Perhaps the best way to define an Executive Producer 2.0 is to first take a look at the traditional, or “old school” approach.  First, when we speak of EP’s, we are not talking about the “soft” title only role, but about the leader of a project, the one responsible for securing the funding and distribution, which is the traditional role.  For many EP’s, in the “old school” way of thinking, it starts with the idea from which they see through development, and in many cases, work with their agent to then pitch for distribution.  Once this is all secured, the production is in full swing.  The main focus in the “old school” model is the storytelling of the content, and it’s “point of content” meaning the distribution model.  So, a television EP will focus on his/her property as it relates to the distribution on a network.  While the EP will review the other facets beyond the “point of content,” it is often times left to the distribution partner to produce and implement these components, including the website, mobile, PR and promotion, licensing and merchandising, etc…  In many cases, a GOOD EP will ensure they share in the many revenue streams, but many times their production company is ”work for hire.”  (this is at least the desire of distribution outlets…to control and own the intellectual property).

An Executive Producer 2.0 is a visionary and able to see an entertainment property through its many applications, capable of weaving the story through the many forms of media, with each enhancing the overall property.  This day and age, just about ALL content is multi-platform, meaning while it has its “point of content” be it film, television, digital…there are now the other elements that have become critical to the success of a property.

Old school EP’s may say “sure, my show is going to be distributed online after its initial airing on network, and they are handling that,” which IS certainly old school thinking.  In a multi-platform world, the EP2.0 doesn’t rely on its distribution partner to activate these anciliary activities, he/she doesn’t just allow a brand to be integrated per network request…he/she DRIVES it.

The Executive Producer 2.0 sets forth the plan, during development, of how an entertainment property is released across multiple platforms, how it lives in the various media available, and how they all relate to the overall storytelling/consumer experience.  He/she understands every aspect of his/her content and carefully plots out the overall DNA.  It’s not a “control” issue, or taking away the responsibility of a distribution partner and its many divisions, but, in fact, is enhancing the efforts, providing the resources and ensuring the content message remains consistent to their vision.

So, quite frankly, an Executive Producer 2.0 is a multi-platform producer, and one that is well versed in every possible revenue stream for their property.  Typically, beyond the various media outlets, components like licensing, merchandising, brand partnerships/integration and extensions are all “after thoughts” to the original “point of content”, but in today’s world, if Producers and their companies want to realize the greatest revenue potential, they need to, first, be involved, and more importantly, be ahead and drive this thinking.  Again, not in a manner to off put a distribution partner, but more as a solid resource to ensure the greatest success.

I spoke with a very successful, award winning producer the other day on this concept, and he said “we focus on producing a quality piece of programming, and let them figure out the rest.”  I’m not going to quote his name, but I quickly replied, “right, that’s old school thinking, and do you participate in the revenues from the licensing or the tour.”  His answer was “well…umm…no”.  The same thinking holds true at the network level and their executives.  I’ll never forget a meeting I had at NBC/UNI where they admitted they had only bought (or licensed) the rights for a show called FAME (remember?), and were kicking themselves for not having any rights to all the other extensions, including a popular tour.  I don’t think they’ve made that mistake again, but I’m not sure.

It’s not about WHO controls the rights, or trying to shut out any partner, it’s about how the production and distribution companies work TOGETHER to realize the greatest success and revenue of any property.  Another quick example…did you know that FOX, who licensed American Idol, does NOT participate in the success or revenue from the Tour…that is why the tour is called “IDOLS LIVE TOUR” not “AMERICAN IDOL TOUR”.  In this case, a pretty tricky way for the production companies to shut out the network on that revenue stream.  To add insult, have you ever noticed Kellogg’s Pop Tarts has NEVER been mentioned in an American Idol broadcast as the TITLE sponsor of the Idols Live Tour for over 7 years?  While everything to do with IDOL is a huge success, this is a good example of how NOT working together, or playing fair, could impact the success of an entertainment property.

So, to wrap this up, an Executive Producer 2.0 is a multi-platform, multi-revenue stream thinker, and manages the overall vision of an entertainment property throughout its multiple executions.  And, in this world of “who controls what,” it’s the EP2.0 who plans each component of a multi-platform strategy during the initial development stage,  to not only ensure their participation in the revenue, but the overall control of the message.  An EP2.0 is an incredible resource to every division within a distribution partner, whether it be the digital group, ad sales, or licensing.  He/she has already built the plan for each of these components to share and build with their partner.  He/she is the author of an entertainment properties long term business plan, which includes every possible revenue stream available, from the properties “point of content” to its many extensions.

Please give us your comments, let us know what you think, and if you have something to add to the definition, we welcome it.  If you’re a producer, development exec, studio or network exec, or just creative, and would like to explore the mind of an EP2.0, check us out at www.multibrain.net.  It’s how our brains work, it’s our passion…and as always…[BRAIN]STORMS are free.

I first had the pleasure of becoming involved with American Idol while at CAA, when they brought a lil show in Britain…called POP IDOL…over to the US.  Not sure if many of you knew this, but 19, the owner of Idol, tried to bring the American version over the pond, but failed to find a buyer.  ABC and others all turned it down.  It wasn’t until 19 decided to partner with FremantleMedia, in what I’ve learned is the 50/50 (for better or worse) that the show was sold to Mike Darnell at FOX (career booster for sure).  So, with the first season well on its way, our job was to begin to think about ways to monetize the American Idol brand “off network,” so the obvious first extension was an Idol Tour, featuring the top ten from that season.  Looking back, I remember, the tour was in jeopardy of never happening (imagine that), unless we were able to secure a presenting sponsor to offset the production costs of the 30-city tour.  I had about three weeks to make this happen, or no tour (no pressure heh).  I’ll never forget getting the call from Laura-Caricolli Davis of Starcom.  I was on location for the first day of the Sprite Liquid Mix Tour (another project we built) at Jones Beach in NY, when she called to say “Pop Tarts is IN,” and for MORE $$ than I had quoted (as the basement fire sale pricing).  That is what is so cool about Laura, Tom and the team at Starcom, they could see the long term value and were willing to make the investment at the infancy stage of the series, and it’s first year touring.  Well, that was [wow] 8-9 years ago, and Kellogg’s Pop Tarts continued to be the presenting sponsor of one of the most successful tours every summer, playing now nearly 70 SOLD OUT shows across the country.  So, this was the first of many “brand extensions” behind the American Idol brand.

After year two, I left CAA to start my own firm that would focus on actually activating the deals we put together.  OK, so it was also the realization that I was NOT an agent, and if I put together a deal, I wanted to see it all the way through to completion, which is the mind of a producer…not an agent.  Then, about a year later, and no longer working on Idol, I was approached by Olivier Gers, who headed up FremantleMedia Enterprises, and asked if I’d like to work with them and 19 on developing the American Idol business beyond the series, or this notion of American Idol being a year-round entertainment property.  It’s his forward thinking that truly re-engaged my team into taking on this challenge…strategically develop new ways to generate revenue with the Idol brand, AND if our ideas worked, we would get to produce them. 

Initially, our team worked closely with the Fremantle and 19 teams on developing an overall strategy around American Idol.  It was not a 360 degree approach, but more of a 365 day approach, meaning, how could consumers and brands participate in the American Idol brand year round. 

We had to think not only “beyond the show” but also beyond the existing sponsors, which included AT&T, Ford and Coca-Cola.  So in analyzing the current assets available throughout the year, our team began developing “new” platforms for generating revenue, not only through compelling extensions from the show, but with additional brand partners as well.

Developing the concepts was the easy part, finding ways to turn them into self-sustaining revenue producing businesses was the challenge.  We looked at the available categories for brand partnerships (e.g. fashion, consumer products, fast food, etc…) and then built full blown multi-platform packages.  We took our ideas, and then matched them to every possible “asset” available to promote the extension, thus bringing the greatest value to a brand partner, resulting in bigger revenue deals.  We built out what will forever be termed the “Wheel of Love” (credit Michele Welch…and congrats to her on her best brand extension yet…her new son…Oliver) to provide a quick snapshot of assets surrounding the Idol brand, which was used to initiate development of new programs:

Our success was substantial, and only realized by working so closely with the great folks who were at Fremantle and 19 at the time.  Here come the shout outs…of course, Olivier Gers, who can truly take responsibility for building the Idol franchise, in fact, he was named Entertainment Marketer of the Year for all this great work.  Plus, Shannon Pruitt who ran the integrated/partnerships business, and gave us a long leash to develop “out of the box” ideas, and Keith Hindle, who shared the “big picture” thinking with Olivier, and is now the new CEO of FremantleMedia Enterprises, and Jason Turner, who ran the digital side, including Star Style, which gave consumers the opportunity to buy the fashions seen on the show (which became a pillar to our Idol Style program), and last, but definitely not least, Felicity Carr (aka Flic) who was such an amazing client, as well as friend, and a whole brain thinker.  Flic’s best deal at Fremantle was the partnership with Disney to create the permanent Idol attraction.  In fact, Flic, now married and living in SF, is now part of our multibrain team, and I’m thrilled to have the opportunity to continue to work with her.

To expand on a few of our successes, I’ll call out the strangest deal, as well as the most creative one.  First, Idol Style, a platform for a fashion oriented brand, which gave consumers the opportunity to purchase the fashion from the show.  We built this plan for Macy’s, an obvious partner, and were well on our way to a deal, until Macy’s went through a major agency shift, which killed the deal.  Enter Patty Ganguzza from AIM Productions (and one of my favorite people in the business), who took the Idol Style program and brought it to ALL detergent…I know, odd heh, but not really.  We retro-fitted the concept to “get the look, keep the look” centered around the fashions of Idol.  ALL Detergent was launching their new product with the main benefit of keeping your clothes looking new longer.  So, ALL became the partner in our Idol Style platform, including custom content and tips from the Idol Stylist Myles Siggins, and a slew of other custom activations and promotions across the Idol assets. 

By far, the most creative and definitely most rewarding platform we created [and produced] was Idol Camp.  The challenge  from Olivier Gers and his team, at the time, was to create an Idol extension that was geared towards a younger demo, say 12-16, being that kids could not audition for Idol until they reached the age of 16.  We wanted to create something important, educational and FUN.  Thus, Idol Camp was born, and during a hot August in Massachusetts we produced the first ever Idol Camp, complete with 300 kids from all over the country, past Idols and a group of impressive educators.  The Idol Camp extension was a huge success, and included brand partners as well, including:  Apple, Sony, Coca-Cola (w/Dasani Water) and Kellogg’s who provided the healthy snacks. The success was also noted in Variety, who name Idol Camp as one of the “best extensions to come off a television show” in 2007.

The American Idol machine probably has more revenue streams than any other entertainment brand in the world.  Billion dollar properties are rare, but amazing to experience.  The examples I’ve written about in this story are just a mere tip of the iceberg, but critical in sustaining the Idol brand and further engaging it audience.  The Idol machine generates its multi-billion dollars with:

• Sale of format in 38 countries around the World
• International distribution of the US version
• Licensing and merchandise (a story unto itself)
• Digital, including profitable website, mobile and lucrative ITunes partnership
• Property extentions, including the Tour, Camp, Idol Gives Back and other television “offshoots” (e.g. Idol Tonight, Idol Rewind, etc…)
• For 19, management and record label for chosen Idols (which then leads to all of their own extensions)
• and the beat goes on…

If you’d like to learn more about what the team at multibrain can do for your entertainment property, please visit our website at www.multibrain.net, and we’d be more than happy to schedule a [brain]storm, which is always free.  Thanks for taking the time to check out this post, and we welcome your comments and thoughts.

Speedy Gonzales, what a great character to work with, and I have to admit this post is about a project our team created and produced, however it is a great case study for building a major multi-platform program.  We were thrilled when Warner Bros. Consumer Products approached us to strategically develop a campaign to re-introduce Speedy Gonzales to a youth demo as part of their innovations group initiatives. 

First, full immersion into Speedy (“the fastest mouse in all Mexico”) and his career, which spanned nearly 20 years.  Did you know he won an Academy Award, and starred in over 40 cartoons, matched up with classic list of characters, including: Slowpoke Rodriguez (“The slowest mouse in all Mexico”), a buzzard named “El Vulturo the Bandito Bird,” Sylvester (“Greengo Poosygato”), Coyote & Roadrunner, and Daffy Duck (which was considered an odd pairing).

Then, after reviewing his character traits, including: supersonic speed, a ridiculously thick stereotypical Mexican accent, usually found wearing a yellow sombrero, virtuous and caring, a mouse superhero of sorts who uses his speed to help others, clean living (no drink, no smoke) and only vice to be weakness for pretty girls (the poosygatos…lol), we all decided he was a great fit within the popular subculture of skateboarding…yep…he would re-emerge into the skate community.

If you’ve noticed, in other posts, I always include an icon for the medium of discussion, and in this case, being a multi-platform programming strategy, included: film, digital, mobile, live events/tour, music, photography and merchandise…so here you go:

[KABLAM]…So this is how we put it all together.  We went out and struck deals with three professional skateboarders, Danny Gonzalez (duh), Patrick Melcher (deserves his own show) and the legendary Steve Caballero, and would send them on a cross-country tour to skateboard parks from Orlando to Orange County. At each event, they would judge young skaters who would win a spot on the Andale Posse team.  Our partner for this project was Grand Central Marketing (Matthew and team are amazing with events), who handled all the event production logistics while we focused on the content…and a LOT of it.

Prior to the tour, we pulled together some members of the Black Eyed Peas and the lead singer from Yellow Card to write and record a Speedy theme song entitled ‘Gotta Get It Now.  The collaboration turned out to be something special, and the song was made available for free downloads, as well as distributed during the tour.  This truly captured the essence of who Speedy Gonazales is, and helped establish him into this subculture.

The main “point of content” was a feature length DVD following the tour and our pros, plus 22 other pros who made guest appearances along the way.  To further describe, here’s the write up from Amazon, where the DVD is still selling well, and spent many weeks atop the best selling skateboard DVD’s:

Andale is packed with some solid street skating from Danny Gonzalez, Patrick Melcher and skateboarding legend Steve Caballero. Shot in letterbox HD during the Andale Posse Tour, Gonzalez, Melcher and “Cab” host some pretty gnarly shred sessions to find new “posse members” while skating their way across the southern U.S. Kicking off in Orlando, FL and ending in Orange County, CA, this feature length skateboarding lifestyle film is filled with hilarious moments on the road and some next generation ripping from Andale Posse members.

Lee Levin did an amazing job directing this film, in fact, we’ve been working on stuff together ever since.  I’ve also gotta give a shout out to JonJozuf Hadley, the producer (we’ve worked together for many years) and Oscar Lobo, our uber-talented DP.

You’d think producing a feature-length DVD was enough for the crew during the six week tour across the country, but in addition to the DVD, the guys captured content and interacted with the skateboard community online with a…shall we say…wealth of content along the way.  This included a full digitial distribution plan, including a website (of course), daily blog from each of the pros, plus video and photos uploaded three times a week to the andale posse site, on mobile, and syndicated to a target network of social media sites, including: Friendster, Broadcaster, Xanga, Ignition Skate, Yahoo Video, and You Tube, which has amassed over 1.3 million views to date.  All the web design, blogs, viral video player, custom social media sites, etc… were designed by my go to guys at Origami Studio (whom I’ve had the pleasure of working with for over five years).

Then, and we’re almost done, there was the merchandise.  Of course, with this being a Warner Bros. Consumer Products initiative, the merchandise was substantial, and had to be cool, so the team over there partnered with Caballero and Junk Food to create a line of Andale merchandise to be sold in skateboard stores around the country, as well as on tour.  The board was a limited edition, and sold out fast.

So that’s pretty much the skinny on the project.  An undertaking for sure, but such a great time, and amazing results.  I think anyone would agree this is a good definitioin of a multi-platform program, and it’s what we like to do at multibrain…it’s how we think…it’s how we roll.  You can learn more about us at www.multibrain.net, or better yet, reach out to us and we’ll schedule a BRAIN[STORM]…it’s free.

In conclusion, I’d like to thank everyone at Warner Bros. for the opportunity and I can only wish all celebrities in Hollywood were as cool to work with as Speedy Gonazles.  I leave you with a few pictures captured by…once again…and I’m going to say it…uber-talented Oscar Lobo for editorial distribution…good stuff…and…Andale Andale Arriba Arriba…long live Speedy.

NBC Universal last week relaunched its Digital Studio, which is now tasked with developing and producing “brand-centric” digital content (including both episodic programming and what NBCU describes as “deep interactive experiences”), distributing them across the company’s various digital properties, and also finding and developing quality digital programming into which advertiser brands can be “organically integrated.”

I pulled this snippet from the ITVT newsletter/blog announcing NBCU’s new digital studio.  Note, digital studio = minor league low budget content which will hopefully drive enough interest to be bumped up to the majors – a cable network or the big prize…NBC.

I applaud the positioning and the effort, and believe there is bountiful opportunity for content that is initiated digitally.  My concern will remain on whether or not they can actually make the content an “interactive” experience.  WB and Sony are both buying original programming, but if you look at it, there is no interactivity whatsoever…at least yet.  Hey, I really enjoyed Children’s Hospital on the wb.com, but really it was just a series of comedy shorts, and no real reason for being online, with the exception, I’m sure, of just being a low budget series of shorts and a testing ground for something more.

In the article, it also says this “brand-centric approach will offer advertisers a seat at the table.”  I’ve used the line “seat at the table” for many many years now, and truly believe the best and most organic brand integrations are done together, early on, in the development of said show.  But, unfortunately, there are still so many people in the industry, on all sides, that are holding true to the traditional means of offering cheesy product placements as a way of providing value for the media buy. 

First the networks, studios and even production companies (although rare they get that involved which is mistake number one — they should actually control completely) still treat the “integration” of a brand as the “value add” to a media buy.  My approach has always been the complete reverse.  Let’s work with the brand from the onset to ensure not only an organic integration, but more importantly, realizing the impactful promotional outlets the brand can bring to the table (off network, away from the show).  The association between a brand and an entertainment property is best when promoted away from the show…say, in store, online, in brand advertising, etc…, it’s not just about a character holding up the product, or seeing a shelf full of GLAD CLING WRAP behind the cooks on Top Chef.  The true value is in the “shared” interest between a consumer and a brand, and isn’t this really just marketing 101.  I love American Idol, Coca-Cola loves American Idol, therefore I love Coca-Cola…don’t piss me off by doing over-the-top product placements, etc…, I’m just thankful you are “perceived” as in a way…bringing me this show…hmmm…maybe like the original ’50′s versions of integration which were just “presented by”. 

Then, on the agency side, they still believe they need to quantify their brands integration, which is the most absurd measurement/ROI I’ve ever seen.  Literally, and I won’t name agencies, they will ask to equate the time the logo of their brand is “on the screen” with the cost of a :30-second spot.  This thinking is actually EXACTLY what NOT to do, and forces cheap shots at product placement and often times, consumer backlash.  I believe the consumer needs to feel comfortable with seeing a brand within a show.  The desired take away needs to be a shared positive experience with the show, NOT how many times I see the logo. 

I wish NBCU great success on this new approach, and remain a huge fan of the group.  It’s a great move, and hopefully will GROW into the right approach at their network levels too.  I guess it will take some more hits in the minors to get the majors to do it right.

Today, I’m writing on a topic that is true to the mission of EP2.0, which is celebrating the brilliance in creativity, innovation and forward thinking in entertainment.  This could not be more TRUE, than with the current campaign created for the launch of the new season of TRUE BLOOD.  Brilliance is all I can say.  While I’m not sure if they generated any incremental revenue, the creative team at Digital Kitchen created a co-branded program that partnered with top brands to be part of the TRUE BLOOD campaign.  This truly shows how a network (HBO) and a risky/edgy show like TRUE BLOOD can still find a way to integrate brands via this off network promotional program…once again, brilliance.

Digital Kitchen is the creative shop that has worked with Alan Ball on Six Feet Under and other projects and was initially hired to do the new main title sequence for TRUE BLOOD season two. DK approached HBO with a proposal to do a groundbreaking campaign for season two designed to share the fun, campy, twisted nature of the show itself. 

The idea we had was based on the conceit that if vampires are living among us, why can’t they be marketed to just like any other demographic? HBO loved this thought and the original  layouts which showed a host of well-known brands, all hawking their vampire wares.  The only concern HBO had was if this could be pulled off. 

No fears for the DK team, they approached some major brands who quickly fell in line to be part of the campaign.  They thought they could get 2-3 brands, but after cold calling, and in a matter of weeks they were able to secure six brands: Geico, Monster, Mini, Harley-Davidson, Gillette, and Mark Ecko. The next step was to ensure they were on-strategy and on-brand with these partners. The closer to their “real” advertising they could get, the more disrupting the campaign would be. They worked with each of the key marketing people to make sure they were aligned perfectly both in terms of strategy but also in terms of their brand guidelines. Not an easy process when all of a sudden you have 7 clients instead of 1.

The result was a campaign, carried out in multiple mediums, including print, outdoor and online, that really got people thinking.  This is one of the biggest shows in HBO history, thus it needed a BIG idea for promoting tune-in.  Hats off to the team at Digital Kitchen for creating such a unique, clever and consumer “disrupting” campaign.  I’m sure they will be filling their shelves with awards.  That’s all for now.  For more on the team behind EP2.0, please visit www.multibrain.net, and feel free to pick our brains.  

I was truly shocked to see that they had actually received so much funding.  See, I’ve been around this block before, and surely many other Executive Producers have as well.  Back in the late nineties, there was a wave of “original digital content” companies popping up and raising venture capital at a staggering rate.  Remember DEN (Digital Entertainment Network) or ICEBOX.  If my memory serves me correctly, I believe DEN raised over $80 million in its short run, blew through it, then closed down.  So true of just about all the other companies positioned as “digital content production companies”.

What I don’t understand is how these mega-media conglomerates and venture capitalists ever derive such a huge value for the “digital studio” business.  I tried building one back in the late nineties, and then soon realized this niche was not viable.  So, to see this happening again, is truly amazing.  It’s simple…the definition of a “digital content production company” = “produces cheap content”.  That’s it.  That’s the reality, and these media companies should know better.  On one hand, they are investing millions into these sort of companies, while just down the hall, their development/production teams are looking for original web series and programming for about $30,000…FOR 12 EPISODES.

The flaw with this model is the simple fact that producing content is producing content…it still requires cameras, crews, lights, sound, editing, etc…, so whether it’s distributed via the Internet, or on TV, or in theaters is really just part of the overall distribution strategy.  Producing content for digital distribution does not require any extra special skills to warrant these type of nich companies, plain and simple.  They are all just the same as any other production company…many times just producing on the cheap.

I do realize there are certain aspects of production that are exclusive to the digital world, for example, any interactivity, as that is what the Internet is all about.  But, this again, is just part of the overall content/distribution mix.  I write this because it’s what Executive Producer 2.0 is all about.  An EP2.0 is a person who can see the big picture, and the new world of multi-platform content.  He/she can develop multi-platform programming, typically based on the primary distribtuion, be it TV, film, digital, mobile, live event, etc…  Based on this, the EP2.0 can then build out the multiple extensions to fully realize the incredible revenue potentials that exist in this multi-platform arena.

So, my bet on who’s next…how about AGILITY STUDIOS, another promising digital content production company with a totally whacked business model of working with young content producers by making them sign a contract which virtually gives away all their rights throughout the universe in perpetuity, for about $5,000.  They lured some pretty smart folks, and good friends of mine that I’ve worked with at Fremante/American Idol, to run the digital studio, which is…WAS…led by Keith Quinn, who just announced his new role as SVP Creative Development and Production at Paramount Digital Entertainment, which is a great spot.  We’ll see what happens to AGILITY. 

Enough on this, thanks for checking us out, we’ll keep writing, and in the meantime, please check us out at www.multibrain.net, where you’ll find the Executive Producer 2.0 in action.