什么是Pitch

综述

提案（英文Pitch），是指提案人在规定的时间内向众多不同的潜在合作方陈述一个纪录片选题的过程。提案是提案人听取市场反馈，吸引合作方注意，进而通过后续接触来解决投资、预售和播出问题的绝佳方式。在听取提案的过程中，由于选题尚未开始操作因而会存在诸多不确定因素，所以为了降低风险，合作方不仅会评估选题，还会特别考察整个创作团队。

陈述、片花、问答

Pitch三步骤

提案主要由三大环节构成：主创陈述、片花播放、现场问答。一个成功的提案展示需要提案人在这个三个环节中都能出色发挥。

主创陈述7大要点

时间控制在5分钟左右，陈述采用“演讲+PPT演示”的形式。在这一环节，提案人一般需要向合作方陈述一下内容：

选择此选题的初始动机是什么？

随着对选题的深入挖掘，此选题最吸引你，进而去吸引别人的是什么？此选题的意义是什么？

你认为与别人相比，你成为合适人选的优势在于？可从深刻的理解、独特的体验、不一样的角度、独家的素材等方面陈述。

你与你的团队能否在技能和资历上支持此项目的运作？

你将如何进行选题的艺术呈现？如何讲好故事？尽管不能确定整个故事的细节，但对故事的大致走向你是如何把握和预判的？你对故事的逻辑、结构、转折和风格的预定方案是什么？你对无法预判和控制的事件走向的不同预案是什么？

一旦开始操作，你将如何管理和控制流程？例如拍摄和剪辑的时间长度、素材量、预算安排等问题。

你寻求的是什么方面的合作方？对投资的需求具体是多少？

Tips

谁上台陈述？

需要知道的是，并非每个陈述都包含以上所有要素，但是对以上问题的精心准备，有助于让提案人更有效地找到适合自己的合作方。有些场合允许提案人邀请其他主创人员和其同台，其中可包括联合导演、制片人、摄影师、剪辑师等，也可邀请故事的主人公到场。

需要准备PPT吗？

精致得当的PPT会对陈述起到很好的辅助作用。但要注意的是，合作方更在意提案人的阐述，而不是对PPT的照本宣科。

Pitch的时间和内容如何把控？

Pitch是个抛砖引玉的过程，更重要是勾起决策人的兴趣，在下一步的攀谈中再进一步、持续地提供更多的资料和内容。充分准备好你的Logline，尽量在一个复合句的范围内概括你的提案内容，能够让决策人对你的提案有更准确的把握。

陈述的过程中，主创人要注意时间的分配和语速的控制（语速尽量放慢，同时注意国际Pitch场合同传过程中需要花费的时间），一般在时间耗尽前30秒和时间耗尽时，主办方都会提示，超时30秒以上后，

主持人会打断你的发言，因此在台下多次反复地练习是很有必要的。要知道，合作方不仅在评估提案，还在考察提案人。

Trailer的作用

片花作为提案人陈述的辅助工具，主要功能是传递信息。片花时长一般不超过3分钟，提案人可以自行决定片花在何时播放。提案人要通过片花展现故事角色和重要事件来呈现故事结构，同时合作方也可通过片花的镜头、影像素材和剪辑来了解主创者的个人风格。片花不宜承担太多过于广泛的内容和意义，切勿将过多的信息和想法放入片花，能够实现以上功能即可。

Tips

一个Pitch Trailer具备的因素

不超过三分钟的时长。

重点刻画重要事件和主要人物。

具备较为完整的故事线和故事结构，能够帮助决策人对故事的未来走向作出预判。

可以凸显创作者的个人风格，但尽量朴实、从简，不宜使用过于夸张的音乐和剪辑手法。

台上8分钟Q&A

现场问答环节需要提案人在7—10分钟内与现场观众进行简短的问答交流。在这一环节，提案人要事先了解现场观众都是什么人，因为不同的观众拥有不同的知识背景，如多数外国人对中国背景了解不够，这就需要提案人将提案中的相关信息做尽可能清晰简单的呈现。对于观众提出的问题，提案人的回答要简单扼要，简洁是能力的体现，要记得言多必失，重要的信息点要先说出来，不清楚的问题也要如实回答。

Tips

八分钟会问什么？

故事是什么样的故事？

故事的诞生背景？

多个角色之间的共性，创作者在技术上如何将他们穿插在一起？

影片的叙述结构、叙述手法

……

在国际性的Pitch场合，中国的提案人需要注意外国决策人对于中国国情和文化背景的认知不尽相同，要提前站在对方的立场充分考虑。

不论是寻求国内的投资还是国际的投资，在预算的制定过程中，创作者要考虑到影片的后续发行出口，拍摄的时间周期和国际之间的汇率变动等细微的问题。

与不同的决策人周旋的过程中需要坚守自己的原则，不要投机，让对方建立对你的尊重，信任你。在这个相互了解信任的过程中，你的专业能力也能因为这种信任而变得更可信。

经验分享人

赵琦，纪录片导演，1996年进入中央电视台工作。2003年至今在中央台英语频道任制片人，2008年担任亚广联电视评奖评委会主席。赵琦制作了《归途列车》、《千锤百炼》等纪录电影，在BBC、NHK、PBS等全球主流媒体播出，同时获得包括台湾金马奖、四川金熊猫奖、荷兰伊文思奖和美国艾美奖在内的数十个纪录片奖项。他担任导演兼制片人的影片《殇城》预售至日本、美国，荷兰等数个国家，获得了圣丹斯和IDFA基金的支持，并作为竞赛影片参与圣丹斯电影节、悉尼电影节和洛杉矶亚太电影节等全球五十多个电影节的角逐。

How to Successfully Pitch a TV Show

Jill Atkinson

It seems that everyone these days wants to know how to successfully pitcha television show. It's really not a complicated process but like most creative ventures, it starts with an idea. You’ve just spent the last 10 years locked in your attic, perfecting the best comedy sitcom idea since “Curb Your Enthusiasm” and now you’re ready to pitch your television show. Before you take a meeting, it will help to understand what you will need to sell it. One of the best ways to break into industry is with astrong spec pilot script. A great idea for an original television series and a strong spec pilot script can open doors. Even if nobody ends up buying your pilot idea or script, you could find work as a scriptwriter for another television series.

In the US you will need to hook up with a good entertainment lawyer or agent to help you get your foot in the door. These folks are connected … and lets face it, their network is most likely better than your network. And they might be owed favours. Favours come in handy when armed with agreat script from an unknown writer.

Many TV shows and reality shows in Canada are produced by independent production companies in cooperation with a network. If you’re new to the business, it might be worth your while to hook up with an independent to sell your idea. Once you’ve been around for a while, you’ll discover that many TV execs prefer to suggest which production company best suits your project. If you can get a meeting with the head of drama or head of original content at any of the networks in Canada, you've got a fighting chance to sell your idea.

TV Pre-Production Process

Pre-Development – The project becomes a fleshed out pitch and, where required, includes the following elements:

Pitch Book or Treatment: Logline/synopsis/location information/characters/cast/production estimates etc. used to sell the concept of the show

Research

Sizzle reel and bible development

Show run down

Development Phase A – Project enters formal development: scripts, bible, additional research, detailed outlines.

Development Phase B – Project continues development and has further drafts of scripts, casting conversations and preliminary financial model and budgets discussed.

Pilot Production – Project moves into production of the pilot or one-off.

Evaluation – Creative evaluation process takes place at this stage. Testing, schedule placement, promotion potential, digital platforms, talent packaging, further creative development if needed.

Green-light for Production – Decision to proceed with production of the series, based on final the final analysis of the project’s budget, financing, digital rights, casting, distribution etc.

Now let’s break down some of the process pieces. After all you’ve got asuch a great idea the thing practically writes itself!

What’s a Logline?

This is the one sentence that sells your show, it goes on the top of the outline or treatment, which is the 2-3 pages of pitching material you leave to prospective people. It could be something like, “It’s a showthat’s about three Muslim families putting down new roots in a small rural town in the prairies, and the hilarity that ensues when two cultures collide.”

What’s a Synopsis or Outline?

Before you begin your pilot script outline, you need to have a strong idea of what happens in your pilot script and how many characters will be in it. Decide how many acts will be in your script and whether it will be an hour long or half hour show. Get copies of television scripts that are already on the air so you can compare your structure to theirs.

Step 2

These are the basics. But go ahead and break these rules if you fancy yourself the next Tarantino. Outlines or synopsis' for hour-long drama scripts can be anywhere from 7 – 10 pages long. Structure the outline into the appropriate number of acts and make sure you’re pacing your main plot story and subplots evenly throughout each act. Be sure to include drama/cliffhanger/suspense endings at the end of every act and something compelling at the beginning of every act. The stories shouldn’t get resolved until the very end of your outline.

Step 3

To begin your spec script outline, start with a cold open (also called teaser), which comes at the very beginning of your pilot script – and before the opening credits. This is a great place to introduce your main character(s) and set the tone for the entire series.

Step 4

Every scene in your pilot script outline should have its own paragraph. Start the paragraph with a word or two about where the scene takes place. Then describe who’s in the scene and what happens. Include snippets of dialogue if it helps the reader imagine the scene better. Here’s an example:

The Bridle Path, suburban Toronto. Missy recklessly pulls her Mercedes through the iron gates, into the driveway of her imposing mansion with Baron in the front seat next to her. Baron is dumbstruck at the sight of the huge house and manicured boxwoods that define the gardens. Missy tries to reassure him; “Look – I know all this can be intimidating but this is me – it’s who I am – okay?” She looks at him a little more kindly – the reality that this good-looking man could really be her long lost brother dawns on her: “I thought we lost you.” She lunges to hug Baron but he shoves her away.

Step 5

Once you really love your TV script outline, show it to other writers and get their feedback. Ask them whether the plot lines were clear, whether the characters were interesting, and whether the story kept their attention. Keep rewriting your television script outline until the answers to all these questions is ‘yes.’

If you’re worried about someone stealing your idea, know that networks are in the business of protecting themselves, as well as your intellectual property. You should be asked or ask them (and if not, insist) to sign anon-disclosure (NDA) that acknowledges your ownership of the idea that you’re pitching.

What’s a Mini-bible, Bible or Writer’s Guide?

Every TV series has one. But even if your own concept is still to be sold, the process of building a series bible for another series can be a giant step toward your goal of selling your own show. Here’s how to do it:

Write the concept of your series in not more than two paragraphs.

Write where your concept takes place.

Write a short bio of your continuing characters. Who they are and what they want. Define their relationships with the other characters.

Write the challenges that will be faced by your characters each week.

Write some sample stories that will be told in your concept. Do this in only a few sentences and a single paragraph.

The Wind-Up And The Pitch: Independent producer or TV network

Keep it simple

Your initial pitch should be simple and focused: just a presentation of your idea or concept and any additional supporting material that you think is needed – but – don’t just pitch an idea, pitch physical material. Create a pitch book or treatment. Have a logline, synopsis, character descriptions, casting ideas, locations, rough production budget etc. If you can’t shoot a pilot, shoot a short teaser called a "sizzle reel" to help people see your vision, make posters for the show ... anything that helps bring it to life. If execs or producers can't "see" your vision, they won't buy it. It's critical that they understand the idea quickly.

You don’t need to develop a fully complete series “bible” to submit aprogram proposal. Whatever best illustrates your idea is the golden ticket. Just make sure it's of high production quality and no typos or grammatical mistakes.

Sell it! Tell the producers/Execs why is this show perfect fit for their production company/network. (This is where your research comes in)

For network pitches:

Your proposal should briefly address the question of the business case. Why should your program be aired on their network? At CBC for example, this means that you should know what we’re looking for based on our corporate strategy (i.e. audience potential, supporting successes, distinctiveness, multi-platform potential, regionality, diversity, etc.). For example in Canada, CBC’s business is “engaging, informing and entertaining as many Canadians as we can.” and therefore you should keep selling back to that.

Final Advice

Be on time, be brief, be open to change or suggestion, and give the independent producers or TV network reasons why they should buy your showidea. At the very least, you’ve created a new contact to bring projects to directly. At the very best, your project just might make it into production. And two years from now, when your name is called at the Emmy Awards, don’t forget to thank me.