NOT Banffing

Feels a little strange not being at the Banff Television Festival this week...first time in seven years. But with kids graduating it couldn't be helped, not to mention it's become more and more difficult of late to justify the cost of attendance. Not that it isn't always great to schmooze and reconnect or connect with old/new movers and shakers and colleagues, but at some point in the not too distant past Banff went from being a festival where deals could be struck to now being a place where finished deals are announced. Thus you could end up having a lot of network meetings that were valuable in terms of making contacts but ultimately resulted in hearing something like: "That sounds interesting, but we aren't really looking at anything right now because...we just made all our development and programming decisions. Wanna get a drink?" And even though the creative and showrunner panels are entertaining and informative, I don't know if I could stomach another "television is dead digital convergence new media is the future we just don't know how to monetize yet" forum right now....the *same* message they've been preaching in panels and forums there for the past 5 years.

Plus I was getting a little tired of all the strange looks when I'd gush about the good ol days when the festival was held down at the Banff Park Lodge and a trip up to The Springs was 'special'! Anyone? "crickets"

I kinda kicked off this blog four years ago with posts from Banff...read them HERE if you are looking for a little trip down memory lane. They actually mostly read like a collection of Twitter tweets, which is today where you can get your fill of what's happening in the Rundle Lounge or the Van Horne Ballroom - hashtag #banff2010.

Oh well. Wish I was there but I'm not. Good times and best of luck to all the delegates...just don't get elked.

Observing Directors

One of the first breaks I got after graduating film school was being accepted as a director observer on a teen drama limited series being shot out in Vancouver, and then again on a paranormal action series being shot in Toronto. I learned tons from both opportunities...from two very friendly and forthcoming directors who let me sit in on every part of the process, to a multitude of friendly and forthcoming crew members more than willing to share their on-the-set expertise with a newbie.

Last night I observed a couple of other directors doing their thing at the Banff TV Festival annual Western BBQ.


Hoser faces aside (and Winning leaning in trying to squeeze me out of the shot, like always), David Winning (l) and Grant Harvey (c) supplied me with lottsa laughs as we kibitzed and commiserated about the struggling state of the biz...what makes for a good/bad agent....the never ending hustle for the next gig...when the filming of TV movies in Canada was going to drop down to only 10 shooting days (frak!)...and which film was better, All The Presidents Men, Butch Cassidy and the Sundance Kid, or Deliverance.

Directors are a different breed than writers...generally a little more buoyant and outgoing rather than quiet and inward, but still have the more or less the same insecurities, fears, questions, complaints as scribes --- I feel comfortable in either camp. And I still learn tons from observing and listening to other directors...hearing them explain what makes for good storytelling may be different than hearing a writer explain the same, but no less valid.

As for the BBQ...t'was a pale imitation of its once wondrous self. Yes it was chilly, but attendance was poor to dismal...the beef mediocre...and with dj's and solo musicians instead of the usual full-piece bands performing in the tents, and most people heading back to their hotels after only a couple of hours, it was not particularly...memorable.

I've heard that Festival organizers really had to scramble to make the most of what they had this year considering the recession and a lower than expected turn-out...but it really feels like the event has lost something over the past couple years. I'm not sure what that something is exactly (one long-time attendee speculated that the fest has 'lost its soul')...certainly the international competition and 'awards' haven't got the same lustre and prestige...or perhaps the timing of the fest doesn't quite jive anymore with the Canadian network decision makers schedule (though interesting to note that like next to nobody was here from Rogers Media - busy with fall launch and announcement of their simulcast purchase of 16 weekly U.S. hours I suppose) ...but anyway, the festival needs some fixing.

Banff Hump Day or Hump Banff Day...Your Call

Today marks the mid-point of the Banff TV Festival...about to head into another day of meetings, panels and seminars. It's definitely more subdued this year, lots of smiles and hugs tempered by a definite undercurrent of doom and gloom as pretty much everyone who buys or orders or commissions seems to be in some sort of spending-freeze mode. And it feels like attendance is down....by how much I have no idea. But driving down Main St. and seeing the 'Vacancy' sign lit up out front of almost every hotel pretty much tells the tale.

And been slow on the updates as my shiny new computer I purchased about a year ago (note: 1 year warranty) with its fancy shmancy 3 hour long lasting battery has crapped out over the past week and dropped down to giving me about half an hour of battery life. Grr.

Took in several sessions yesterday, including the talented two-some of Mark Ellis and Stephanie Morgenstern joining CBS Development Exec Christina Davis to discuss the birth of Flashpoint; reps from Starz and HBO and CBS with Shaftsbury Films uber-producer Christina Jennings examining the recent success of Canadian-made shows making their way onto the U.S. prime time schedule; John Morayniss relating in a very entertaining and informative fashion the business of running the business of new 'big man on Canadian campus' E1 Entertainment. Oh, and yet another Digital Futures/New Media panel that made me want to pull my hair out.

As in, I'm so tired of attending these sessions and hearing that the digital online revolution is upon us and TV is dead, etc. etc...and we've got to integrate and cross platform and all kinds of other buzz words... then they predict monetization will be some sort of an online subscriber model...and then the example given is 'The Simpsons', and that in the future we will be financing programs and series like The Simpsons by subscribing to the actual show or a company that specializes in it and other like shows...but then NO ONE brings up or even talks about how these 'subscribers', or anyone for that matter, will ever hear about or know about or grow to like/love/want to pay for the 'new' The Simpsons if there is no television out there to introduce it to viewers and spread the love. The supposed far-reaching power of media critic reviews and viral videos is not gonna do it kids....seriously, frak!

Anyway, the Epstein has been hustling, like seriously hustling...the man doesn't stop. And great to see colleagues John Callaghan, Will Pascoe, Gordon Langlois, Rob De Lint, Josh Miller, Tobi Lampard, Michael Snook...plus some of the former students I've taught as well as a lot of the Ink Canadians...the CTF's Valerie Creighton and the WGC's Maureen Parker and Rebecca Schechter, and of course CanWest Showrunner School attendees Eriksen and the McGrath. Dude, YOU were inside the St. James Gate last night? (note to those wondering: someone laid a big projectile puke all over the entrance to the Gate late last evening...some were brave enough to make the leap and enter, I was not).

But whilst outside still got to reacquaint with Vancouver producer Cal Schumiatcher, see Steven DeNure again and meet the lovely Beth Stevenson, both from Decode Entertainment. And tip of the hat to Kevin Beggs and co. from Lionsgate and Maple Pictures for putting on a swell party at the Hoodoo Lounge last night.

Minor celeb sightings.



Sarah McLachlan is a serious stunner. Paul Gross is also a stunner, but was sporting some wild-ass hair-extension thingee for a role in the feature Gunless he is currently filming.


I wish I had a picture of him walking the corridors here with that 'do' and not in period wardrobe...quite the sight.


More random quotes:

"I got my skirt caught in a bathroom fan."

"It's still worth attending Banff...I think."

"The new model for branding and delivery will resemble the retail model."


Meanwhile, Jim Henshaw has been quietly suggesting ways to help rebuild homegrown Canadian TV, HERE and HERE and then HERE. Go read him now.

And to commemorate 20 years of Banff...as in it was 1989 was when I first attended festival, here's a production still from Brian Stockton's The 24 Store of that same year when I portrayed the sleazy roommate in one of my few (very few, thankfully) attempts at acting.



And so it goes.

When It Doesn't Rain It Snows

So I'm HERE for a few days.

This is the KINDA STUFF that's going on.

The weather has been kinda COLD and RAINY.

But so far so good. Ink Canada's 'Rumble in the Rundle' last night was good fun.

Heritage Minister James Moore said HE WASN'T WORRIED about the future of Canada's culture, including its film and TV industries.

That said, continuing to crack the U.S. market seems to be the top order of EVERYONE'S BUSINESS.


Some memorable quotes:

"I dress down for meetings with agents"

"Neo Nazis hated my movie...shouldn't that be a good thing?"

"TV isn't dead...not by a long shot."


If you see me, come say hello. More as it happens.

Hoselton In The House

Racing to wrap things up and then head for the airport, so handing off to TV Eh's? Diane for her interview with ex-lawyer now House writer David Hoselton (I did take in his Master Class, but it's House for crying out loud...must not step on Diane's turf).

Spoilers alert: In the new season, House is still cranky and solves more medical mysteries!

So I Barbecued...

...and t'was chilly but at least the rain stopped, so have to give a thumbs up to the time honoured but absent for a few years tradition of the Western BBQ returning to the Banff TV Festival social calendar.

And as I'm want to do on occasion, instead of shmoozing spent most of the night hanging with longtime TV director pal David Winning who I hadn't seen in years. And it was time well spent, even if it seemed all he did was bust my balls...but we all need a little of that now and then, just to keep one's feet on the ground.

Ready to head home but one more day to go...but pretty much Banffed out.

Read That Last Part Back To Me...Like, All Of Act Three!

I know, I know...who cares about kids/tween TV...but actually I do, and was introduced to a whole new spin on room writing from showrunner Michael Poryes. Poryes has had a long career writing TV comedy primarily (Cybill), but lately several Disney Channel shows have been his meal ticket --- writing and producing That's So Raven, Cory In The House, and the focus of his Master Class, Hannah Montana.

So here's how his room works. The staff scribes gather round the table and begin to talk out an episode. A writing assistant writes what they are spinning....no, not writes as in 'takes notes', but types out the beats, and then the outline, and then, eventually, the screenplay.

That's right, types the entire screenplay...from Fade In to Fade Out!

Then as a group they will do another pass, verbally, working presumably from hard copies or off their own computers, as the writing assistant continues to type it...or 'retype it' in this case. Then, when each script gets published, they either all share in or divide up the writing credits equally between the members of the staff.

In some ways I'm sure this is how a sitcom room must work, but still...I mean, I've been in the room as the group will work together to break the story beats, but then at some point a writer or the appointed writer will go away to pen the outline. And then, after notes and revisions, that writer will pen the draft of the script. But I have never heard of a room hashing out the beats and the outline and script verbally as a group, while the assistant 'types' the screenplay proper.

Poryes says this method works great for them ---they blast through a draft of a half hour episode in a couple of days (when you eliminate the 'going away to write' part and then the 'sending around what's been written for notes' part, yeah...I'd say pretty fast indeed), and are usually home by 5pm every evening. Sweet. But still...pretty wild, huh?


In other news...caught up with Al Magee and got some of the scoop about his new role as co-executive producer of Little Mosque...and we started the ball rolling toward a follow up interview to the monster one we dumped on all of you last year. Stay tuned for that.

Also spent some quality time with writers and bloggers Diane Wild (who was handing out TV, eh? hats! Hats I tell you!) and Jill Golick and David Moses. Actually Moses, along with screenwriters Rick Drew, Matt MacLennan, Karen Hill, James Phillips, and several other deserving participants, are all part of the CanWest Showrunners Training Program being held in conjunction with the festival. I was very pleased to get the chance to chat with a lot of them...AND crashed their catered lunch (sorry, but I was starving).

Forging on....though it's been pouring rain all day, and the notion of trekking out to the BBQ only to slog through mud and shiver in a tent is sounding less and less appealing.

We shall see.

Hanson Breaks Bones...Jason Katims Talks FNL...or Everyone Knows High School Lasts Seven Years

So much for my master plan of taking in all the Master Classes at Banff...missed Alan Poul from Swingtown's morning session as I was dragged away for coffee and toasted English muffins by Hart Hanson from Bones with a guest appearance by David Hoselton from House. A very entertaining conversation ensued, with a great muttering mini-scene played out by the two about both their shows having new timeslots come this fall and winter on Fox...even showrunners, it seems, don't have really any say about where a network schedules you.

But one showrunner isn't complaining... Jason Katims' Friday Night Lights will be returning for a third season, but in a very unique and ground-breaking fashion. I made it to his Master Class, and the series will be airing first on Direct TV in the US (Wednesday's at 9pm I believe), and then on NBC several months later as its second window. Apparently the show had been on the bubble for ages and its return didn't look promising until Ben Silverman brokered this deal. But the satellite company with first window....hmmm...interesting.

As far as writing and producing the show, Katims spoke at length about the FNL process...which also fell into the groundbreaking category. As he told it, they have no standing sets or even swing sets. No sets...that's like unheard of for a TV series, no?! Apparently it's shot in small town Texas, and they just walk onto a location, light to shoot (not for 'shots' or 'coverage'), and off they go. No rehearsals...no marks...no tape measuring for focus...just 3 camera's roll as the actors start performing and they 'discover the blocking of the scene' as it happens.

They call their camera operators 'snipers' because they just have to find the shot and take it.

Cool.

Katims likened it in some ways to the shooting of The Office, but for a one hour ensemble drama filmed on location, it's pretty unique. And they move really fast. He said they had 8 days to shoot an episode when the series began, took it down to 7 days last year, and are going to be shooting them in 6 days this summer. That's fast...and he attributed it primarily to the speed with which they can burn through scenes filming them in this way.

I know this style contributes to the authenticity and 'reality' of FNL, but I wonder if we don't see more and more drama shows being shot this way.

And as for writing the show, he gushed about how liberating it was to shoot so quickly while always on location. On any TV series, there is always the constant negotiation between production and writing/creative (e.g. we can't shoot out there because we need 3 days in studio, or it'll cost too much to build that set), but Katims said he never feels that constraint on FNL. He says there's this sense that you can write whatever comes into your head because production/locations will just go find it, and dress it, and then they go shoot it.

Niiiiice.

I also took in Hanson's Master Class for Bones....entertaining and informative as always, the Hartster spilled some without telling too much. But you always got the feeling he was biting his tongue. And he was. I'd heard a lot of the 'truth' that morning. Ahhh, show biz. Nevertheless they will be kicking off Bones Season 4 with a two-parter set in London, England...a good idea at the time that he said has proven to be logistical and creative nightmare, but he was leaving tomorrow for the UK to oversee the shooting of it. Best of luck my friend.

Rest of day was more receptions and gatherings and networking...some good stuff but more on that tomorrow. And ended evening not at St James Pub shockingly enough, but a whiz bang of a party at the Saltlik Steakhouse thrown by Paul Gross' company WhizBang Films. A good time was had by all, and Paul Gross is still a damn handsome man.

That's all I got. Must sleep.

The Will Takes It...And Banff Beckons

No, not this Will...or Wil Zmak for that matter (too many Will's!), but Will Pascoe who ends up on top of the 2nd Annual Infamous Writers/Bloggers Hockey Pool. Sure, it lacked the drama and excitement of last year's finish, but all and all, lots of good clean fun.

Jim Henshaw has the full wrap up over at his place (and thanks again Jim for driving the car, even if your picks sucked balls)


So, crashing ahead...off the the Banff TV Festival this weekend. Little disappointed that our Don and most of the Writer's Mafia won't be there, but such is life - must be nice to be soooooooo busy.

And wearing several hats this year: Super Channel Development Rep, Story Editor/Writer, Television Director, Rock n'Roll Blogger...yet not really sure which chapeau I'll wear most. Nevertheless am still planning to give my irreverent yet entertaining (hopefully) daily updates as I have the past, but any ideas of where to hang or who to look for or what to try to learn, feel free to suggest away in the comments.

Oh yeah....the Western BBQ is back this year....niiiiiice.

When The Notebook Comes Out...

...it's a good thing.

If you aren't a natural 'performer', pitching can be a difficult, tension-filled ordeal, especially at events like Banff where you generally get only 10-15 minutes with network or company execs...people whose days are PACKED with dozens of pitch meetings like yours. And most times nothing fruitful comes from it on the day (though I suppose if they shout "I'm in!" and plop down a development deal contract in front of you then yes, you could take that as something positive, but that usually doesn't happen). You're really just hoping to just strike a chord or create some interest or at least make a decent impression.

Here's how most go: there's the introduction or reconnection...the casual "how ya doing/been" chit chat that dovetails into the "What are you working on these days?" question. And so you start your pitch (or pitches, as it may be). They listen. They nod. There may be some questions (a good sign), but most times you hear the "That's not really right for us." OR "We've already got something like that" shutdown.

But if at any point the pitch recipient gently touches your arm and says "Hang on a sec" and then reaches into his/her bag for a notebook and begins to WRITE SOME THINGS DOWN...and then says something like: "That's interesting, please continue" or "I'd like to see more on that one" --- you should chalk that up as a small victory.

Because I've taken A LOT of those meetings over the years and most of the time, they don't reach for the notebook.

Today someone did.


In other news, the St. James was crowded and LOUD tonight...tough to converse. But met some more friends/fans of the blog, and Epstein and McGrath are a pair to be reckoned with...very entertaining lads, they be.

And at the end of the day, it's just a toy.

So it goes...

The Banffing Continues....

Not much to bring to the table, not with Denis 'The Don' McGrath already covering everything...so I'll be brief.

First and foremost, it's the only time in ten visits to the Banff TV Festival I didn't bring my rain jacket, and it's been pouring, a lot...listened to some panels, like the one with The Doyle (and The McGrath called it all "bullshit")....caught up some old friends and colleagues (The Mohan, The Raskin, The Leiren-Young, The Rouloff, The Hansen, and The Harvey)...gained some Insight from The Murray...put some faces to names like The Callaghan...apparently I've graduated to the old guard camp as several newbies sought me out to 'pick my brain'....the niche of one's blog is an important thing, to some...gaped at the mess that is the main street construction but then had to chuckle when a gas main broke and all the restaurants on the west side of the street had to send away customers because they couldn't cook any food (prompting a 7pm mad rush to the eating establishments on east side of the street)...but mostly played good dad and spent a good part of the afternoon and evening hanging with The Eldest Daughter...

So it goes...

Demystifying Producing...

Gearing up to begin teaching another film/video class at the University, this one about producing for film and television. It's my third time doing it (other classes have been screenwriting) and it seems to get a little easier every time. Like anything, it's nice when you can review what worked and what didn't last go around, refine and focus it, and then go do it again.

I build the course around each student conceiving of a pitch for a movie or tv series, writing a short summary or synopsis, mapping out a development plan and schedule, formulating a financing plan and structure, creating a development budget, designing a one sheet, packaging all the materials, and then pitching it to a panel of local producers/network/funding agency people on the last day of class. I do try to focus on navigating the Canadian system, but tend to keep it more about the general 'process' of trying to produce something...anything...highlighting the important things you should always be thinking about as you go through the steps.

And now reading a new book I ordered for a text this semester, and boy...what a winner. It's called 'So You Want To Be A Producer' by Lawrence Turman (The Graduate, Short Citcuit, American History X). It's perfect for this kind of class. Other books I've used focused more on the legal and dealmaking and financing and, quite frankly, all that can be a real turn-off for film students in their early 20's. Not to mention totally overwhelming. So far, Turman's book steers clear of most of that stuff (though not short-changing its importance) and focuses on what producing is and what you need to do and be in order to produce movies and tv well. His model is the Peter Stark Producing Program course at USC - a Master's course he revamped and has run for the past dozen years or so.

Rather than review the book, I'm just going to post excerpts I find interesting or enlightening as I continue to read through it.

Here's the good news: you already are a producer. Yes, really. Because producing is simply thinking ahead, planning, and getting a series of things done to accomplish a goal for yourself. You have to work backward: start by figuring out everything you're going to need for a specific time in the future, and then making sure it's ready when you need it to be ready. Much like inviting your friends to come to your place for a dinner party, you have to 'produce' it.

A film/tv producer is the person who decides an idea, a character, or a story is worth telling. He's the 'starter' and the 'finisher', and therefore involved in every aspect and most details of production. In all cases I arrange the financing, without which a project can't get off the ground. And as the producer, I put together all the necessary crative talent and then act as a guide and sounding board, hopefully enhancing their work and coalescing all into a unified whole.

So would you like a job where you're the one who decides what movie (or tv series) to make, and how it should be made? That's a producer. It's one of those rare professions where you can start at the top, if you control a super, terrific, dynamite script.

Other than that being a really big 'if', seems pretty simple, right?

Stay tuned...

Last Word on Banff tv Fest....

...I promise.

Mulling some stuff over the weekend - the old 'what do the networks really want?' question.
During the festival meets, I had a couple of sexy 'pushing the boundries' drama/comedy tv series to pitch. And let it be known that I wasn't really targeting the major networks with these projects, but when the 'what else are you working on?' question came up, I didn't keep my mouth shut. I did the quick and dirty song and dance, and met with the inevitable 'that doesn't seem appropriate for us' response.

But instead of letting it slide, I chose to push a bit. I asked said network reps if they would like to make and air a 'Nip and Tuck'...a 'Big Love'...a 'Rescue Me'...an "Entourage'...a 'Sex In The City' - they answered yes across the board. Then I deftly dovetailed back to my pitches, pointed out some similarities, and then asked what exactly was their definition of 'appropriate'? After much hum and haw, they responded that it would depend on 'execution', and the boundries weren't 'pushed too far'. So you would possibly consider a series like this? I ask. Possibly. And then one began listing some rules of appropriateness (though apparently airing a buy of The Soprano's at 10pm isn't inappropriate - must be the execution)...

What's my point... networks want hits, they want the viewers watching and talking about those hits - in pretty much whatever racy, genre busting, boundry pushing form they may take. So write your show/series the way you want to make it, the way it works best, and make it pop ...and if it catches someone's eye, adjustments can and will be made to make it network appropriate (there will always be 'adjustments' and 'modifications'. That's the nature of the beast).

But in my experience, when decision making people start talking about execution or the rules, it can mean they don't really know what they want, but more than likely, it means they don't really want to work with you(me).

Trying to remain positive...

SONG & ARTIST? - You woke up this morning

Got yourself a gun,

Mama always said

you'd beThe Chosen One.

She said: You're one in a million

You've got to burn to shine,

But you were born under a bad sign,

With a blue moon in your eyes.

C'est Fini...Banff Day 3...

...not too much to add as I wrapped up Banff TV Festival today.

This is a funny business - ended up cancelling or rescheduling my remaining meetings this morning to go play a round of golf at the Banff Springs course with the network honcho I spoke of yesterday that was interested in the series idea that I didn't think was appropriate for their network (which goes to show you..nobody knows anything - including me). It was his suggestion, asked of me last night (after hearing some of my golfing at Banff with industry players when I was a nobody (and thats changed wc?) anecdotes), and ended up being a fun few hours whacking the white ball while yacking golf and life...and concluded with some business/deal talk on the way back to conference centre.

That golf game might well be the most productive 'meeting' I had all week.

I've had this happen before - where a dinner or a card game or a golf game or something like that evolves out of the event, and it becomes invaluable because you are getting to know who you are dealing with away from the implicit hierarchy of the pitch meeting and all of that pressure. And they get to see you in a different context. It isn't that the pressure is completely gone, but its a very different dynamic.

And since this is ultimately a people business as much as its an ideas business, or an entertainment business, or all the other businesses it can be....those kind of meetings can be the best kind of meetings. But they have to grow out of the situation - you can't 'book' them. You just have to recognize them when they arise and do what you have to do.

Caught my plane home and arrived safe and sound. Bagged and heading to bed. Thanks for understanding.

SONG & ARTIST? - If I have to sleep on your doorstep,

all night and day

Just to keep you from walkin' away

Let your friends laugh even this I can stand

Cause I wanna keep you, any way I can.

What's a Sella Phone? Banff Day 2...

Pooped again...Banff is like packing 6 days into 3 because things tend to always go late into the evening.

Stood beside a very dignified older gentleman who was with the festival as he spoke loudly into his cell..."You have a sella phone? I have a sella phone. You need a sella phone? Oh you have a sella phone? Your sella phone is good? Then I'll call you later on your sella phone." I hope they connected, and someone bought or sold something.

So...discussed, observed, and overheard...

GalaKids - a long discussion on the future of kids tv...a very interesting conversation....
And so far, several companies from Montreal have liked my pitches...maybe I should think about moving to Quebec.

CHUM - trying to skew a lot younger then they might have said a year ago - 'Entourage' inspired and such...and much praise and excitement for their new series 'Blood Ties' and 'Across The River in Motor City', so congrats to Denis McGrath / Bob Wertheimer and the others working on Motor City...

No new Haggis stories...just lots of sightings in the smoking areas...

CBC Comedy - ended up searching around and around at meeting time and ended up missing each other (lot of navel gazing here ...not like you think - more like looking down to try to read people's name tags) ....disappointed because wanted to hear what they had to say... he wasn't able to reschedule.

ION/NBC Uninversal - new digital kids network in US that's taking over the PAX stations...enlightening discussion about future of kids tv as they saw it - with the tv series almost as the final piece of the puzzle as opposed to the first - lots of multi platforming, internet, direct downloads, phone downloads, product placement, corporate sponsers for entire episodes/seasons speak...total info overload - my head hurt afterwards...

Spoke with a couple of 'consulting' firms offering to take on the accounting, financing, banking, contracting, deal closing, etc. etc. for the small independent companies or creative producer/writers....be aware these consultants are out there - you can almost build your company at the time you need it as opposed to paying for overhead and infrastructure while waiting for your show/movie to come together and happen...

GLOBAL - got a better sense of where they were taking network...very mainstream - no surprise there, but having a US broadcaster also on board seems almost an expectation ('Falcon Beach', 'Class')

The usual run into's with a lot of independent producers I know, several with greenlit projects and now looking for some help....never a bad thing....

Had a interesting conclusion to the day when a network rep that heard a pitch I had yesterday (that I didn't really think was right for them) came and found me with her higher up in tow saying they were very interested in project. It turned into a two hour spin session looking for ways to shape project a little more in line with what they'd want - seemed to go well...nothing promised but I left with a good vibe...

Said what the hell and introduced myself to Alex Epstein at the Rose & Crown pub...seems like a very pleasant man...and sounded like his Banff has gone well so far - congrats

And night ended exiting a restaurant and seeing a gaggle of young women from the town whooping their way down Banff Ave., all wearing tight jeans and black t-shirts that read something like: "Doubles, triples, shooters...and then we show skin!" As they passed by, saw the back of the t-shirt which read: "Banff Girls Gone Wild"

'Nuff said again.

Banff...Day One...short version...

...because I'm pooped.

I don't schmooze too well - more like take meetings or hang out and hope someone bumps into me. Nevertheless, things heard, discussed, observed....


Comedy Ch - wants to find their own 'Corner Gas', a big hit they can call their own...but not sure what that is yet (can anyone know?) ...mainly target younger audience 18-35...

David Shore(House) is in fact, the real Greg House...

Discovery Ch - still targeting men 25-50, who want to see 'how stuff works' ...

Showcase - very proud of 'Billable Hours' and something new called 'Rent A Goalie'...still want to push the boundries but sense not so much with sex, drugs, language these days...still trying to figure that one out....

As many people seemed to be talking hockey and Edmonton Oilers losing as they were talking business...

Global documentaries - seeking some Canuck 'Dog the Bounty Hunter' or 'Inked'-type series...

Amusing sidebar: Banff has gotten very militant the past couple years about not letting people into select areas without industry/delegate passes or credentials...Paul Haggis is in front of me heading into main convention center and he gets stopped by security - he's not wearing his pass...some back and forth (he was very polite/understanding)...several onlookers come over and start barking:"Come on...it's Paul HAGGIS for crying out loud!" and so on....security says she's just doing her job and stands her ground. One of Paul's companions exclaims: 'Just let him in...we need a cigarette for Mr. Haggis." No one moves, so I offered up a cig...he takes it and lights up and thanks me very much. Then some security arrive from inside and say something like: "it's Mr. Haggis, of course he can come in!" (he was actually heading in to do his Master Class talk). I felt for the woman who stopped him - but Haggis was nice enough to say to her that he understood she was just doing her job.

A new movie channel from the Allarcom group is just getting going...

Lifetime(USA) - is doing a ton of low budget tv movies in Canada...63 at last count...not interested in development but will pick up finished scripts if come through right producer/company...

Paul Gross is one handsome looking man...and don't think the women didn't notice. But he seemed pretty down to earth.

Granada UK - always interested in treaty co-productions but couldn't possibly see co-producing/airing a Canadian comedy in UK and having anyone watch...so how come we watch/enjoy their comedies?

Overheard while departing from the St. James pub late in evening...one guy to another..."If she was a little more pretty or I was a little more drunk, I would've gone for it!"


'Nuff said. I'm done.