venture [ . . . ] which facilitates co-productions with China[.]

Speaker: Raymond Massey

Raymond began by looking at the audience and asking, “Are there this many Writers in Vancouver?”

He seeks scripts that have good main roles to attract stars — both western and Chinese (see below).

He recently specializes in co-productions with China. He said it’s hard to find material; bilingual English / Chinese Writers are a very rare breed. There are specific requirements for such co-productions — for example, a movie can’t be about corrupt officials, because no officials are corrupt in China. A script can’t address the baby trade, Falun Gong, Tibet, or the Dalai Lama. China has no movie-ratings system, so a project has to be suitable for a general audience.

No Equal Entertainment

From the handout: No Equal produces both scripted series and feature films for the world-wide marketplace. [ . . . ] No Equal develops projects in all genres.

Productions: jPod (2008), Nightwatching (2007), Helen (2009)

Speaker: J.B. Sugar

J.B. said he is a big fan of adaptations; having reputable source material adds cachet to a project. He seeks dramas and comedies that can become series. His advice: “Be brilliant, dammit.”

Odyssey Media

From the handout: Odyssey opened its doors in Vancouver in 2010 with a business plan designed specifically to exploit foreign production and financing options. [ . . . ] We are always looking for lower-budget MOW sci-fi and thrillers, plus action / thriller features with budgets under $10 million.

Productions: Bad Karma (2011), Cyber Seduction: His Secret Life (2005)

Speaker: Keith Shaw

Keith said he seeks action / thriller features. For MOWs, he wants sci-fi and female-driven thrillers.

Odyssey has a branch office in Brisbane, Australia, where its two theatrical features have been shot, and a production partner in Bulgaria.

(Two years ago, Keith’s brother and business partner Kirk lamented the state of the industry in Vancouver and Canada (particularly the federal Conservative government’s unnecessary rejigging of the Production Tax Credit after some of their prudish members were offended by the title of the movie Young People Fucking (2007)) that led to the failure of their previous production studio, Insight Film Studios, formerly Vancouver’s largest independent film-production house.)

Omni Film Productions

From the handout: Omni Film Productions Limited has produced hundreds of hours of award-winning programming including drama, factual and lifestyle series, documentaries, and children’s programming since opening our doors in 1979. [ . . . ] Omni Film (despite its name) is a television production company! We produce drama, comedy, MOWs, and limited series. We do not produce feature films, animation, or kids’ shows [I guess they stopped doing those].

Productions: Primeval: New World (upcoming [(2012 – 2013)]), Defying Gravity (2009), Dragon Boys (2007)

Speaker: Michele McMahon, Director of Drama Development

She receives over 600 scripts per year. Most of them are good — but not extraordinary. She wants to hear a Writer’s unique voice.

Michele said that she has a file of 500 Writers. Of those, perhaps 100 of them are capable of show-running, and those are the writers she prefers to talk to. She never works with a Writer she hasn’t met before. She stressed that it’s important for a Writer to have a good relationship with the Producer.

Omni Film does not accept unsolicited submissions.

Opiate Pictures / Curio Media

From the handout: Opiate Pictures Inc. specializes in producing female-driven genre [projects] — horror, sci-fi, and fantasy — for feature film, television, and the Internet. Projects should be written / directed by women, or in certain cases, [feature] a strong female protagonist, but preference is given to female-created projects.

Curio Media is the distribution platform and is interested in acquiring female-driven genre [projects] in all formats[.]

Productions: Stained (2010), Eighteen (2005)

Speaker: Karen Lam

Karen said she seeks horror, sci-fi, and fantasy projects. She stressed that they want to work only with women movie-makers. She also mentioned her involvement with a women-only film festival early in the new year.

(If you’re looking for woman-centric movie stuff, a good place to start is Women In Film & Television Vancouver.)

A quick note: I don’t mind a company using WordPress.com as its Web-hosting service, but I am suspicious of a company that doesn’t own its own domain name; it says “fly-by-night outfit” to me, like a company with only a post-office box for an address.

Principia Productions

From the handout: Principia Productions develops and produces projects for theatrical and television audiences. Our primary focus in the last few years has been on feature films. We are interested in dramas, comedies, and thrillers[.]

Productions: A Simple Curve (2005)

Speaker: Richard Craven

Richard said he often feels as though there isn’t a movie industry in Vancouver. He revealed of his company, “We’re struggling.”

He said that, while Hollywood scripts are often criticized for having big emotional moments at a rate of one per minute, a problem with Canadian scripts is that they’re lucky if they have one emotional moment at all.

He said that your script won’t get made, even if you have the budget, if you don’t get marketable actors. He did say that Principia would always accept a brilliant, $275,000 road movie with no stars.

Quadrant Motion Pictures

From the handout: Quadrant is a film-production company, focused on the development and production of feature films for the international marketplace. [ . . . ] We are interested in all genres, though our primary focus currently is on comedy and drama.

Productions: Fido (2006), The Delicate Art of Parking (2003) [see also Blake Corbet, above], The Thaw (2009) [see also Iron Horse, above]

Speaker: Mary Anne Waterhouse

Mary said that Quadrant is a family company: she finances and puts the movies together, and her husband Andrew Currie writes and directs.

She boasted about her Hollywood contacts. She said that relationships are very important: “Who is a fit for you?” She likes to stick with people for the long haul.

Quadrant’s website says the company is “dedicated to the creation of quality theatrical feature films that promote originality and a deeper understanding of our world.” Comedy is her favourite, not really other genres. She said that a script must be either at the micro-budget level, or able to attract stars.

Reel One Pictures

From the handout: Reel One is an international film and television production company with offices in Los Angeles, Vancouver, and Montreal. We specialize in movies-of-the-week, dramatic television series, and feature films. We are currently seeking Canadian writers for both work-for-hire MOWs (sci-fi and women-in-peril) as well as low- to medium-budget genre-driven original scripts (especially thriller, horror, and sci-fi properties).

Speaker: David Sanderson, Director of Development

Davis said that Reel One produces sci-fi and women-in-peril MOWs and television series, punctuated with features.

He seeks fast Writers who are willing to work on Producer-driven projects (in other words: don’t pour your heart and soul into your work). He wants Writers on a work-for-hire basis (which means that the company is the legal author of your work, and you are just a hired-hand technician paid for your time).

David stressed that you must be a Canadian citizen to work with Reel One (which means that their business model depends on tax incentives).

(I can’t find a website for this company. They aren’t Reel One Pictures, as that company is in New York, USA, and specializes in documentary and non-fiction programming. They might be Reel One Pictures Inc., affiliated with Reel One Entertainment in California, USA.)

Screen Siren Pictures

From the handout: Screen Siren Pictures develops and produces feature films, feature documentaries, documentary series, television series, and TV movies and mini-series. In addition, we are a production-services company, servicing mainly American TV production. [ . . . ] We are interested in many genres, but not all that attracted to sci-fi or horror.

Productions: Eco-Pirate: The Story of Paul Watson (2011), Luna: Spirit of the Whale (2007)

Speaker: Christine Haebler

Christine said she is not seeking sci-fi, horror, or women-in-peril (that last seemed like a dig at David Sanderson of Reel One Pictures, who preceded her as speaker; she got a laugh). She said that it’s an older, mature audience that actually goes out and watches arthouse movies.

StoryLab Productions

From the handout: StoryLab is a new brand of production house that proudly puts the story back in the script. [ . . . ] We are currently looking for film projects that are plot-driven including genre horror and comedies, large-scope true stories, dramas that have a lightness to the, and one-hour enviro-dramas for the television market.

Productions: Becoming Redwood (forthcoming [(2012)])

Speaker: Chad Willett

Chad Willett said he and his partner Joely Collins have been actors for 20 years, but as they have aged they have found fewer roles for them, so they decided to move into producing. StoryLab is small and personalized, and seeks private funding.

Chad said that there are not a lot of good scripts out there. He can tell if a script is any good within five or ten pages. He seeks western and family scripts, and only smart sci-fi or horror projects.

Thunderbird Films

From the handout: We work almost exclusively in television, and while our slate encompasses every genre, we do significantly more production in live-action drama — procedurals and prime-time, one-hour dramas, ’tween and adult multi-camera sitcoms, and animated children’s television (mostly as co-productions. We are supportive of new talent in our writing rooms, but do require some level of experience, which will vary according to the medium. We work in most genres.

Productions: Da Vinci’s Inquest (1998 – 2006), Hiccups (2010 – 2011), Journey to the Center of the Earth (2008)

Speaker: Alexandra Raffé, Head of Production

Thunderbird is a distributor turned production company. The company is still interested in picking up finished productions.

Alex seeks Canadian projects destined for international markets. The Canadian market has shrunk recently, and can’t support a production all by itself. Television networks seek procedurals with a twist, as straight procedurals are not as much in vogue as they were a couple of years ago.

Writers should be at show-runner level. Alex said, “It’s extremely hard to get into this business. It’s even harder to make a living at it.”

Triton Media

From the handout: Triton Media is interested in developing and producing a wide of commercial programming for both film and television. [ . . . Triton] is interested in all genres, and looks only for well-written, original ideas.

Productions: Avarice (2011)

Speaker: Rupert Harvey

Rupert said he wants to establish a real movie-production industry in Vancouver. He seeks original, well-executed, commercial projects with a potential for international sales.

True West Films

From the handout: TWF produces quality feature films and TV for the international markets, with a focus on co-productions and co-ventures. [ . . . ] [TWF seeks] completed feature screenplays suitable for North American market and / or projects for international co-production, and TV series pitches suitable for US cable. All genres.

Productions: It’s All Gone Pete Tong (2004), Everything’s Gone Green (2006)

Speaker: Elizabeth Yake, President

Elizabeth said TWF seeks mostly features, and is starting to produce TV series. She likes everything, and loves spec writers. She got a laugh when she said, “And I want to win an Oscar.”

She wants dark and edgy projects suitable for American cable channels, and not filled only with white people. She doesn’t want to see any prairie movies, or “two people in a room” type scripts.

She seeks Writers who are not also Directors. You should have had something produced — but if you’ve had four or five things produced and nobody’s noticed, you should keep that quiet. She advised screenwrights to write 20 scripts to get good, and then learn to write a good synopsis. (True West’s website features log lines and synopses of their in-development projects, so that would be worth studying.) She asked Writers to submit a synopsis and a bio, rather than a full script.

Worldwide Bag Media

From the handout: Worldwide Bag Media was created in 2008 by owners Anna Wallner and Kristina Matisic [ . . . ] to produce mainly lifestyle series. In 2010 they expanded adding Heather Hawthorn-Doyle as their head of development to create series in multiple genres. [ . . . ] We are looking for writers who can write beat sheets, story edit, and have a clever and natural sense of dialogue.

Productions: The Shopping Bags (2001), Anna & Kristina’s Grocery Bag (2008 – 2012)

Speaker: Heather Hawthorn-Doyle, Executive Producer and Head of Development

Heather said she seeks mainly non-scripted projects. She claimed that 70 to 80 percent of programmes on TV are unscripted, so it’s a fertile market. For scripted projects, she seeks only youth stuff, and for that she already has people in mind.

She wants to hear great ideas for multi-season programmes that she can develop with people. She mentioned, “If it has talent, you have to have tape,” — by which I assume she means that if you’re proposing a programme with specific on-camera people (yourself or others), you have to shoot a mock-up episode.

---

Comments