NM: There’s definitely a higher degree of sophistication and thinking going into the marketing and sales process. With more people and fewer opportunities, the players who continue to be students of the process-the ones who remain curious and ever vigilant about fresh, creative tactics-are the ones who are evolving and ultimately winning the day. One of our clients, Jerry Bruckheimer, has employed three vastly different approaches over the last three years and each one has resulted in a successful deal.  And this is a company with a name that essentially could sell itself.

TS: Can you give us some examples of what’s working?

NM: For starters, it’s about analyzing who the immediate audience or customer is and then taking the steps to make an impact with that person. How can you make their jobs easier or more rewarding? What tools are you providing them with to be a champion of your work? Our most successful clients are diving deep into the process and finding ways to facilitate and incentivize the decision-makers they’re looking to partner with. These are very nuanced relationships and the more you can empower individuals to be advocates for your work, the greater your chance of ultimately selling your idea through. Pitch tools like ‘leave-behinds’, look books and sizzle reels are no longer new to the game, they are becoming the norm so the sophistication with which they are designed has to continually evolve.

TS: Can you speak more specifically to the concept of enlisting others to help with your ideas?

NM: Really it’s all about getting your materials to do the talking for you, and helping others see the possibility of your project. In today’s market, unless you’re at the very top of the food chain, sending over a script, with no accompanying sizzle reel, proposal, or meaningful names attached not only takes you out of the game, but could also ensure that you’re never going to be invited onto the playing field. The job of the filmmaker today is about far more than just making films. It’s about intimately knowing your audience and the marketplace. It’s about packaging your project in a way that decision-makers can understand and that serves their ends, not just your own. If you start thinking about fulfilling the decision-maker’s needs, then you’re inherently going to be above the fray that’s just thinking about themselves and about getting their project done. That’s marketing at its essence.

TS: So marketing is crucial.

NM: Absolutely, I like to look at TV and film projects as if they were little business start-ups, like those in the technology sector. You start with your basic premise or script, which is similar to the tech “code” – it has to be material that fulfills a marketplace need. Then you need to build an executive management team – reps, producers, talent, writers and other talented individuals who can credibly bring a project to life in the marketplace – a team that knows the subtleties of the key players who could make a difference for a project. Lastly, you need a killer plan – one that’s clear, concise and convincing. If you want to bring a project to Bob Weinstein, for instance, it’s good to know that he’s a guy who needs to be able to “see the poster” for your movie. If he can’t envision it, it’s not going to sell to him– that’s why it’s a lost opportunity if you don’t incorporate visual storytelling methodology in a pitch. In this framework, films are no different than start-ups and if you know anything about raising angel investment, it’s not just about the quality of the idea, it’s also about the quality of the management team that’s going to execute it, the size of the market and the strategic relationships that are going to amplify it. That’s what decision-makers are looking for.

TS: What should people know about buyers these days?

NM: They have less time and shorter attention spans. A pitch has to be well researched, quick and effective. It has to appeal to the bottom line of course, but also to the loftier sensibilities like dreams, emotions and ego. Most buyers care about their own motives and aspirations more than yours. Every day, studio and network executives are asking themselves: how is taking a risk on this project going to pay off? Is this idea going to increase my stature with my boss? Appeal to their needs and you’re in golden territory.

TS: What’s the key to putting together a great film presentation?

NM: The presentation has to have strategic value and the concept has to emotionally connect with the reader. I like a presentation that tickles the reader’s creative brain and their business brain – something that they can read, look at, touch and feel, that ultimately triggers their imaginative mind to start working. That’s when you’ve got ’em, they’re on your side now, working with you. Then it’s your job as a sales person to give them little opportunities to say yes, that add up to, hopefully, the big yes. Thing like, “Will you show it to your boss?”, “Can we set another meeting to expand on the characters?”. A good presentation helps you control the conversations when you’re not in the room, as junior decision-makers move your project up the ladder.

TS: What about TV? Do those same rules apply?