How have the submissions changed over the years that you’ve been running the festival? I’m sure just the idea that it seems much more possible that you can get a show on TV by shooting a pilot yourself and going this route is very exciting for a lot of creators out there.

It’s the idea of being able to have some level of distribution, which is something that drives a tremendous amount of content. Because of the technology and the distribution, there is a tidal wave of new content out there -- and it’s very difficult to get through all of that. What we do is try to serve up the best of that content to our industry partners. And we curate the best of that content. But in general, in terms of the pilots over the years since the festival’s been in existence, two things really come to mind. The first is the production values get better and better every year. They’re getting to a point where they’re fantastic, and it makes sense -- a lot of this equipment was in artists’ hands for the first time, and they were learning the ins and outs of using different cameras and editing software.

As we’ve progressed further along in the years, they learn how to use this equipment, learn better techniques. And they learn by obviously watching things that have been successful on TV. And the result is that what we’re getting has a much higher production value. Secondly, as there has been a migration from things like independent film and other areas, the structure of putting together a television pilot or an episodic web series is getting much better, much cleaner. And as a result, the pilots that we’re getting are in a more mature state and that much better to get into business with the networks.

Can you walk me through the festival itself? I know there are different rolling deadlines and standalone competitions throughout the year, but what happens at the event itself? What kind of things can people look for there?


We’ve always had a number of red carpet premieres that we’ve done with broadcast or cable networks. But there are almost two festivals that have emerged in the last couple of years. One side of the festival is 100% business and is not open to the general public. It’s called NYTVF Connect. For the pilot competition or if you’re a finalist in one of the standalones, all of our industry partners, the networks, studios and top agencies will get all the pilots about six weeks prior to the festival.

Then they have the opportunity in a private screening room to call back the festival and say, “Based on what you’ve sent us, we want to meet with this many producers.” We will set up in advance, these one-on-one meetings with the executives and the producers whose projects are in the festival. Additionally, we have something called development chats where I will sit down with the head of development from all of the different networks and studios or different agencies and we’ll discuss how they like to be pitched or how they don’t want to be pitched and what is currently trending for them.

There’s one other very successful program that we have that’s different than other festivals or conferences. We have a program called NYTVF Pitch. That program is only open to the artists who have already been accepted into the festival. It started last year with three partners, and this year it’s ballooned up to six partners, including the Sundance Channel, LOGO, Hasbro Studios, two international partners in Red Arrow and SevenOne International and Channel 4 out of the UK. Essentially these industry development partners will give us a creative brief. We take the creative brief of the type of program that they are looking to develop and give it only to those artists who are ready. So it’s a very high-level, limited field. Those artists give us a two-page treatment based on the creative brief from the industry partner -- and then one of those artists will walk away with a deal from each one of those partners. An artist that could be in the festival for a comedy pilot might be able to walk away with a non-scripted reality deal from Sundance.


The public side is all of the screenings of the independent pilots. It’s free to the general public, so we get crowds. And we have entire days that are dedicated to digital, entire days that are dedicated to the art and craft of television. We’ll have great people come in and give keynote addresses. In the last couple of years we’ve had Ron Moore from “Battlestar Galactica.” Last year we had Damon Lindelof, creator of “Lost.” The year before that we had Mitch Hurwitz from “Arrested Development.” So we’ve been very lucky in the great talent we’ve had come and speak to the audience.

I’m sure you’re not supposed to pick favorites, but are there any pilots over the years that have been especially memorable to you or that have particularly appealed to you personally?

Well, I love them all. [laughs] There are always standouts. I don’t know if I can put my finger on one, and I wouldn’t want to do that, because I do think as I said overall the quality is getting so much better and because of the diversity of the buyers that are at the festival, that sort of ecosystem is growing as well. We’ll have somewhere between 65 to 80 buyers at the festival this year. Whether it’s non-scripted or animated, whether it’s comedy, whether it’s drama, there’s such good quality, it’s just hard to pick one and single it out.