Judd Pillot Speaking Topics

• If You Can Speak, You Can Write

  Everyone has a great story, script, essay, poem bubbling inside them. But instead of putting pen to paper or keystroke to laptop, they say, 'You’re the writer! You should write this'! The truth is, we are all writers – unfortunately, some only internally stories being told in our noisy brains and aching hearts. But there are real tools and disciplines available to gain the strength, courage and exquisite joy of setting those ideas free.

  Attendee Results:

  • A de-mystification of the art and craft of writing
  • Basic, practical tools, both on a macro, and micro scale for building a sentence, and ultimately, a story.
  • A blank page isn’t Mount Everest. It’s a first step on a great journey – not without challenge, but the view from 'The End' is well worth it.
  • Q&A on any detail of writing prose, writing for TV and Film, and war stories from Hollywood.

• Found In Translation

  A writer/producer’s keys to unlocking the full potential of your adaptation. You made the sale. How do you make the show?

  • 'Found In Translation' draws not only on the countless shows Judd Pillot has produced and run, but also the numerous masters classes he’s presented, and his extensive experience consulting for SONY on the adaptation of 'Everybody Loves Raymond' in Russia. During Judd’s tenure in Moscow, 'The Voronin’s' garnered it’s

  • highest ratings, as well as a spot in the Guinness Book of World Records for highest number of episodes for an adaptation.

  • Judd is uniquely qualified to outline the pitfalls and challenges of an adaptation. From choosing the best episode for a pilot (if the project is just getting started), to casting, assembling a staff, and establishing the most productive, collaborative relationships with the local crew, directors, editors and managers.

  The adaptation process.

  • Source material: What stays and what goes? Every market has its own specific, culturally sensitive content considerations.

  • The goal is to utilize as much of the original property as possible.

  • But how is that accomplished while still letting the local team put its stamp on the project, and giving the market the best possible version of your show? How do you avoid 'The Ripple Effect' of too many changes?

  • The production process. Story breaking, creating 'the room', working with translators, scheduling all phases from pre-production, the shoot, post, all the way through the development and delivery of marketing and promotional materials.

  • And what happens when the source is expended? When you run out of scripts? Judd covers how to take the premise and show history, and spin new stories and new seasons! utilizing your cast‘s specific strengths and talents.

  • The training process. If a boots-on-the-ground consultant is in place, how to identify, then groom a local showrunner? And how do you mark all the boxes on 'The Adaptation Check-List', making sure each department is running at maximum creativity and efficiency?

  • 'Found In Translation' covers these areas, many more, and all of your questions. This seminar is an invaluable, entertaining, and critical tool, delivered by someone who’s done it. It’s an essential key to unlocking the absolute most, and absolute best of your adaptation.

TV Production: From Creation to Congratulations or Cancellation

This is a 360 degree, A-Z deep dive into what it takes to create, write and sell a (hopefully) hit TV show. Topics covered:

What is my hit show? How much inspiration, how much manipulation? Can you 'game' the market? Should you 'game' Usually by the time you 'game' the game has changed.

• Either way, it is you who has to pull the answers out of your heart (or ass) at two a.m. on a rewrite night.

• Creating for a star. Plusses and minuses. Commercial considerations.

• The pitch. The 'dog and pony' show.

• Did you sell it? Sometimes happens in the room. Sometimes not. Sometimes you think it went great, and it didn’t. Sometimes you think your career is over, and they buy it.

• So you sold it. Now you have to write it, cast it, staff it and shoot it.

• Premise pilot versus up and running. Usually up and running better. Better feel of series.

• Working with studio/network on script. Let everyone have ownership…but listen to your gut. In the end it’s all on you.

• Casting. Leads. Chemistry. Conflict. Changing your vision for the right actor.

• Supporting players. Like a ball team. Deep bench.
• Director. Again, early on, may not have a choice. Does he or she share your vision? Will he add to it? Have a real passion for material?
• Shooting
• Rewriting during the production week. Finding the episode • finding the series
• Post-production: music, graphic, editing styles, transitions, pace, cutting on and off the joke. The show is made in the editing room.

You’ve been picked up! Showrunning!

• The Showrunner leads the room, the stage, liaison to the studio staffing.
• The writers’room is where you live and die
• Pre-production/production relationship to editor. First cuts…saving time
• You’ve made it to year two…congratulations, you’re 30 pounds heavier.