CHRC Show Runners TGA

Training Gaps
Analysis
Showrunners
Film and Television
Cultural
Human Resources
Council
Conseil
des ressources humaines
du secteur culturel
TRAINING GAP ANALYSIS
SHOWRUNNERS
IN CANADIAN TELEVISION
For the Cultural Human Resources Council

CHRC
January 30, 2009
Deborah Carver
Carver Consulting
2033 Bauer Street, Halifax N.S. B3K 3W2
[email protected]
with Benoit Dubois

Showrunners Training Gap Analysis
SHOWRUNNERS
Table of Contents
I. INTRODUCTION 4
II. EXECUTIVE SUMMARY 6
III. PROJECT METHODOLOGY 13
CASE STUDY APPROACH FOR TRAINING NEEDS 13

TRAINING OFFERING SURVEY 13
TRAINING GAP ANALYSIS 14
CONCLUSIONS 14
IV. THE MANDATE 15
INDUSTRY CONTEXT 15
WHAT IS A SHOWRUNNER? 16
QUBECS UNIQUE CONTEXT 18
V. TRAINING NEEDS 21
PRODUCTION CASE STUDIES 21

PRODUCTION MODELS 24
DEFINING THE NEED 25
THE ESSENTIAL CORE COMPETENCIES OF A SHOWRUNNER 27
WRITING 28
VISUAL IMAGINATION: RELATIONSHIPS WITH OTHER CREATIVE DEPARTMENTS 28
ORGANIZATIONAL MANAGEMENT 29
OTHER COMPETENCIES 29
GENERATE AND DEVELOP THE IDEA 29
SUPERVISE ON-SET PRODUCTION 30
BUDGETING AND SCHEDULING 30
SUPERVISE POST-PRODUCTION 30
NEW PRODUCTION TECHNOLOGIES 30
ASSIST WITH DISTRIBUTION AND EXPLOITATION 30
THE SHOWRUNNER AND OTHER GENRES 31
2
Deborah Carver and Benoit Dubois, January 2009
VI. TRAINING OFFERINGS 32
ON-THE-JOB TRAINING 32
FORMAL TRAINING OFFERINGS 32
PROFESSIONAL SHOWRUNNER TRAINING OFFERINGS 32
EMERGING LEVEL: PROFESSIONAL DEVELOPMENT PROGRAMS 33
ENTRY LEVEL: INVENTORY OF OFFERINGS 33
VII. TRAINING GAP ANALYSIS 36
ON-THE-JOB TRAINING 36
FORMAL TRAINING 38
WRITING 39
VISUAL IMAGINATION: RELATIONSHIPS WITH OTHER CREATIVE DEPARTMENTS 39
ORGANIZATIONAL MANAGEMENT 40
SCHEDULING AND BUDGETING 41
NEW TECHNOLOGIES IN DISTRIBUTION AND EXPLOITATION 41
PROFESSIONAL DEVELOPMENT 42
FINDING AND TRAINING THE TRAINERS 42
CAPACITY AND MARKET 43
RECRUITMENT 44
FINANCING TRAINING PROGRAMS 44
VIII. CONCLUSIONS 46
IX. APPENDICES 47
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Showrunners Training Gaps Analysis Cultural Human Resources Council

Version 1.0, 2009.
All rights reserved.
Many representatives of Canadas cultural sector have contributed their time and efforts to
create this training gaps analysis. The Cultural Human Resources Council hopes that you will
find the information helpful and easy to use, but provides the information as is and makes no
representations or warranties of any kind regarding it. CHRC disclaims all liability of any
kind whatsoever arising out of your use of, or inability to use, this information.
The opinions and interpretations in this publication are those of the author and do not
necessarily reflect those of the Cultural Human Resources Council and the Government of
Canada.
This project is funded by the Government of Canada's Sector Council Program.
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Introduction
The purpose of this report is to assist the Cultural Human Resources Council (CHRC) in its
contribution to human resource development in the field of television production by identifying
areas of need in professional training for Showrunners. This Training Gap Analysis is designed to
allow training providers to plan programming, and assist funders and policy makers to harmonize
programs to respond to current needs in the industry.
We thank all who generously gave time to discuss the role of Showrunners and training in
Canadian television production. We heard many passionate voices: writers, Showrunners,
producers, broadcasters, and trainers. Their attachment to the art and craft of the industry was
obvious, as was their support and respect for each others work.
Many thanks are due to Susan Annis and Lucie DAoust of the CHRC: to the Showrunner Expert
Advisory Committee for their guidance; to John MacLaren and Marie-Claude Marsolais who
assisted with our research; to Melisandre Schofield for her translation services; and to Geoff
LeBoutillier and Bev Sweetman who provided editorial advice.
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I. Executive Summary
The Cultural Human Resources Council has undertaken occupational and training gap analyses
for certain key occupations in the film and television industry including this one for Showrunners.
To start, an Expert Working Group of practicing Showrunners prepared a Showrunners Chart of

Competencies identifying the combined competencies that make up the work of a Showrunner
(see Appendix A). The CHRC commissioned this Training Gap Analysis to determine how
prepared Showrunners are for these competencies, to determine if the education and training
system is able to provide instruction in the competencies, and if not, where the gaps may lie.
For the purpose of this Training Gap Analysis, we assumed that a Showrunner is a
writer/producer who has the final say on the creative realization of a series. However, the
research indicates that there are successful models for series television in Canada that do not
include a Showrunner and others which may have a different definition of Showrunner.
Training Needs
In conducting the Training Gap Analysis, the consultants adopted a qualitative methodology for
determining Training Needs based on case studies of Canadian TV series. The intent was to look
for various organizational models by which the creative vision of a show is successfully
delivered, some of which include a Showrunner and some of which do not.
Nine series were chosen as case studies, 6 English language and 3 French language. Multiple
interviews were conducted for each case study focusing on the senior creative team. The series
studied were:
Flashpoint, produced by Pink Sky Entertainment and Avamar Entertainment

Degrassi: The Next Generation, produced by Epitome Pictures
Being Erica, produced by Temple Street Production
Corner Gas, produced by Vrit Films
This Hour Has 22 Minutes, produced by Halifax Film
Da Kink in my Hair, Season 2, produced by Defiant Entertainment and Barna Alper
Virginie, produced by Aetios Productions,
Les hauts et les bas de Sophie Paquin, produced by Sphre Mdia
Jardin dhiver, in development
The interviews revealed that in Canada the division of responsibility between the creative and
production tasks differs widely, so much so that it is difficult to say that there is a typical
model. Given the complexity of the task, many series are organized so that more than just one
hand is guiding the creative.
The role of Showrunner does not exist in the television industry of Qubec. The director or the
producer generally has key creative control of a television series.
The English Canadian producers, writers and Showrunners who we interviewed were unanimous
that there is a lack of experienced Showrunners in Canada, and that we need more Showrunners
with all of the requisite competencies described on the CHRC chart. Why are there not enough?
6
Everyone referred to the drain of potential Showrunner talent to the U.S., where there is more
opportunity, more money and the possibility of more creative control.
The corollary to the problem of retention of talent is lack of a training ground. With few
Showrunners, hit series are few, as are mentors. The consensus is that there are probably no more
than 25 or 30 qualified Showrunners in Canada. Possibly half of these are inexperienced,
therefore not fully trained; and many are mature participants in the industry who may soon
choose to become less active. It can therefore be assumed that we need to develop a pool of new
entrants.
In Qubec, many of the interviewees are in favor of the presence of a Showrunner on productions,
although some approach the idea rather cautiously. However, all agree that there is a need to
marry the artistic with the business professional profiles.
In order to develop a framework for training a pool of Showrunner talent, it is helpful to

understand which competencies are at the core of the role. Interviewees identified three broad
core competency areas in the Showrunner role:
1. Writing
2. Translating writing into the visual medium of television
3. Organizational management
In addition, whoever is entrusted with the vision of a series no matter what their official title,
Showrunner, producer, director, or head writer must have a natural predisposition towards
storytelling, with all the cultural references and aesthetic understanding entailed.
Showrunners start with writing as a primary competency. As many interviewees emphasized,

there is a gigantic leap from being a writer to being a Showrunner responsible for spending a
production budget of up to $1.5 million every seven days. The Showrunner has to have
managerial savvy and experience as in any organization, be able to communicate a vision to the
rest of the staff, and hire the right personnel for the vision. A Showrunner is not simply a
manager. He or she is a leader. At the heart of the role of Showrunner is the capacity to work with
others: the personal and interpersonal skills that relate to communications, decisiveness, strategy
and relationship-building that are essential to leadership.
In addition to the above mentioned core areas, interviewees emphasized a variety of other
competencies as important, including the ability to:
Generate and develop the idea
Supervise on-set production
Manage budget and schedule
Supervise post-production
Understand new production technologies
Assist with distribution and exploitation
Training Offerings
On-the-Job Training: All Showrunners working today learned their role on-the-job. Without
exception, the interviewees emphasized that Showrunners must continue to have significant on-
the-job experience as an absolutely key component of training.
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Formal Training Offerings: Three professional development offerings directly targeted at

Showrunners were examined: the Banff CanWest Showrunner program launched in June 2008;
The Writers Guild of America (WGA) West Showrunner Program in Los Angeles; and the CFC
CTV Showrunner Studio program, proposed to start-up in 2009. Several professional
development programs are credited with developing the emerging writing talent that is a basic
requirement for stepping up to Showrunner: The CFC CBC Prime Time Television program;
NSIs Totally Television program; and, in Qubec, INIS.
At the entry level, twenty-six English language providers were interviewed by telephone. It can
be concluded that there is a multitude of entrance level offerings available, which, with astute
selection by a student, can build skills useful to a future Showrunner. However, students and their
advisors require an understanding of the industry and its demands in order to make a selection.
Training Gap Analysis
Representatives of the WGC believe that the pool of experienced and available Showrunners in
English Canada needs to double. Based on the information gathered in our interviews, there
could be room for about four or five new individuals taking up the role of Showrunner in Qubec
annually.
As defined for the purposes of this analysis, a Showrunner is a writer/producer, and therefore
writers and story editors with experience in the story department are the most significant source
of Showrunner talent. However, the selection process is key to achieving a positive outcome for
any Showrunner training program. The bar needs to be set very high for candidates.
Training gaps are described by a comparison of the needs for Showrunner training as expressed
by the interviewees, with the training offerings currently available. Where gaps are identified,
recommendations on how to address them are made, based on the interview results.
I ON-THE-JOB TRAINING
Training Gap 1: Although mentoring occurs throughout the industry informally, there are no
mechanisms in place in Canada for writers with story room experience to intern or apprentice
with experienced Showrunners in order to get broad production experience. We must build in
mentorship as part of the production process.
Recommendations:
1.1 Develop an internship program for experienced writers to work as an assistant with a
senior Showrunner. The intern could follow a Showrunner through a production season,
with the opportunity to take greater responsibility for one or more episodes near the end
of the cycle. Use a cost-shared program such as the CFTPA Telefilm Producer Trainee
Program as a business model.
1.2 Develop a curriculum and report card system tied to the Showrunner Chart of
Competencies that ensures that the intern is exposed to a full range of production
experiences.
1.3 Use formal training offerings (such as the Banff CanWest Showrunner Program) as a
proving ground for the proposed internship program. Build in transition mechanisms so
that a small number of star graduates move into the internship program.
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1.4 When on-set training is less than a full production season, ensure that it be long enough
for the trainee to follow an episode through all aspects of production: at least a 3 week
period for a half- hour comedy, and at least 6 weeks on one-hour drama.
1.5 Include a variety of genre and sizes of productions in the internship program to broaden
the number of opportunities available. Although it would seem that in a bigger more
complex production there is more room for a mentor/mentee relationship to be
accommodated, a small budget series can also provide good training in production skills
because writers have more access to other aspects of production (writers attend
production meetings for example).
1.6 In a second phase of the internship program, include opportunities for writers to shadow
directors or editors to help develop an understanding of their relationship to the
Showrunner.
1.7 Construct financial incentives for independent production companies to follow the best
practice examples of those that have integrated training and talent development into their
business model.
II FORMAL TRAINING
Training Gap 2: Access to programs that familiarize senior writers with directing, art
directing, acting and editing is required. Showrunners in training need to know enough about
the approaches and tools used by professionals in these fields to make the best possible
creative decisions. Similarly in Qubec, producers, directors and writers do not necessarily
have training in each others professions, or in the below-the-line trades.
Recommendations:
2.1 Develop the curriculum for a combo-pack of master classes, led by a Showrunner, that
deal with each type of professional storyteller category (acting, directing, editing, etc.) in
workshop fashion.
2.2 Develop partnerships with professional training providers that put senior writers into
acting, directing and editing programs.
Training Gap 3: In Qubec, training for writers, directors and producers tends to be
segregated. This perpetuates the professional silos in the industry.
Recommendations:
3.1 In Qubec, develop cross-professional training curriculum for use in existing programs.
For example, the curriculum should offer: training in production and post-production for
writers whose scripts would benefit from a better understanding of the parameters and
possibilities of a production; training in scriptwriting and editing, casting, creative
brainstorming, and the management of creative teams for producers.
3.2 In Qubec, develop industry-educational partnership initiatives in which cohorts of

students, organized into writing rooms and brainstorming new television content, would
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work with producers in creative incubators. Involve content producers, head writers, and
directors.
Training Gap 4: There is a significant lack of opportunity available for emerging

Showrunners to acquire the complex managerial and leadership competencies that they need.
Recommendations:
4.1 Adapt the curriculum developed by WGA West for training Showrunners in managerial
and leadership skills, as in the proposed CTV CFC Showrunner Studio program.
4.2 Partner with business schools across Canada to develop a curriculum that is appropriate
and accessible to creative talent such as Showrunners.
Training Gap 5: Inexperienced Showrunners need more access to training in the principles
and tools of budget and schedule management.
Recommendation:
5.1 Consider adapting typical project management course content and make it available to
Showrunners and producers.
Training Gap 6: Emerging and experienced Showrunners must be able to apply the rapid
changes in audience habits and distribution technology to the creation of content. Future
proofing is a professional development issue not only for Showrunners, but for all creative
roles in the industry. In this case, course materials or strategies for integrating digital and
interactive media can include input from the recent entrants to the industry.
Recommendations:
6.1 Provide practical exchange experiences that bring together experienced Showrunners,
producers and writers with new entrants. Include digital media specialists.
6.2 Design curriculum to help Showrunners integrate television production processes with
the processes for production of interactive content so that the Showrunner can oversee all
creative elements concurrently.
Training Gap 7: There are very few forums and courses in which experienced and senior
Showrunners, producers and directors can develop new skills, in particular related to new
technologies and managerial competencies.
Recommendations:
7.1 The WGC, the CFTPA and other guilds and associations could provide more high level
skills training for above-the-line professionals in the industry, including experienced
Showrunners.
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7.2 Ensure that every training program integrates alumni communications, annual refresher
opportunities and methods for measuring outcomes.
Training Gap 8: Experienced Showrunners are needed to instruct and mentor the emerging
group of Showrunners.
Recommendations:
8.1 Invest in the best possible trainers to develop new Showrunner talent. Be prepared to pay
professional rates to attract excellence in trainers.
8.2 Develop a cohort system whereby the first cohort trained is recruited to train subsequent
cohorts.
8.3 Train the trainers. Mentors and trainers need to understand the curriculum, the methods
and the expected outcomes in order to teach effectively.
8.4 Ensure that training institutions, including those at the entry level, understand what
competencies are required of a Showrunner so that students can receive appropriate
counselling.
Financing Training Programs
Although, as noted, the current pool of Showrunners needs to double, the total numbers are not
large. Sustainability is the key requirement in funding. During the course of interviews for this
study, there was a recognition of the need in the film and television industry for a national and
permanent source of funding for training. Some possibilities for funding in Canada include:
Adapting the Qubec 1% law to other provinces
Producer and broadcaster supported training fund as per the Skillset model in the U.K.
funds could be transferred to a trainer, or put back in production budgets to support on-
the-job opportunities
CTF funding could integrate a requirement for at least one above-the-line apprentice or
intern on a production budget, to receive the normal treatment for labour-based tax
credits
Guild-managed training funds (as per WGA) could be negotiated in the context of
industrial agreements
Tuition is another source of funding.
Conclusions
Through this Training Gap Analysis, we have determined that there is a very small pool of
approximately two dozen Showrunners working in Canada today whose skills have been
developed on-the-job. Possibly half of these are inexperienced and therefore not fully trained; and
others are on the verge of retirement. There is a clear need to develop a new cohort of
Showrunners who have all the necessary creative and producer competencies.
Hand-in-hand with training, we need to ensure that the industry in Canada is attractive enough to
retain a new cohort of Showrunners in this country. One producer suggested a possible incentive:
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to offer the writer significantly more upside than they are ever going to get under an American
studio model.
The Showrunner gives a television series its unique vision and voice. For that reason, the lack of
a Showrunner class in Canada is a significant barrier to developing and maintaining an identity
for Canadian television. The future of the industry is literally in very few hands. Investment in a
training system that develops and supports creative leadership is bound to generate returns in
marketable hit entertainment.
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II. Project Methodology

The Cultural Human Resources Council (CHRC) brings together cultural workers and employers
to address training, career development and other human resource issues. The cultural sector
includes a labour force of over 600,000 and several thousand businesses.
CHRCs initiatives on behalf of and in collaboration with the film and television industry include
developing Fast Forward, a national training strategy and establishing a National Training
Advisory Council (NTAC) to oversee the implementation of the Fast Forward recommendations.
CHRC has also undertaken occupational and training gap analyses for certain key occupations in
the film and television industry including this one for Showrunners.
To start, an Expert Working Group of practicing Showrunners prepared a Showrunners Chart of

Competencies identifying the combined competencies that make up the work of a Showrunner
(see Appendix A). The CHRC commissioned this Training Gap Analysis to determine how
prepared Showrunners are for these competencies, to determine if the education and training
system is able to provide instruction in the competencies, and if not, where the gaps may lie. In
conducting the Training Gap Analysis, the consultants followed the steps outlined below.
CASE STUDY APPROACH FOR TRAINING NEEDS
The consultants noted at the start of the analysis that there is only a small number of Showrunners
in Canada. We therefore adopted a qualitative methodology for determining Training Needs
based on case studies of Canadian TV series that are either currently in production or have
recently demonstrated success. The case studies were selected to provide balance in geography,
language, broadcaster and genre.
The intent was to look for various organizational models by which the creative vision of a show is
successfully delivered, some of which include a Showrunner and some of which do not.
We conducted in-depth telephone interviews with key production individuals in each of the
selected series (see Appendix B1 and B2 for lists of English and French Interviewees). Each
interview included questions about the identity and role of key players in the production process,
the views of the interviewee on the competencies necessary to undertake the work of a
Showrunner, and how and by whom those competencies are exercised on the particular series.
Interviewees were also questioned about immediate and long-term training needs. We asked for
specific input on what types of training would be most useful: on-the-job, academic, workshop,
etc. (see Appendix C1 and C2 for Case Study Questions in English and French).
We conducted additional interviews with industry professionals to provide further insight and
validate the themes that emerged.
TRAINING OFFERING SURVEY
Several professional development offerings are directly related to Showrunners. In-depth

interviews were conducted with these trainers. A geographically representative sample of key
training providers (organizations, associations, private schools, colleges, and universities) was
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developed based on lists used in previous CHRC Training Gap Analyses and validated by
evidence that they provided a cross-section of training in both creative and producer skills. The
English language trainers were interviewed by telephone. French language trainers were
inventoried and interviews conducted with two key training institutions, Institut National de
lImage et du Son (INIS) and lAlliance qubcoise des techniciens de limage et du son
(AQTIS). Because the Showrunner role does not exist in French language production in Qubec,
other educators were not interviewed. (see Appendices E through H)
The consultants compared the results of the Training Needs Assessment - what training is
required to meet the needs of Showrunners based on the competency analysis - with the training
inventory, to reach an analysis of training gaps and provide proposals to fill the gaps.
CONCLUSIONS
As a result of the in-depth interview process, we were able to reach some broad, industry-wide
conclusions on the significance of Showrunner training.
Note: As will be seen, the arrangements for production of television series in French, in Qubec,
are quite different from the rest of Canada. For the most part, French language production is
reported on separately from English throughout this study.
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III. The Mandate

INDUSTRY CONTEXT
Successful series are important to broadcasters. Episodic content is generally used to develop the
broadcaster brand, ensure repeat viewership, and provide a consistent offering to advertisers.
Many networks build their schedule around returning series, and program around them. One cant
build an audience on limited runs and repeats.
Successful series are also an important training ground. For example, the repetitive production
cycle of over 150 episodes of Degrassi: The Next Generation has helped many young writer-
producers to fine tune their craft.
On the other hand, the risk in fiction series production is high because, as one producer has said,
they are the Everest of production. Canadian fiction series production averages $1.2 million per
hour1 . On an hourly basis, prime time dramatic series are the most expensive form of content: up
to three million dollars per episode for US network series.
After several stagnant years, production of fictional series in Canada has recently shone with
creative success. Investment in fictional series production is up. Corner Gas, Little Mosque on the
Prairie and Degrassi: The Next Generation all made it to the top ten Canadian rated shows. On
the negative side, American-produced television programs occupied all ten spots on the list of the
top-rated television series in Canada between September, 2006 and May, 2007.2 However, a
number of Canadian series have moved into the U.S. market. For example:
Flashpoint premiered on CTV and CBS concurrently, bringing in 11 million North

American viewers on January 9, 2009, the launch night for its second season. CTVs
Corner Gas will air on WBS and The Listener on NBC.
CBC's Being Erica premiered January 2009 and will air on cable channel Soapnet.
Sophie will appear on ABC Family and Durham County on Ion.
Some of the recent cross-border success has to do with a market for strike-proof production in
the wake of last years WGA strike. If Canadian producers want to continue to place their shows
successfully into the North American market, we must build sustainability through consistency of
tone and unique vision. These qualities are generally reflective of the imprint of one person, or
one close knit group of people, at the shows creative core.
1
CFTPA 2008 Profile, page 39
2
All statistics from CFTPA Profile 2008, page 57
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WHAT IS A SHOWRUNNER?
The preamble to the Showrunners Chart of Competencies states:
The Showrunner is the chief custodian of the creative vision of a television series. The
Showrunners primary responsibility is to communicate the creative vision of that series - often
from pilot episode through to finale.
Showrunners need to be able to collaborate effectively with all the other producers, executive
producers, directors, cast and crew on the show as well as broadcast executives and
distributors. They are generally credited as producers or executive producers.
Showrunning skills cannot be learned solely in a classroom setting. Field experience is

essential. Anyone seriously contemplating becoming a Showrunner should first complete several
successful tours of duty in series production, series writing and story editing.
Scripts are the lifeblood of drama and comedy series. Typically Showrunners are successful TV
writers who have risen through the ranks, gaining the necessary skills in production. Directors
and producers can also become Showrunners, of course - provided they have acquired the
necessary professional writing skills, experience and credits.
TV series development and production is an intense, organic, ever-changing process. It requires

Showrunners to be passionate, creative, strong and open to the universe.
Showrunning itself takes an inordinate amount of time, talent, energy, stamina - and the ongoing
ability to complete many tasks more or less simultaneously.
Showrunners need to meet an exacting business challenge - namely, to produce the best show
possible within a set framework (budget, available resources and schedule).
Only a tiny minority of writers possess the creative, business and managerial skills needed to be
Showrunners. Only a tiny number of producers and executive producers possess the creative
skills and writing experience needed to be Showrunners. Therefore, a successful Showrunner is a
rare bird.
Finally, it needs to be said that running a hit tv series requires the ability to invoke a creative
magic not listed among the competencies outlined in the Chart and Profile. (Steve Lucas, on
behalf of the CHRCs Showrunners Expert Working Group)
The job of guiding the creative vision of a TV series first became known as showrunning in the
United States. Not a production credit, Showrunner is a term of art, and is based on the
understanding that a single filter makes the show stronger. The responsibilities are many: all the
creative decisions that provide a look, a feel, a sound, a pace. In the U.S., most Showrunners are
writers and series creators, who started in the trenches of the story department until they became
seasoned writer-producers with direct responsibility for the day-to-day operation and creative
output of a scripted show.3 Showrunners are responsible for building and managing the brand
3
Hollywood Reporter, October 2008, Top 40 American Showrunners
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identity of the most popular form of entertainment in the world and in doing so have become stars
in their own right: David E. Kelley, Steven Bochco, David Shore, Matthew Weiner, Tina Fey.
Its a controversial term and an important one because its the first time that writers in the visual
media have become recognized. It is usually the actors and directors who are known to the
public. But in TV series production, writers have become acknowledged as a powerful source.
The generation of so much story in such a short time is a powerful feat! (a producer and former
broadcast executive)4
In Canada, the use and meaning of the Showrunner designation are less clear. This is due to the
fact that there are very few Showrunners in the Canadian industry, as defined by the U.S. model.
The reason for this is partly our lesser volume of production, and partly the complicated
methodology of putting together a Canadian-financed TV series.
Although there may be disagreement over terminology, there is no doubt that on every successful
TV series there is an individual or team who is in charge of the creative vision and its translation
to the screen. That means having the final say on scripts, casting, art direction, directorial style,
editing, music, mixing and publicity. The distinction between the American and Canadian
systems lies in the balance of power. In Canada, independent producers take significant financial
risk, the corollary of which is that it gives them final decision-making power. Frequently,
Canadian production takes a collaborative approach rather than an individual star-driven one.
American-made TV series are usually 100% funded and owned by the network through a
subsidiary production studio. In Canada, a non-writing producer generally assembles the series
based on either a proprietary concept or the concept of an independent creator. The producer then
secures the broadcast deal, puts together the financing from a number of public and private
sources, and, with broadcaster input, starts assembling the creative team. In Canada, the
complicated financing regime means that there is a unique tension between the creative and the
producer sides of the project resulting in a continuing issue of control.
Despite the significant structural differences between the Canadian and American television
industries, we have imported the term Showrunner into Canada. In the context of the financing
of Canadian production, the term has been at the centre of some heated debate.
In 2005, Amendments to the Income Tax Act proposed by the Canadian Audio-Visual
Certification Office (CAVCO) incited a discussion around whether there should be a limit on the
Canadian-ness of a Showrunner as part of the determination of Canadian producer control.
The Canadian Film & Television Production Association (CFTPA) took the position that a
Showrunner exercises creative influence but does not control the production, that being the role
of the producer. The CFTPA asked for leniency to allow non-Canadian Showrunners in the
context of the producer control portion of the consultation because Showrunners legally and
practically report to the Canadian producer.
The Writers Guild of Canada (WGC) took the view: that creative control should remain in the
hands of Canadians and that the role of Showrunner is essential in this:
While we agree with the CFTPA that the term "Showrunner" is not defined in our collective
agreements, we do not agree that it is not a formally recognized position, nor that it is a colloquial
4
From hereon, all quotations in italics are from interviews conducted in December 2008 or
January 2009.
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term that can be applied to a variety of other talent. As outlined in our initial submission, the
Showrunner is a writer first and foremost but it is not solely a screenwriting position. The
Showrunner is responsible for all creative elements on a television project and facilitates all
creative minds at work on the project. He/she is responsible for hiring other talent, including the
director and performers, and oversees the production of all episodes, including being on set,
working within set budgets, attending all pre-preproduction conferences, assisting in location
selection and working with production personnel.5
The basis for the disagreement between the CFTPA and WGC could be said to lie in the fact that
they are discussing two differing models of controlling the creative, both of which are in use in
Canada one, the U.S. writer-creator model (the WGC version) and the other, a typically
Canadian producer-driven model.
The term Showrunner is American and it has been abused and misunderstood in Canada. It
doesnt mean that you have the final word, or that you can act independently. You are not a
Showrunner unless you are a senior writer and influence the creative decisions day to day.
That is what the word means. (a Showrunner)
For Canadian producers who are building shows for the U.S., it may be important to speak the
U.S. language. U.S. networks expect to deal with creator/writers. On the other hand, Canada may
be changing the paradigm. During the WGA strike, U.S. networks wanted to deal with anyone but
the WGA, and Canadian producer relationships became important.
For the purpose of this Training Gap Analysis, we will assume that a Showrunner is a
writer/producer who has the final say on the creative realization of a series. However, as will be
seen, the research indicates that there are successful models for series television in Canada that do
not include a Showrunner and others which may have a different definition of Showrunner.
QUBECS UNIQUE CONTEXT
The role of Showrunner does not exist in the Qubec television industry. The director or the
producer generally has key creative control of a television series. Due to the absence of
Showrunners in Qubcois productions, most interviewees in Qubec have never worked with a
Showrunner. However, they have knowledge of the role through witnessing Showrunners on sets
in English Canada or the U.S., or acquainting themselves with the industry through magazines,
conferences or seminars.
A Showrunner produces a show, but unlike the traditional producer, he isnt responsible for all
the financial planning. Its a writer who wants to become a producer, but is first and foremost a
writer. You have to be a writer; otherwise youre simply a producer. Showrunners are involved in
everything: both the small details and the big ones. (a Qubcois writer)
5
WGC to CAVCO, May 27 2005, re Public Notice CAVCO 2005-001 - Draft amendments to the
Income Tax Act, Phase II of consultative process see: http://www.wgc.ca/files/wgc-052705-
cavco.pdf
18
According to my model, which is quite different from the model adopted by producers in English
Canada, the Showrunner is above all the person who heads the writing team. Its quite important
to me that I be the one managing all aspects of production. (a Qubcois producer)
Its a kind of minence grise, a person who is primarily creative, but whose talents spill over
into production. Generally its a writer, someone who came up with the initial idea for the series,
who isnt afraid of getting their hands dirty with the nitty-gritty of production. This person assists
the writing team while holding the vision of the project, and participates both in the development
of ideas and in the details of production. Its an artist who has great business skills, sound
competencies in production and who is able to manage a team. (a Qubcois writer)
The Showrunner leads; he is the writer responsible for bringing to term the many episodes of a
series. (a Qubcois Writer)
Its a producer whose involvement is also artistic. (a Qubcois producer)
Its someone whose role is midway between producer and director, someone who supervises the
creative elements of a show, but who isnt really involved in the financing. (a Qubcois
producer)
Why arent there any Showrunners in Qubec? According to the interviewees, the explanation is
twofold. First, it is due to the power directors hold in Qubec. There is seldom more than one
director working on a Qubcois TV series.
In Qubec, TV series directors are Showrunners. Were the only place in North America, where a
TV series with numerous episodes will have only one director. A Showrunner, in my opinion, is
like the conductor in an orchestrathis person is responsible for all departments. Here, no
decisions are made without the director. (a Qubcois director)
In Qubec, directors take up a lot of space. In their last collective agreement, theyve garnered
even more importance, as much on the artistic as on the financial front. They have a lot of rights,
and they can easily be compared to Showrunners. Before introducing Showrunners into
productions, we first have to resolve the overlap with directors. (a Qubcois producer)
In Qubec, we have the same director for a whole series. The director brings his signature, so we
dont need a Showrunner to insure creative unity. But when there are 4 or 5 directors, like on the
set of Sophie, its normal to bring in a Showrunner, to unify the production. (a Qubcois
producer)
If we introduced Showrunners into our productions, it would demote our directors to a

supporting role. They would be technicians rather than creators. (a Qubcois educator)
The absence of Showrunners in Qubec is also explained by budget size. The average cost per
hour of fiction production in the French language is $336,000, whereas English language fiction
is $1.2 million. This is so for several reasons. "Many of the popular fiction programs in Canadas
French language market are soap operas; as well, they are typically not produced for export. For
these reasons, fiction productions in Canadas French language market are characterized by lower
production costs; they are shot in digital with smaller supporting casts and production crews,
often on location, and with limited special effects and stunts." 6
6
CFTPA, Profile 2008
19
A Showrunner is useful in unifying the tone and the spirit of a TV series, making sure that there
arent any breaks in the dramatic thread, or in the visual quality. But I dont think there are any
advantages to having a Showrunner when there is only one director on a series. It wouldnt be
useful. If we had the means to hire many directors, it would be a different story. English Canada
and the U.S. can afford to have many directors on one series. Each director makes enough money
on 3 episodes. In Qubec, the budgets are much smaller. (a Qubcois director)
We could have one writer, or a slew of writers on a TV series, the budget wouldnt be any larger.
Its impossible for a writer to survive on only a few episodes. In the U.S., they dont have that
problem. My ideal would be to write one or two episodes and have the larger part of my work
consist of managing other writers. (a Qubcois writer)
20
IV. Training Needs

PRODUCTION CASE STUDIES
To understand the role of the Showrunner in Canadian television series production, and to get a
cross section of views on Showrunner competencies and training needs, 9 series were chosen as
case studies, 6 English language and 3 French language. Multiple interviews were conducted for
each case study (see Appendix B1 and B2 for List of Interviewees) focusing on the senior
creative team. Three other English language series were also discussed in interviews but did not
constitute case studies.
English Interviews (see Appendix B1)

The following provides a profile of the background of the English language interviewees.
Case studies: 6
Total interviews: 28
Case study interviews: 17; Covering 24 positions (some interviewees had roles on more than one
series).
Other industry professionals interviewed: 11
Profession of interviewees
Showrunners: 7
Producers: 14
Writers: 4
Other: 3
Background of interviewees:
More than 10 years in the industry: 19
6 to 10 years: 6
No answer: 3
Experience of interviewees in current role:

More than 10 years in the industry: 11
6 to 10 years: 5
2 to 5 years: 5
Less than 2 years: 4
No answer: 3
Education of interviewees:
All of the interviewees had at least undergraduate university education, and many had a graduate
level degree. Three reported on professional development experience at the Canadian Film Centre
(CFC), two at the National Screen Institute (NSI), one at the Banff CanWest Showrunner
program 2008.
The series used as case studies were:

FLASHPOINT
Produced by Pink Sky Entertainment and Avamar Entertainment
Broadcaster CTV and CBS
21
CREATIVE TEAM7:
Anne-Marie La Traverse and Bill Mustos, producers
Mark Ellis and Stephanie Morgenstern, creators and writers
Tassie Cameron (Season 1) and James Hurst (Season 2), head writers
DEGRASSI: THE NEXT GENERATION

Produced by Epitome Pictures
Broadcaster CTV
CREATIVE TEAM:
Linda Schuyler, producer and creator
Aaron Martin (to season 1 to 4) and James Hurst (seasons 5 and 6), head writers
BEING ERICA
Produced by Temple Street Production
Broadcaster CBC
CREATIVE TEAM:
Jana Sinyor, creator and writer
Aaron Martin, Showrunner
James Hurst, head writer
Tecca Crosby, producer
CORNER GAS
Produced by Vrit Films
Broadcaster CTV
CREATIVE TEAM:
Brent Butt, creator, writer, actor and Showrunner
Virginia Thompson, producer
Mark Farrell, Paul Mather, Kevin White, head writers
David Storey, director
THIS HOUR HAS 22 MINUTES

Produced by Halifax Film
Broadcaster CBC
CREATIVE TEAM:
Michael Donovan, production company executive
Mark Farrell, Showrunner
Susan MacDonald, producer
DA KINK IN MY HAIR Season 2

Produced by Defiant Entertainment and Barna Alper
Broadcaster Global
CREATIVE TEAM:
Damion Nurse, producer
Shernold Williams, Showrunner
Trey Anthony and Ngozi Paul, creators, actors and writers
7
The creative teams are described here by function and not by production credit.
22
The following three series were also examined in single interviews with one member of the
creative team:
THE BORDER
Produced by White Pine Pictures
Broadcaster CBC
CREATIVE TEAM:
Peter Raymont, producer and creator
Janet MacLean, creator and head writer
David Barlow, Showrunner
SOUL
Produced by Halifax Film
Broadcaster Vision
CREATIVE TEAM:
Andrew Marshall, creator and writer
Peter Lauterman, Showrunner
Floyd Kane, producer and writer
SANCTUARY
Produced by Sanctuary 1 Productions
Broadcaster The Movie Network / Sci Fi U.S.
CREATIVE TEAM:
Martin Ward, creator, producer and director
Damian Kindler, creator, producer and writer
Amanda Tapping, creator, producer and actor
French Interviews (see Appendix B2)

The following provides a profile of the background of the French language interviewees.
Case studies: 3
Total interviews: 11
Case study interviews: 7
Other industry professionals interviewed: 4
Profession of interviewees:
Showrunners: 0
Producers: 3
Executive producer: 1
Directors: 2
Writers: 3
Other: 2
Background of interviewees: We interviewed people coming from many different backgrounds,

many having experience in more than one area of production. Each of our interviewees has more
than ten years of professional experience in the field, and some more than twenty.
Education of interviewees:
Professional School: 3
College: 2
Bachelors Degree: 2
23
Masters Degree: 2
Doctorate: 1
The series used as case studies were:

VIRGINIE
The TV series Virginie, written and produced by Fabienne Larouche of Aetios Productions, has
been running for more than a decade and has produced more than 1500 thirty-minute episodes.
According to many, Fabienne Larouche is the person in Qubec who comes the closest to
fulfilling the role of Showrunner.
Anouk Brault, executive producer
LES HAUTS ET LES BAS DE SOPHIE PAQUIN

Produced by Sphre Mdia, this TV series has been enjoying considerable success since its
beginning in 2006. So much so that an English language version has been created. This case is
interesting since the French language and English language versions are made differently; the
English version has a Showrunner, while the French version is produced without.
Jocelyn Deschnes, producer
Richard Blaimer, writer
Claude Desrosiers, director
JARDIN DHIVER (working title)

This TV series is currently in development. Its creator is a young screenwriter and INIS alumna,
Mylne Chollet. An aspiring Showrunner, she has enlisted the assistance of renowned director
Franois Gingras. One potential producer for this TV series is Microscope.
Mylne Chollet, writer
Franois Gingras, director
Luc Dry, producer
PRODUCTION MODELS
The list of Showrunner competencies developed by the Expert Working Group for the CHRC
covers the maximum number of competencies that a Showrunner may have, or should be ready
and able to perform. An individual Showrunner may exercise a subset of these competencies on a
series. Appendices D1 through D6 chart the competencies exercised by Showrunners in the
English Language Case Studies. Two of the case studies (Flashpoint and Degrassi: The Next
Generation) did not employ a Showrunner and therefore the senior writer/producers
competencies have been recorded.
The interviews revealed that in Canada the division of responsibility between the creative and
production tasks differs widely, so much so that it is difficult to say that there is a typical
model. Given the complexity of the task, many shows are organized so that more than just one
hand is guiding the creative side. The approach is affected by who has developed the creative
idea; whether the broadcaster has preferences in how the show is to be organized; or whether the
Showrunner has particular skills or capacities. It is frequently a question of how to best maximize
peoples talent.
24
The following list describes the production models illustrated by the interviews. It can be seen
that there are almost as many models as there are series.
The creator Showrunner who has responsibility for all the tasks, subject to the fiscal
framework (the U.S. model).
The creator Showrunner who has the last say on the creative, but whose responsibilities
may vary depending on the rest of the team (Brent Butt on Corner Gas).
The non-creator Showrunner for hire, retained by the producer often after the pilot is
shot, whose responsibilities may vary depending on the rest of the team (Mark Farrell on
This Hour Has 22 Minutes; David Barlow on The Border; Shernold Williams on Da Kink
in My Hair; Peter Lauterman on Soul).
The experienced Showrunner for hire who has been paired with a new creator voice
(Aaron Martin paired with Jana Sinyor on Being Erica).
The producer who does everything but write, who is sensitive to content development ,
and who works with an experienced head writer (Anne-Marie LaTraverse and Bill
Mustos on Flashpoint; Jocelyn Deschnes on Les hauts et les bas de Sophie Paquin ).
The producer who is also the creator and does everything but write, who works with an
experienced head writer (Linda Schuyler on the Degrassi franchise).
In Qubec, a prolific writer who assures the artistic control of his production by also
taking on the producers role. (Fabienne Larouche for Virginie).
DEFINING THE NEED
The English Canadian producers, writers and Showrunners we interviewed were unanimous that
there is a lack of experienced Showrunners in Canada, and that we need more Showrunners with
all of the requisite competencies described on the CHRC chart. Why are there not enough? First,
Canada has a problem retaining talent. Everyone referred to the drain of potential Showrunner
talent to the U.S., where there is more opportunity, more money and the possibility of more
creative control.
The corollary to the problem of retention of talent is the lack of a training ground. With few
Showrunners, hit series are few, as are mentors. The consensus is that there are probably no more
than 25 or 30 qualified Showrunners in Canada. Possibly half of these are inexperienced,
therefore not fully trained; and many are mature participants in the industry who may soon
choose to become less active. It can therefore be assumed that we need to develop a pool of new
entrants.
The lack of a Showrunner class in Canada is glaring. There is a gap in the creation and retention
of Showrunners that is illuminated every time that a broadcaster sets a TV show into motion. (a
producer and former broadcast executive)
There are so few Showrunners that even a Showrunner who gets fired will get another job
because he has experience, even if he hasnt performed well. Experience is what the broadcaster
wants. (a Showrunner)
As several interviewees stated, when a Showrunner is hired on a series, not only are experience
and skills required, but also a good fit with the rest of the production team and with the sensibility
and vision for the show. This means that the pool of available Showrunners must be large enough
to accommodate choice.
25
Some of the models that are in use in the production of series are evidence of the lack of
Showrunners. That is, in some cases, the creative team was put together without a Showrunner
because of the challenges in finding an experienced one who was appropriate to the project.
In another model, green writer-creators are teamed with more experienced Showrunners.
This methodology brings mixed success.
In some cases, the Showrunner is the gun for hire, who must be a benign collaborator,
particularly these days when young writers with great ideas are being paired up with a more
senior writer/producer who is brought in to understand the vision, metabolize it, and make it
better. (a producer and former broadcast executive)
Historically, Canadian series have addressed the problem [of inexperienced creators] by
partnering young Canadian writer/creators with a non-writing showrunner who handles all of
these issues. This system will never create great television. The writer/creator, for better or worse,
is the creative vision that drives the show. Its been the case with most successful tv shows you
can name: David E. Kelley, Steven Bochco, Joss Whedon, Marc Cherry, and David Shore. These
writers oversee all of the creative elements, and it makes a difference to the final product. If were
going to be competitive, we need to accept this reality.8
One ongoing issue mentioned by several producer interviewees is the broadcasters lack of trust
in the creative direction provided by the current pool of Showrunners, resulting in broadcasters
desire for greater involvement in the creative.
We are currently in discussion with a variety of networks about the evolving role of the
Showrunner. Networks want to think of themselves as studio; but, they do not want to recognize
that there has to be a key creative voice, because there arent enough good ones around. If we
had more Bochcos in Canada, it would be okay. If we could develop a greater number of
experienced Showrunners, the networks would be sufficiently in awe to stand back and let the
Showrunner drive the creative. We therefore need a stronger creative community. (a producer)
Does the Qubcois industry need Showrunners? Many of the interviewees are in favor of the
presence of a Showrunner on productions, although some approach the idea rather cautiously.
The following comments are from those in favor:
There are huge advantages. On a production, a Showrunner makes two things possible: firstly,
available production resources are maximized. This is a big challenge currently facing the
Qubcois TV industry: writing is done according to what you have the means to produce, rather
than the other way around, and this has an enormous impact on production. When a project
begins with everyones creative energies invested in exploring the large array of what might be
possible, the result is a cohesive series. Secondly, in my opinion, Qubcois TV productions are
first rate, except at the level of our writing. The director comes to the production after the
scriptwriter, and since producers here dont get involved in the creative aspects, we find
ourselves with a production that has nothing to do with the tone in which the script was
written. (a Qubcois writer)
8
Noreen Halpern, Producer, keynote address, Strategic Partners 2008, Atlantic Film Festival
26
Id love to work with a Showrunner. It would allow us to make better TV series. Id love to only
make three episodes and to have a month to prepare each episode. But now, Im racing against
the clock to direct twelve. (a Qubcois director)
A few of those who did not see relevance in bringing in a Showrunner, had this to say:
From my experience, working with a Showrunner isnt very interesting. The interesting work is to
be the Showrunner. Its more or less what I do as a director. I believe it would be difficult to
integrate the concept of a Showrunner in Qubec. (a Qubcois director)
I dont believe the tasks and competencies of a Showrunner are realistic. Its too much for one
person. Nor do I believe Showrunners are necessary in Qubec. The creative sphere is its own,
very different world. It seems that these are two parallel professions. There are all the creative
professions that align themselves with the director, and the others that have more to do with
technical and production concerns. (a Qubcois educator)
One interesting development in Qubec is the double shoot, concurrently shooting French and
English versions of a series on the same set with different writing teams. In this case, a
Showrunner may be brought in to lead the English writing room. In the rare case that a producer
does bring in a Showrunner on a double shoot, or where the production is particularly large, the
role of the Showrunner concerns mainly the management of the writing team.
All in Qubec agree on the necessity of a comprehensive viewpoint that takes into account both
the artistic dimension and the financial imperatives. However, the Showrunner competencies are
shared among the producer, the director and, in some cases, the head writer, with an emphasis on
the responsibilities of the director. The most recent collective agreement signed by the
Association des ralisateurs et ralisatrices du Qubec (ARRQ) has in fact increased the authority
of the director.
Although the typical production model in Qubec does not normally include a Showrunner, there
is a need to marry the artistic with the financial professional profiles.
Ideally, a training program would instil a global vision of all areas of production. Training that
ensures that candidates coming out of the program have set foot in pretty much all the areas of
production, learning their workings from beginning to end. Here in Qubec, everything is very
compartmentalized. A producer is a producer; a director is a director; and so on. The ideal
program would rise above this, and cover all areas. Its essential that students see the importance
of each sector. (a Qubcois producer)
THE ESSENTIAL CORE COMPETENCIES OF A SHOWRUNNER
In order to develop a framework for training a pool of Showrunner talent, it is helpful to

understand which competencies are at the core of the role. Interviewees identified three broad
core competency areas:
1. Writing
2. Translating writing into the visual medium of television
3. Organizational management
In a sense, these competencies are dependent on each other like the three points of a triangle. At
the centre of the triangle is personal aptitude for the role. Whoever is entrusted with the vision of
27
a series no matter what their official title, Showrunner, producer, director, or head writer must
have a natural predisposition towards storytelling, with all the cultural references and aesthetic
understanding entailed. The senior creative role also requires an understanding of audience
demand and trends. In fact, a Showrunner should be creative, bold and persuasive enough to be a
trend-setter.
Writing
Writing is the starting point for a Showrunner and control of the writing process remains an
absolute requirement for the Showrunner in pre-production, production and post-production.
All the competencies other than writing take writing time away. So the key competency is being
able to write a lot of pages quickly and well: 10 pages a day, sometimes a one hour script in 2
days. Stamina is essential. (a producer and writer)
However, this doesnt mean that the Showrunner writes every (or any) script. Delegation is
essential in order to juggle writing and story editing responsibilities with other job requirements.
While one Showrunner interviewed said that she would choose more time writing and less on set,
another Showrunner said that he would choose not to write, delegate the writing to a good writing
team, in order to get more time on set.
To become a Showrunner, you first need artistic training. Writing is foremost an artists trade.
So, first you learn how to tell a story, and then you can learn what is a production, a set, and all
of the details associated to managing a set. (a Qubcois director)
As for training, I believe the starting point is writing. You cant train producers to become
Showrunners if theyve never written. You'd have to determine what kind of writer profiles are
conducive to showrunning, potentially drawing from the American model to integrate or adapt it
to our reality. (a Qubcois writer)
Visual Imagination: Relationships with other creative departments

The Showrunner needs to get the writing off the page and translate it to a full colour world. (a
Showrunner and writer)
The Showrunner also has to understand the big picture of television. For example, he or she has
to be able to define what the show is about.in one sentence. (a producer)
In other industries, consistency of message is known as branding. The Showrunner is the brand
manager, establishing and maintaining the look, feel, tone, sound and pace of the series.
Showrunners need visual imagination to move the script to the screen. They also require a
thorough understanding of the visual storytelling roles of the actors, the directors, the art director,
the picture and sound editors, all the business that is required if you want to have a show that is
creatively well cooked, that has a thoughtfulness and a rationale. (a producer)
In Qubec, since teams are smaller, it may be easier to share a communal vision between
departments. Many of our senior interviewees from Qubec emphasized that those who head
productions and who consider content development need to have many years of experience, and a
broad cultural background.
28
Organizational Management
As stated, Showrunners start with writing as a primary competency. However, as many
interviewees emphasized, there is a gigantic leap from being a writer to being a Showrunner
responsible for spending a production budget of up to $1.5 million every seven days. The
Showrunner has to have managerial savvy and experience as in any organization, be able to
communicate the vision to the rest of the staff, and hire the right personnel for the vision.
90% of a Showrunners job is managerial; 10% is writing. (a writer)
A Showrunner is not simply a manager. He or she is a leader. At the heart of the role is the
capacity to work with others: the personal and interpersonal skills that relate to communications,
decisiveness, strategy and relationship-building that are essential to leadership. Relationships,
from beginning to end, with the broadcaster, executive producer, the director, actors and all the
production departments, are essential in the day-to-day work of a Showrunner.
A lot of it is based on gut...the confidence to organize and run large teams of people. The
confidence to make choices. You either have the strength of leadership, coupled of course with
good writing ability, or not. (a broadcast executive)
The good Showrunner is the one who is good at managing the bosses. (a Showrunner and writer)
The Showrunner - broadcaster relationship is of paramount importance, as is the relationship with

the key executive of the production company who typically has ultimate fiscal responsibility. The
experienced producer and Showrunner team will work together to create a unique and singular
vision that fits a financial model and meets the broadcasters expectations.
In order to be successful, a Showrunner needs to develop at a high level the techniques and
processes that inspire confidence and respect.
OTHER COMPETENCIES
In addition to the above mentioned core areas, interviewees emphasized a variety of other
competencies as important:
Generate and develop the idea

Ideally the Showrunner is first in, last out, as in the U.S. system. In Canada, only a very few
Showrunners working today are also the series creator. The exceptions include Brent Butt
(Corner Gas) and Chris Haddock (DaVinci, Intelligence). A community of mature Showrunners
who continue to generate new series concepts would be a powerful way of developing ongoing
content for the system. With the U.S. model in mind, there are high expectations that
Showrunners will be creators and deliver new hit content. The combination of being the creator
and the Showrunner is what turns Showrunners into stars.
However, not all Showrunners are creators. Some excel at managing the creative process around
someone elses vision. On the other hand, only a minority of creators also have the aptitude to
become Showrunners. Nevertheless, as interviewees stressed, it continues to be important to
develop writers who have the ability to translate their vision into marketable content.
29
Supervise on set production

Interviewees agreed that it is very important that a Showrunner spend time on set, but also that it
must be possible to delegate this role. One director, who also fulfills Showrunner competencies,
was eloquent on the absence of on set experience amongst most Showrunners:
A lot of Showrunners in Canada and the U.S. have not had producing experience. They have been
in the writing room, and in edit, but not in production meetings. They dont know what happens
in between writing and edit. They learn to write to budget based on what someone tells them, but
they have little practical experience. As a director, my experience in what happens on the floor is
essential in breaking stories, because I know what can be accomplished. It really helps to know
whether you can pull something off. (a director and producer)
Budgeting and scheduling

Many interviewees stressed the critical relationship with the line producer and the importance of a
Showrunner understanding how to: construct an achievable schedule; schedule personal time for
the Showrunner to be writing, on set and in post; negotiate choices within the budget to put the
money into certain scenes and not others; and, negotiate with the line producer and broadcaster.
Supervise post-production
It is virtually common knowledge that the edit is the final stage of writing. It is therefore critical
that the Showrunner be knowledgeable and involved with the editors role. The management of
this role is complicated by the overlap of prep, shooting and post-production as series are
produced. The interviews revealed a number of different versions of involving the Showrunner
with the edit process. In most cases, the Showrunner receives the Directors cut and participates
in a final cut. In some cases, a writer is delegated to follow each script to set and through post to
provide consistency. In other cases, the demands of the writing room schedule and the shortage of
personnel mean that the Showrunner unfortunately has little direct participation in post-
production.
New production technologies

In production and post-production, Showrunners today are faced with the need to adapt to and
take advantage of new technologies and the new work processes they permit. High Definition
production, for example, has affected both the technical and creative aspects of production. There
is a constant need to be flexible and innovative, to embrace change, to demonstrate curiosity and
to use new technologies to gain a competitive advantage. Several interviewees highlighted these
personal skills as being of equal importance to basic writing and producing competencies.
Assist with distribution and exploitation

Creation of content to support distribution and exploitation is within the Showrunners list of
competencies. This includes publicity, promos, trailers, Internet components, licensing,
merchandising, media products. It was generally agreed that the competency Create the Internet
component should not be listed as a post-production activity but should be integrated throughout
the writing and production process. Not all interviewees are involved with these aspects of
production, but all feel that the Showrunner should have understanding of the opportunities for
exploitation of the story on multiple distribution platforms and in multiple formats.
For the most part, the series examined in the case studies are rooted in the business model of
broadcast television. The only series of those examined that is out of the traditional mold is
Sanctuary, a sci-fi series which began its life as a webisode before jumping to U.S. cable and
Canadian pay television broadcast. The production model for Sanctuary is similar to other series
30
with a triumvirate of co-creators who also produce, write and act. As a web product, there was
initially no broadcaster involved in the audience relationship. The creative team acted as
distributor. As such, they have a very high level of competency around alternative and future
distribution opportunities which could be instructive to all Showrunners.
THE SHOWRUNNER AND OTHER GENRES
The role of the Showrunner is usually associated with scripted drama and comedy series and the
interviews were structured with that in mind. However, one producer interviewed suggested that
there are similar needs in factual series production, and a lack of new entrants with the skills and
capacity to run these genres. Another Showrunner discussed her role on an animated series, where
the director interfaces between the writing department and the animators. In Qubec, magazine
series often include a producer who carries out Showrunners responsibilities. Although beyond
the scope of this study, there are clearly parallel roles that exist in other genres.
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V. Training Offerings
ON-THE-JOB TRAINING
All Showrunners working today learned their role on-the-job. Without exception, the
interviewees emphasized that Showrunners must continue to have significant on-the-job
experience as an absolutely key component of training. Some spoke of the process as being the
fly on the wall; others as moving up through the chairs; others as learning in the trenches.
You cant learn to be a Showrunner in theoryyou need to run a show to learn how to run a
show. (a producer)
Essential to on-the-job training is the availability of productions on which to train, and mentors
who are willing to shepherd writers as they work their way up through the ranks. It is apparent
that experienced Canadian Showrunners have given time generously as role models for aspiring
writers.
This review of training offerings would be incomplete without the recognition of a couple of
particular production companies and individuals who excel as mentors. Producers, writers and
Showrunners commented on the huge impact of Linda Schuyler, and her company Epitome
Productions. The long-running Degrassi franchise has been a training studio for creative talent, in
particular writers, for years.
Another producer with a writing background, discussed her role in working with writer and
Showrunner talent as a business model. We used to create our own shows and showrun them.
Now our goal is to build story departments and showrunners. The only way to build them is to
build the real thin. To build a showrunner, we understand that we needed to surround that person
with people who would support him and recognize that he has the final say, to allow his vision to
soar. (a producer)
One version of on-the-job training that has previously been mentioned is the pairing of an
experienced Showrunner with an inexperienced creator, with the expectation that the creator will
eventually take over the show. With time, this can be a very effective process, particularly if the
creator has writing experience. However, one season of working with a Showrunner mentor
cannot replace several years of writing room experience.
FORMAL TRAINING OFFERINGS
Professional Showrunner training offerings

Three professional development offerings directly targeted at Showrunners were examined, two
in Canada and one in the United States. In Canada, the 2008 acquisition of Alliance Atlantis by
CanWest resulted in a CRTC-approved benefits package that included the start-up of the first
Canadian program for Showrunners, attached to the Banff Television Festival. CanWest describes
the program as part of an overall multi-faceted strategy to improve and grow dramatic series
production in Canada.
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The first cycle of the Banff CanWest Showrunner program in June 2008 included one week of
master classes at Banff with guest American Showrunners who were asked to analyze an episode
that demonstrated resolution of a story issue that arose on set, in post, or as a result of broadcaster
notes. The ten participants then spent a week in Los Angeles, mostly on the set of a sitcom series.
A closing session in Toronto introduced participants to Canadian story teams. The program
targeted writers who had experience in series and story rooms, and was intended to help them
understand the framework of Showrunning and build their professional confidence.
The Writers Guild of America (WGA) West has run a Showrunner Program in Los Angeles for 3
years, with financial support from the Alliance of Motion Picture and Television Producers. It
consists of six day-long Saturday sessions that focus on managing the relationship aspects of the
job, and two more days on budget and pilots. Twenty-five participants are selected from writers
who must be recommended by an experienced Showrunner or a network executive. The WGA
recognizes that Showrunners used to be entirely trained on-the-job through informal
apprenticeship. Networks would only make development deals with very experienced writer-
producers. The program was developed in light of recognition of a new trend in which less
experienced writer/creators are getting in the door to develop series pilots.
The CFC has recently proposed a Showrunner Studio program, to start-up in 2009, in partnership
with CTV. The approach is to build management skills in senior writers who have been tapped as
the next group of Showrunners. The CFC is working with the WGC and WGA to explore the U.S.
showrunner model and adapt it to the Canadian landscape. The proposal is to select a very small
group annually, based on references from production executives, broadcasters and the WGC, to
ensure that the participants are ready to move quickly into a Showrunner role. Ongoing peer
support, based on the strong CFC alumni network, is another important aspect of the program.
Emerging level: Professional development programs

Several professional development programs are credited with developing the emerging writing
talent that is a basic requirement for stepping up to Showrunner. Each addresses a component of
the Showrunner list of competencies.
The CFC CBC Prime Time Television program has trained numerous writers in the writing room
process of television, including exposing them to the role of the Showrunner.
NSIs Totally Television program works with writer/producer teams who have little to no
dramatic TV series experience to develop a marketable Bible with the aim of securing a
production order. NSI has also implemented one program for APTN in which an experienced
Showrunner assembled a writing room with five inexperienced writers and one showrunner
mentee to develop a series. Separate bootcamps developed producer and writer talent.
In Qubec, at INIS, the professional producer, director and actor programs are integrating the
concept of the Showrunner.
Entry level: Inventory of offerings

Entry level training for a potential Showrunner exists in a broad range of programs from coast to
coast, provided by organizations, associations, private schools, colleges and universities. Twenty-
six providers were interviewed by telephone, in English. See Appendix E for a list of
interviewees. The complete inventory of offerings and their relationship to Showrunner
competencies is reported in Appendix H.
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The inventory is based on the results of interviews and did not include an independent review of
the curriculum. It should be noted that the depth of programming offered varies widely and full
details have not been provided. For example, no specific information is included here as to
whether an offering is a 4 year course, a 2 year course, a 1 year course or an intensive workshop.
Some institutions may begin with critical theory and move to hands-on production, while others
may take the opposite approach. This research does not differentiate between them. With respect
to the Showrunners role, all are treated here as entry level, although the offerings include those
which could be viewed as emerging level in other disciplines, such as writing.
None of the training providers at this level offer a program specifically intended to train future
Showrunners. In fact, a number were surprised to find, through taking part in this interview
process, that parts of their program do relate to Showrunning.
In B.C., a collection of institutions, at college and university level, private and public, offer a
wide range of full-time training options that include most competency areas. Simon Fraser
University (SFU)s Praxis Centre has a strong emphasis on writing, possibly the best in the
country.
Alberta has full-time continuing education programs at the Southern Alberta Institute of
Technology (SAIT) that touch on many of the competency requirements of a Showrunner, and
workshops are offered through the Calgary Society of Independent Filmmakers. SaskFilm
workshops, together with full time program offerings at the University of Regina, also cover most
competencies in Saskatchewan.
Film Training Manitoba serves a strong production community with workshops particularly in the
development and writing areas. A full-time program at the University of Manitoba offers some
background in a wide variety of the Showrunner competency areas.
In Ontario, representatives of six universities and colleges were interviewed: Algonquin,

Confederation and Humber Colleges; Ryerson, York and Windsor Universities. All of the
competencies listed for Showrunners are a strength or are sustained by one or more of these
programs. Algonquin offers a motivating scriptwriting program and Confederation has a broad
and rigorous program. Humber has a unique two-term TV writing course that was developed with
WIFT Toronto. It is understood that there may be more Ontario offerings that were not included
in this study.
In Qubec, Concordia University offers full-time undergraduate and graduate programs that cover
the majority of competency areas required of a Showrunner. Since the position of Showrunner
doesnt exist, as such, in francophone Qubec, there is no training program devoted to it.
However, Appendix F consists of all the French language registered academic training programs
in television that could teach the skills and competencies normally associated to the craft of the
Showrunner.
In Atlantic Canada, no response was received from any full-time training providers in
Newfoundland or P.E.I. Offerings in a full time program are limited in New Brunswick, where
the University of New Brunswick focuses on scriptwriting. The New Brunswick Film Co-op
offers a broad range of workshops that touch various areas of competency, as does the Island
Media Arts Co-op in P.E.I., which sponsors an annual Screen Writers Boot Camp. Nova Scotia
has full-time programs that touch on a broad range of Showrunner competencies at Dalhousie
University and NSCAD University.
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It can be concluded that there is a multitude of entry level offerings available, which, with astute
selection by a student, can develop skills useful to a future Showrunner. However, students and
their advisors require an understanding of the industry and its demands in order to make a
selection. When contacted for interviews, administrators did not for the most part have
knowledge of the competencies required of a Showrunner.
As already stated, the skills acquired in any of these programs must be combined with extensive
on-the-job experience.
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VI. Training Gap Analysis
Training gaps are described by a comparison of the needs for Showrunner training as expressed
by the interviewees, with the training offerings currently available. Where gaps are identified,
proposals on how to address them are made based on the interview results.
In Qubec, it may be that no additional programs are required; however, there is an identified gap
in training related to the two distinct sets of competencies that define the industry: the artistic
profile and the producers profile.
ON-THE-JOB TRAINING
On-the-job experience is essential to build Showrunners. There must be a sustainable industry

with a sufficient volume of series production at a level of budget and complexity that allows
writers to learn their craft, to take on more responsible positions as story editors and head writers,
to get experience on set and to acquire the full range of skills required of a Showrunner.
A huge disadvantage in Canada is the lack of volume and continuum. In the U.S., there is a lot of
opportunity to work ones way up the ladder; but here there is not the volume of production to
provide training and work opportunities. (a Showrunner)
I have seen a number of efforts to re-create the production environment in a workshop, but none
of them really prepare you for the reality of the field experience. But, the conundrum is a lack of
training space. We need to work with the broadcasters and the CRTC to ensure that we are
producing as much drama as we can. (a producer)
Qubec interviewees also emphasized the importance of balanced experience, in writing as well
in production.
I dont believe that people can come out of school and dive directly into the role of Showrunner,
without first accumulating experience in the field. It takes people who have already touched
various technical aspects on a set. (a Qubcois director)
I believe experience is key. You can write one or two great episodes, but you still have to
maintain that standard all through a series. That comes with experience. If someone shifts
overnight, from having no experience to leading a team of five writers, I doubt things will go well.
(a Qubcois writer)
Long-running series also enhance learning.
Degrassi is a very safe environment for learning. Degrassi knows what it is. Its hard finding a
series. Its easier to start as a writer on a show that has a vision. (Linda Schuyler, producer)
The number of fiction series in production in Canada is still relatively low. The number of
episodes ordered annually is fewer than in the U.S. and the budgets are lower. In fact, the number
of hours of fiction series in production in Canada in 2007 was the same as 10 years ago (see
Appendix G). These factors combined mean limited opportunity for places to train Showrunners,
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and less job opportunity for those who are successful. Geography also plays a part: the Canadian
industry is regional and so writers and Showrunners are nomadic. This is in contrast to the U.S.
industry which is concentrated in L.A. and N.Y.C. It is more difficult to train and retain a pool of
talent in such a dispersed industry as ours.
If the aim is to maintain or increase fiction series production in Canada, then innovative ways will
have to be found to expose potential Showrunners to the production environment.
On Da Kink in my Hair, as we were interviewing directors, we became aware that there were
very few people of colour, and very few women, in the directorial role. We told the broadcaster
that we would like to give an opportunity to some new directors. So for each season we took on a
new director for episodes 10 and 11, on the condition that the new director commit to shadow the
directors working on all the previous episodes, without pay. It was a make or break opportunity
for them. A similar shadowing model could be used for Showrunner; but, if a Showrunner is a
shadow, she could actually be workingthere is so much to do. She could cover set while the
lead Showrunner is in a meeting for example. If there were a fund to help cover an extra person
on set that would assist. (Damion Nurse, producer)
Training Gap 1: Although mentoring occurs throughout the industry informally, there are no
mechanisms in place in Canada for writers with story room experience to intern or apprentice
with experienced Showrunners in order to get broad production experience. We must build in
mentorship as part of the production process.
Recommendations:
1.1 Develop an internship program for experienced writers to work as an assistant with a
senior Showrunner. The intern could follow a Showrunner through a production season,
with the opportunity to take greater responsibility for one or more episodes near the end
of the cycle. Use a cost-shared program such as the CFTPA Telefilm Producer Trainee
Program as a business model.
1.2 Develop a curriculum and report card system tied to the Showrunner Chart of
Competencies that ensures that the intern is exposed to a full range of production
experiences.
1.3 Use formal training offerings (such as the Banff CanWest Showrunner Program) as a
proving ground for the proposed internship program. Build in transition mechanisms so
that a small number of star graduates move into the internship program.
1.4 When on-set training is less than a full production season, ensure that it be long enough
for the trainee to follow an episode through all aspects of production: at least a 3 week
period for half-hour comedy, and at least 6 weeks on one-hour drama.
1.5 Include a variety of genres and sizes of productions in the internship program to broaden
the number of opportunities available. Although it would seem that in a bigger more
complex production there is more room for a mentor/mentee relationship to be
accommodated, a small budget series can also provide good training in production skills
because writers have more access to other aspects of production (writers attend
production meetings for example).
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1.6 In a second phase of the internship program, include opportunities for writers to shadow
directors or editors to help develop an understanding of their relationship to the
Showrunner.
1.7 Construct financial incentives for independent production companies to follow the best
practice examples of those that have integrated training and talent development into their
business model.
Training takes time. To develop a strong new group of Showrunners, with the requisite
experience of writing and producing, requires an investment of 3 to 5 years. The
recommendations outlined here are directed towards identifying, preparing and accelerating the
progress of writers with aptitude through on-the-job experience.
And in Qubec? According to our interviewees, solid work experience is essential to the job of a
Showrunner. If the role is to be further developed in the province, then the preference is for a
mentoring system combined with theory classes covering different aspects of production.
I believe a combination of both theory and practical training is ideal, particularly in a mentoring
system. Its how I developed my trade: coming in contact with production realities on the field. (a
Qubcois producer)
Only retired Showrunners are really in a position to train Showrunners. If INIS, for instance,
decided to develop a program, I believe this program would have to teach the basics, theory. It
would cover what a Showrunner is, but not how to become one. For this, students would have to
be put on set, possibly by making tuition $80,000 per year and having them shoot a TV series.
You cant be in the field without having been supervised for many years. (a Qubcois director)
We should develop a mentoring system and bring future Showrunners into the writing room and,
according to your definition of Showrunner, bring them on set. (a Qubcois writer)
If training programs geared towards Showrunners are to be developed in Qubec, some have
suggested that a first round of students be sent to study in the U.S. or to English Canada to gain
on-set experience.
Of greater interest in Qubec is concentrating efforts on the existing professions of producer,

writer, director and to help in the understanding and the linking of their work profiles. The
Qubcois industries of film and television must open themselves to more teamwork.
In order to integrate Showrunners into the Qubcois landscape, wed have to change the way we
do things. Wed have to first develop a team culture. With a little more money our productions
could invest in teams. At this moment, its one director, one writer. A Showrunner is useful when
theres teamwork. Here, we work differently. (a Qubcois director)
FORMAL TRAINING
A combination of on-set opportunity and structured coursework may provide the best
environment for bringing on new Showrunner talent, and updating skills in the currently
practicing community. As one experienced trainer stated, structured courses are important to get
the trainee away to a less threatening environment where students can take more risks.
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TV is an emotional industry, with creative personalities. But there are certain rules and
regulations, a certain framework that is common to all. We could teach writers how the assembly
line workswho touches the script at each step of production (a broadcast executive)
I believe there are a lot of things that can be learned in school, especially when it comes to
television: the way the business is run, how to format a TV show within a tight deadline, how to
structure a 30-minute show. These are things that can be taught, because theyre relatively
technical. How to create a character; how to create dialogue; how to hammer out the psychology
of a character: I believe these things are relatively innate. How to tell a good story; how to
recognize a good story when we have one: these abilities have more to do with instinct than with
academic training. (a Qubcois writer)
Im convinced its possible to learn the trade of Showrunner, like its now possible to learn the
trade of producer at INIS or at the Canadian Film Centre in Toronto. Surely, a Showrunner
would deserve more than three weekends or a semester-long 30-hour course. Its of the same
order as courses in production or in directing at INIS. (a Qubcois producer)
Formal programs also develop a community among alumni and teachers that is important for
supporting the industry.
Producers, broadcasters and Showrunners all report that there is a lack of new talent in the field
with the capacity to exercise the combined core competencies of writing, translation to the visual
through understanding of other creative departments, and organizational management. In addition
to these, a variety of other competencies were deemed to be important to the Showrunner role and
appropriate to formal training.
Writing
At the entry level, writing for the screen is offered in a variety of programs across the country. All
provinces have at least one program that has strength in or supports creating the Bible, writing
original scripts and participating in a writing team. The professional development programs
offered by Praxis at SFU, CFC and NSI are also intended to develop writing proficiency into
marketable skills for the TV medium. A number of writers interviewed had participated in one or
more of these programs and several producers referred to them as an environment for recruitment.
It appears that students of writing can find sufficient offerings at present. There is no training gap.
However, it is extremely important to the industry that these programs continue to be supported.
Visual Imagination: Relationships with other creative departments

The intellectual capacity to translate from the written to the visual medium may require aptitude
that is not teachable; but understanding of the creative skills exercised by directors, editors and
actors can be approached through formal education.
At the entry level, a number of providers responded that they offer training in script writing,
integrated with well-rounded training related to visual elements. For example, they teach students
how to hold concept and tone meetings with directors, ensure the series vision is maintained and
complete other visual and sound components. At more advanced levels, training becomes more
specialized. Training for writers focuses on making better writers.
As a professional program targeted at Showrunners, the Banff CanWest Program is the first of its
kind in Canada. Reports of the first year curriculum indicate that its master classes included
discussion around solving problems related to the visual interpretation of the script. If this
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approach remains embedded in the program, it will be an important step in generating awareness
in writers of how the script is translated to a visual and auditory form, and the issues that can arise
in that process.
A particular issue raised by all young Showrunners is the lack of training available to them in the
post-production process.
Training Gap 2: Access to programs that familiarize senior writers with directing, art
directing, acting and editing is required. Showrunners-in-training need to know enough about
the approaches and tools used by professionals in these fields to make the best possible
creative decisions.
Recommendations:
2.1 Develop the curriculum for a combo-pack of master classes, led by a Showrunner, that
deal with each type of professional storytelling category (acting, directing, editing, etc.)
in workshop fashion.
2.2 Develop partnerships with professional training providers that put senior writers into
acting, directing and editing programs.
In Qubec, interviewees favor initiatives that support the existing production model and
recommend training that enables all the professions to be involved with production issues and
artistic vision. Producers, directors and writers do not necessarily have training in each others
professions, or in the technical below-the-line trades.
We should take the writing and production programs at the INIS, and make a complementary
program that combines the two, nurturing Showrunners qualities. Of course, not all students in
production will have the competencies to thrive in scriptwriting and vice-versa. But I dont think
such a program is unfeasible. (a Qubcois producer)
Training Gap 3: In Qubec, training for writers, directors and producers tends to be
segregated. This perpetuates the professional silos in the industry.
Recommendations:
3.1 In Qubec, develop cross-professional training curriculum for use in existing programs.
For example, the curriculum should offer: training in production and post-production for
writers whose scripts would benefit from a better understanding of the parameters and
possibilities of a production; training in scriptwriting and editing, casting, creative
brainstorming, and the management of creative teams for producers.
3.2 In Qubec, develop industry-educational partnership initiatives in which cohorts of

students, organized into writing rooms and brainstorming new television content, would
work with producers in creative incubators. Involve content producers, head writers, and
directors.
Organizational management
Many interviewees emphasized their lack of training in the managerial and leadership aspects of
the Showrunner job. Schools of business management are numerous; but combining leadership
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skills with creative content is a rare educational offering. It is understandably not part of the entry
level curriculum.
Women in Film Toronto (WIFT-T) has developed excellent courses in partnership with
educational institutions and individuals (e.g. WIFT-T Schulich Media Leadership Program and
WIFT-T Business Management for Media Professionals Program in partnership with Humber
School of Media Studies and Information Technology). However, these programs principally aim
to upgrade management skills in the production executive, rather than on-set leadership and
management.
The WGA West program has demonstrated that managerial skills can be effectively delivered off-
set in a professional development program. With a similar approach, the proposed CFC CTV
Showrunner Studio is very welcome and could help greatly in closing the gap in training writers
and Showrunners in managerial skills.
Training Gap 4: There is a significant lack of opportunity available for emerging

Showrunners to acquire the complex managerial and leadership competencies that they need.
Recommendations:
4.1 Adapt the curriculum developed by WGA West for training Showrunners in managerial
and leadership skills, as in the proposed CTV CFC Showrunner Studio program.
4.2 Partner with business schools across Canada to develop curriculum that is appropriate
and accessible to creative talent such as Showrunners.
Scheduling and budgeting

The details around ensuring that production is on time and on budget are essentially project
management functions that are the primary responsibility of the line producer. At the entry level,
many trainers responded that these competencies were supported or were a strength of their
programs. As writers gain experience in the writing room, they are doubtless very aware of how
schedule and budget impact on the content and delivery of scripts. At the level of the
Showrunners role, responsibilities for schedule and budget involve all creative departments.
Although much of this knowledge is acquired in the give-and-take of negotiating the realization
of the creative, there is room for formal instruction.
Training Gap 5: Inexperienced Showrunners need more access to training in the principles
and tools of budget and schedule management.
Recommendation:
5.1 Consider adapting typical project management course content and to make it available to
Showrunners and producers.
New technologies in distribution and exploitation

The Showrunner Chart of Competencies refers to the Internet in the context of distribution and
exploitation. As stated, multiple platform opportunities require consideration throughout the
development and production process. Only 10 of the 25 entry level training programs reported
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strength in developing an Internet component. Formal training at this level may be unnecessary as
the students are already personally familiar with web 2.0 user-generated content networks (such
as Facebook, MySpace; iVillage), online distributors (such as Yahoo!, iTunes, YouTube and
Joost), mobile phones and PDAs. This is a case where the new entrants may be better equipped as
trainers than the seasoned professionals.
At a professional level, workshops and events in the industry frequently involve discussion of the
shifts from a largely passive viewer to a progressively more actively engaged one, and from broad
to community specific programming.
Training Gap 6: Emerging and experienced Showrunners must be able to apply the rapid
changes in audience habits and distribution technology to the creation of content. Future
proofing is a professional development issue not only for Showrunners, but for all creative
roles in the industry. In this case, course materials or strategies for integrating digital and
interactive media can include input from the recent entrants to the industry.
Recommendations:
6.1 Provide practical exchange experiences that bring together experienced Showrunners,
producers and writers with new entrants. Include digital media specialists.
6.2 Design curriculum to help Showrunners integrate television production processes with
the processes for production of interactive content so that the Showrunner can oversee all
creative elements concurrently.
PROFESSIONAL DEVELOPMENT
Interviewees discussed managerial and leadership skills as an area in which experienced

Showrunners could learn new techniques. There are also the many challenges related to new
production technology: cameras, software, etc.
Training Gap 7: There are very few forums and courses in which experienced and senior
Showrunners, producers and directors can develop new skills, in particular related to new
technologies and managerial competencies.
Recommendations:
7.1 The WGC, the CFTPA and other guilds and associations could provide more high level
skills training for above-the-line professionals in the industry, including experienced
Showrunners.
7.2 Ensure that every training program integrates alumni communications, annual refresher
opportunities and methods for measuring outcomes.
FINDING AND TRAINING THE TRAINERS
Sorting through training offerings to find those that could develop the entry level Showrunner
competencies is very challenging. Most program administrators are not familiar with the role.
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At the professional level, it needs to be recognized that being a mentor or a trainer is a demanding
role. Experienced Showrunners are generally oriented towards mentoring because of their strong
relationship skills; but they should have instruction and advice to help structure teaching
responsibilities and understand expectations.
An even bigger issue is, where do we get the trainers? The current small pool of professional
Showrunners is in huge demand to run series. How can they be persuaded to devote time to
training, either on-the-job or as course instructors? In order to develop the best talent to support
the industry in the future, we need the best possible trainers.
Training Gap 8: Experienced Showrunners are needed to instruct and mentor the emerging
group of Showrunners.
Recommendations:
8.1 Invest in the best possible trainers to develop new Showrunner talent. Be prepared to pay
professional rates to attract excellence in trainers.
8.2 Develop a cohort system whereby the first cohort trained is recruited to train subsequent
cohorts.
8.3 Train the trainers. Mentors and trainers need to understand the curriculum, the methods
and the expected outcomes in order to teach effectively.
8.4 Ensure that training institutions, including those at the entry level, understand what
competencies are required of a Showrunner so that students can receive appropriate
counselling.
CAPACITY AND MARKET
How big is the potential market for Showrunners in Canada?
In 2006/2007 there were 622 TV series in production in Canada in 2006/07, comprised of 97

fiction series projects totaling 776 hours (see Appendix G). From these statistics, it is not possible
to accurately extrapolate the market for Showrunners because the complexity, budget, origin and
nature of the series and the number of producer-related or similar functions per project are
unknown. All of these factors may affect the choice to hire a Showrunner on a project. However,
assuming that each Showrunnner could run approximately 20 hours of production annually, there
is a maximum market in Canada for 40 Showrunners.
In interviews, representatives of the WGC suggest that the actual market is for no more than 30
Showrunners based on the estimated number of scripted series in production. The WGC is of the
view that the pool of experienced and available Showrunners in English Canada needs to double,
which would also ensure a resource pool of instructors and mentors.
In Qubec, based on the information gathered in our interviews, there could be room for about 4
or 5 new individuals taking up the role of a Showrunner annually. These could be producers who
are well versed in content creation, just as they could be super scriptwriters, or even senior
directors who have the ability to see and manage the production as a whole. This being said, there
are those who are uneasy with the prospect of such new workers, because they perceive them as
43
future competitors who could ultimately graduate to the producer role and gain access to funding
envelopes for their own projects, or elbow into certain key roles usually held by the director. This
type of thinking is added evidence of the very basic need for better team role models to be part of
the core training offering in Qubec.
RECRUITMENT
As defined for the purposes of this analysis, a Showrunner is a writer. Therefore writers and story
editors with significant experience in the story department are the most significant source of
Showrunner talent. Directors and producers, with writing credentials, are also candidates. Many
of those interviewed emphasized that the bar needs to be set very high for Showrunner
candidates.
Training Showrunners is like training specialists in nuclear surgery or forensic medicine. There
are high entry qualifications: proven and demonstrated success at another level. Truly, the
training should be considered to be at a post-doc level. (a Showrunner)
The selection process is key to achieving a positive outcome for any Showrunner training
program. Experience is required. However, there are very few on-the-job training grounds for
potential Showrunners, therefore a very narrow window of opportunity for them to move ahead in
their careers, and hence a limited pool of recruits.
At the same time, the unusual combination of competencies and aptitude required of a
Showrunner makes it difficult to identify the talent most likely to succeed. Very few creators or
writers are suitable candidates with the interest or aptitude for the job. Potential Showrunner
trainees are in a similar category to high performance athletes. It has been suggested that applying
recruitment and coaching methods adapted from competitive sports could make sense. Rather
than waiting for potential Showrunners to self-identify, we could take a proactive approach and
scout them.
One category of recruits that has been discussed is the inexperienced creators who are being
teamed up with experienced Showrunners. If the expectation is that these green creators are to
move into Showrunning, their training is inordinately expensive, based as it is on an intense and
long-term one-on-one mentoring relationship. With additional training programs in place, this
talented group may be able to follow a more effective path to Showrunner.
In Qubec, if Showrunners are to be integrated into the industry at all, the process will be a long
one. An immediate step could be to develop industry-educational partnership initiatives that
introduce the concept of Showrunning at the entry and emerging levels.
FINANCING TRAINING PROGRAMS
Although, as noted, the current pool of Showrunners needs to double, the total numbers are not
large. Sustainability is the key requirement in funding.
Current training offerings at a professional development level are frequently funded through
benefits packages provided as a result of broadcast licence transactions. (e.g. Banff CanWest
44
Showrunner program; proposed CFC CTV Showrunner studio program). In the future,
broadcasters designing benefits packages could be directed to this and other Training Gap
Analyses for guidance. On-the-job training is principally funded within production budgets.
Enhancement of on-the-job training cannot be achieved without increased funds to provide an
incentive to train and to cover the cost of the intern or apprentice.
During the course of the interviews for this study, there was recognition of the need in the film
and television industry for a national and permanent source of funding for training. In Qubec, all
companies with payroll of $1,000,000 or more contribute 1% of payroll to training. In the film
and television industry, these funds are administered by the Regroupement pour la formation en
audiovisuel du Qubec (RFAVQ).
There are models elsewhere that provide best practice examples. The WGA West Showrunner
Program is funded by a training fund negotiated with the Alliance of Motion Picture and
Television Producers. In the U.K. training programs in film and television are managed by a
national industry-based training organization, Skillset.9 Funding for training is provided as a
commitment by broadcasters and by the Indie Training Fund. This latter fund is a remarkable
effort of member independent producers that contribute .25% of production value annually, up to
100,000 10 in return for tailored training opportunities.
Some possibilities for funding in Canada include:

Adapting the Qubec 1% law to other provinces
Producer and broadcaster supported training fund as per the Skillset model in the
U.K. funds could be transferred to a trainer, or put back in production budgets to
support on-the-job opportunities
CTF funding could integrate a requirement for at least one above-the-line apprentice
or intern on a production budget, to receive the normal treatment for labour-based tax
credits
Guild-managed training funds (as per WGA) could be negotiated in the context of
industrial agreements
Tuition is another source of funding. The earning capacity of those in the senior creative positions
in the film and television industry is among the highest of the cultural sector.11 It should be
expected that, like other professionals, they are prepared to make a personal investment in their
career development.
9
See http://www.skillset.org/
10
See http://www.indietrainingfund.com/home/
11
See Cultural Sector Fast Stats (2004),
http://www.culturalhrc.ca/research/CHRC_Cultural_Sector_Fast_Stats_2004-en.pdf
45
VII. Conclusions
Through this Training Gap Analysis, we determined that there is a very small pool of two dozen
Showrunners working in Canada today whose skills have been developed on-the-job. Possibly
half of these are inexperienced and therefore not fully trained, and others are nearing retirement.
There is, therefore, a clear need to develop a new cohort of Showrunners who have all the
necessary creative and producer competencies.
We described the education and training offerings available, highlighted gaps and proposed
on-the-job and formal training that could fill the gaps.
Hand-in-hand with training, we need to ensure that the industry in Canada is attractive enough to
retain a new cohort of Showrunners for this country. Showrunners will need a place to exercise
their craft. They also will need to be entrusted with sufficient creative freedom to bring their
Canadian stories to the screen. The production community, broadcasters, guilds and government
have a joint responsibility to fight for the best possible conditions for the growth and retention of
Canadian talent.
One producer has suggested a possible incentive: 12
How do we stop runaway talent? If you give a young Canadian writer a choice of going to work
in L.A., working on a big international hit, learning the ropes from an A-list Showrunner, and
getting paid an obscenely large amount of moneyor staying home in Toronto, working on a
low-budget shoot under a non-writing producer and getting paid peanuts? The sexier choice is
obvious.
We need to sex up Canada for writer talent. The first step is to lure some Showrunners back here.
The only way to get the David Shores of the world back here is by giving them the thing they
cant get in Los Angeles. The very thing the writers struck and sacrificed for. Ownership. Offer
the writer significantly more upside than they are ever going to get under a studio model, and
watch what happens.
The Showrunner gives a television series its unique vision and voice. For that reason, the lack of
a Showrunner class in Canada is a significant barrier to developing and maintaining either a
global or domestic identity for Canadian television. The future of the industry is literally in very
few hands. Investment in a training system that develops and supports creative leadership is
bound to generate returns in marketable hit entertainment.
12
Noreen Halpern, keynote address at Atlantic Film Festival, Strategic Partners Coproduction
Conference, September 2008
46
VIII. Appendices
A Competency List
B1 List of Interviewees re Training Needs in English
B2 List of Interviewees re Training Needs in French
C1 Case Study Questions English
C2 Case Study Questions French
D Case Study Results English
D1 Being Erica
D2 Da Kink in my Hair
D3 Degrassi: The Next Generation
D4 Flashpoint
D5 This Hour Has 22 Minutes
D6 Corner Gas
E List of Training Providers Interviewed in English
F List of Training Providers Interviewed in French
G Television Series by Genre CFTPA Profile 2008
H Training Provider Survey Results English
47
APPENDIX A
SHOWRUNNER CHART OF COMPETENCIES
PROFESSIONAL COMPETENCIES
A. SECURE A DEVELOPMENT DEAL

1. Generate an idea
2. Develop the idea
3. Adapt idea to marketplace
4. Create a pitch document
5. Make the sale
B. WRITE A BIBLE AND PILOT TO SECURE PRODUCTION ORDER

1. Articulate the vision of the world
2. Create characters and story arcs
3. Create episode spring boards
4. Recommend key creative personnel
5. Write the pilot
6. Close the deal
C. ASSEMBLE A WRITING TEAM

1. Generate list of potential candidates
2. Evaluate talent
3. Select writing team
4. Secure approvals for writing team hires
5. Close all writing deals
D. SUPERVISE SERIES PREPRODUCTION

1. Communicate vision
2. Collaborate on scheduling
3. Develop production budget
4. Build team
5. Make optimal use of resources
6. Initiate series production preparations
E. RUN A WRITING ROOM

1. Establish a safe creative environment
2. Break stories
3. Direct research
4. Schedule delivery of script stages
5. Direct the writing and rewriting
6. Write original scripts
7. Train writers
8. Manage the room
F. DELIVER PRODUCTION DRAFTS

1. Issue production draft
2. Issue blue script / pages
3. Issue pink script / pages
4. Issue yellow script / pages
5. Issue subsequent drafts
G. SUPERVISE EPISODIC PREPRODUCTION

1. Hold concept and tone meeting with Director
2. Collaborate to create a production schedule / board
3. Cast guest actors / stars
4. Approve key creative elements
5. Run production meetings
6. Run a read through
H. SUPERVISE PRODUCTION
1. Make time to spend on set
2. Ensure that the vision of ones series is being maintained
3. Ensure production is on time and on budget
4. Evaluate dailies
I. SUPERVISE POSTPRODUCTION
1. Deliver locked picture(s)
2. Complete all other visual components / requirements
3. Complete all other sound components
4. Deliver broadcast versions
J. ASSIST WITH DISTRIBUTION AND EXPLOITATION OF THE SERIES

1. Facilitate publicity campaign
2. Create internet component
3. Consult on licensing and merchandising
4. Support creation of promos / trailers
5. Support creation of DVD / CD / downloads
GENERAL COMPETENCIES
And to perform the previously described professional competencies, a Television Showrunner

must
K. DEMONSTRATE COMMUNICATION AND INTERPERSONAL SKILLS

1. Tell a story
2. Write a story
3. Collaborate
4. Persuade
5. Lead a team
6. Demonstrate oral communication skills
7. Practice active listening
8. Negotiate
9. Delegate
10. Exercise tact and diplomacy
11. Demonstrate empathy
12. Demonstrate fairness
13. Demand excellence
L. DEMONSTRATE PERSONAL SKILLS
1. Demonstrate passion for the work
2. Multitask
3. Demonstrate imagination
4. Demonstrate analytical skills
5. Read critically
6. Solve problems
7. Make decisions
8. Embrace change
9. Prioritize
10. Demonstrate self-confidence
11. Trust ones instincts
12. Demonstrate visual imagination
13. Embrace competition
14. Demonstrate persistence
15. Maintain perspective
16. Demonstrate stamina
17. Recognize ones limitations
18. Demonstrate thoroughness and attention to details
19. Demonstrate curiosity
20. Demonstrate planning skills
21. Maintain focus
22. Demonstrate thoroughness
23. Demonstrate resourcefulness
24. Anticipate problems
25. Take risks
APPENDIX B1
TRAINING NEEDS ASSESSMENT ENGLISH LANGUAGE INTERVIEWEES
Name Series Title Role

Brent Butt Corner Gas Showrunner/creator
Virginia Thompson Corner Gas producer
Mark Farrell Corner Gas head writer
Michael Donovan This Hour Has 22 Minutes executive producer
Susan MacDonald This Hour Has 22 Minutes producer
Anne-Marie LaTraverse Flashpoint producer
Bill Mustos Flashpoint producer
James Hurst Flashpoint head writer
Tassie Cameron Flashpoint head writer
Shernold Edwards Da Kink in my Hair Showrunner
Damion Nurse Da Kink in my Hair producer
Aaron Martin Degrassi The Next Generation head writer
Linda Schuyler DeGrassi The Next Generation producer
Shelley Scarrow Degrassi The Next Generation writer
Sean Reycroft Degrassi The Next Generation writer
Tecca Crosby Being Erica producer
Jana Sinyor Being Erica writer / creator
OTHER
Martin Wood Sanctuary producer
David Barlow The Border Showrunner
Tom Cox producer
Floyd Kane Soul producer
Rebecca Schechter writer
Wayne Grigsby producer / writer
Laurie Channer WGC
Tim Storey DGC
Jan Miller producer
Geoff LeBoutillier producer / writer
Christine Shipton broadcaster
APPENDIX B2
TRAINING NEEDS ASSESSMENT FRENCH LANGUAGE INTERVIEWEES
Anouk Brault - productrice dlgue - Aetios Productions

Jocelyn Deschnes - producteur - Sphre Mdia
Richard Blaimert - auteur (Les hauts et les bas de Sophie Paquin) - Sphre Mdia
Claude Desrosiers - ralisateur (Les hauts et les bas de Sophie Paquin) - Sphre Mdia
Mylne Chollet - scnariste (diplme de lINIS, auteure de la relve)
Franois Gingras - ralisateur (Les soeurs Elliot, Omerta)
Luc Dry producteur - Microscope
Luc Thriault - auteur membre de la SARTEC
Andr Dubois - producteur - Productions Vendmes
Danile Lger - responsable du programme de perfectionnement professionnel pour
(AQTIS)
Other Interviewees
Luc Thriault - auteur ayant particip au sminaire de Showrunners organis par le
CHRC. Il sige au CA de la SARTEC
Andr Dubois - auteur et producteur chez Productions Vendmes
Danile Lger - responsable du programme de perfectionnement professionnel pour
lAlliance qubcoise des techniciens de l'image et du son (AQTIS)
APPENDIX C1
SHOWRUNNER CASE STUDY QUESTIONS
ENGLISH LANGUAGE
Telephone interviews will be prearranged for approximately three persons per tv series that has
been selected as a case study. Participants will be sent a Showrunner competency list in advance.
Interviews are expected to take at least 20 minutes. The interviewer will take and transcribe
notes. The following questions provide the framework for the interview, although it is anticipated
that there will be flexibility to encourage sharing of in formation. The intent of the interviews is
to describe the model of production used on each series, focusing on the background,
responsibilities and relationships of the Showrunner.
QUESTIONS
DATE:
INTERVIEWER:
INTERVIEWEE:
Name:
Phone:
Email:
TV series title:
1. Bio/Professional details
Identify your current profession:
What is your role on the current TV series? What credit do you receive on the series?
How long in total have you been involved in the film and television industry?
Less than 2 years / 2 to 5 years / 6 to 10 years / More than 10 years
For how long have you identified yourself as being in your current profession?
Less than 2 years/ 2 to 5 years / 6 to 10 years/ More than 10 years
What was your immediately previous profession / role in the industry?
In what genres do you typically work?: (include all that are relevant)
What professional associations do you belong to?
Your educational background:

College / universityidentify name of institution and degree or program
Professional development of significanceoffered by?
2. Showrunner identification
SAME QUESTIONS TO BE ASKED IF INTERVIEWEE IS OR IS NOT THE
SHOWRUNNER:
Who are the other (three) key executives in your current TV series?
What is their general area of responsibility?
Who would you consider to be at the creative helm of the series on which you are currently
working?
Is there a Showrunner on the series? Who?
Define Showrunner
IF THERE IS NO SHOWRUNNER ON THE SERIES GO TO 2C

2B IF THERE IS A SHOWRUNNER ON THE SERIES:
What credit does the Showrunner receive?
Has the Showrunner been the same person since the start of the series? If no, explain.
At what point in development / production process of the current series did the Showrunner
become identified? Is the Showrunner the creator of the series?
OR:
Was the Showrunner hired? If so, by whom?
Does the Showrunner have any financial risk in the series?
To whom does the Showrunner report or to whom is the Showrunner accountable?
Assuming that the Showrunner at least has a daily working relationship with the writers on the
show, who else does she typically collaborate with?
REVIEW LIST OF COMPETENCIES PROVIDED:

Which does the Showrunner on your series do?
Rank each competency / group of competencies from essential to optional to unnecessary in a
Showrunner?
2C IF THERE IS NO SHOWRUNNER ON THE SERIES:

Are you familiar with the term Showrunner?
How would you describe the role of Showrunner?
What would you consider the five essential competencies of a Showrunner?
REVIEW LIST OF COMPETENCIES PROVIDED:

Who undertakes each of these competencies on your currrent series?
3. Showrunner training
Are you aware of any training offerings for Showrunners?
Are more Showrunners needed in Canadian television industry?
Do you have suggestions as to what institutions or organizations could best offer or facilitate
Showrunner training?
Do you have suggestions on a program of training that will allow development of both artistic and
production-related competencies required for showrunning?
Where could we be finding Showrunners in Canada? For example, from what positions could
skills be developed or transferable (writer, line producer, 2nd AD)?
4. General comments
Do you have any general comments or suggestions?
Comment on relative success of production model on your current series.
Compare if you wish to other series that you have worked on
Impact of new distribution platforms / multimedia/digital extensions on Showrunner role
Who else should I talk to?
MANY THANKS FOR YOUR HELP AND TIME!

APPENDIX C2
SHOWRUNNER CASE STUDY QUESTIONS
FRENCH LANGUAGE
Questionnaire
1. Bio : tudes, pdigre professionnelle
- Depuis combien de temps travaillez-vous dans lindustrie du film et de la

tlvision? Moins de 2 ans / 2 5 ans / 6 10 ans / plus de 10 ans
- Quelle est votre profession actuelle?
- Depuis combien de temps exercez-vous cette profession? Moins de 2 ans / 2 5
ans / 6 10 ans / plus de 10 ans.
- Quelle tait votre profession avant celle-ci?
- Faites-vous partie dune organisation professionnelle? Si oui laquelle?
- Quelle est votre formation acadmique?
- Quel est (tait, ou serait) votre rle sur les tlsries auxquelles vous travaillez
(travailliez, travailleriez) ?
- Dans quel type de production travaillez-vous habituellement? Tlsrie / cinma /
tlralit / sur le web /autre
2. Identification du Showrunner
- Avez-vous dj entendu le terme Showrunner ?
- Selon vos connaissances, comment dcrieriez-vous un Showrunner?
- Un Showrunner est-il un homme/femme daffaires ou un/une artiste?
- Selon vos connaissances, qui supervise le travail du Showrunner?
- En tenant pour acquis que le Showrunner a une relation quotidienne avec les auteurs,
quels sont les principaux collaborateurs du Showrunner et pour quelles raisons?
- Quelles seraient les cinq comptences essentielles que devrait possder un bon
Showrunner?
- En rgle gnrale sur une production tlvisuelle qubcoise, qui dtient ces types de
comptences:
o L'laboration du concept de la tlsrie
o Lcriture de la bible pour assurer les tapes de production
o Rassembler une quipe dauteurs
o Superviser lquipe dauteurs
o Embaucher le ralisateur
o Sassurer du respect des dlais et des budgets en ce qui trait la production.
o Superviser la prproduction
o Superviser la postproduction
o Superviser la stratgie marketing et la promotion
- Lesquelles de ces comptences sont dveloppes grce :

o Au talent inn
o Autodidactisme
o En apprenant sur le lieu / mentorat
o Des ateliers
o Formation acadmique (universits, cgeps ou coles spcialises)
- Selon vous, quels sont les avantages davoir un Showrunner sur une production en ce qui
a trait aux aspects suivants :
o Lcriture, la trame dramatique
o Laspect pcuniaire, la production
o La facture visuelle : dcors, costumes, etc.
- Selon vous, y a-t-il diffrents modles de Showrunner dpendamment des types de

production?
- Si vous aviez choisir entre une production avec un Showrunner ou une production sans
Showrunner, laquelle choisiriez vous et pourquoi?
3. Formation du Showrunner
- Connaissez-vous, ici ou ailleurs, des formations qui sont consacres la
formation de Showrunner?
- Comment voyez-vous une formation qui permettrait aux deux profils d'origine
principaux des Showrunners (artistique et production) de dvelopper les
comptences faisant l'objet de lacunes?
- Qui devrait offrir des formations? Les institutions denseignement ou les
organisations professionnelles telles la SARTEC ou lAQTIS?
- Selon vos connaissances du march qubcois en production tlvisuelle,
combien de Showrunners le Qubec peut-il se permettre de former sans saturer le
march?
Question adresse Fabienne Larouche et Anne Boyer, qui travaillent selon le modle du
Showrunner et adapte au conditionnel pour Mylne Chollet.
- Quelles comptences lies vos rles dauteur et de producteur auriez-vous
souhait avoir apprises dans le cadre dune formation?
4. Commentaires
- Avez-vous des commentaires ou des suggestions qui aideraient dfinir la
situation actuelle ainsi que les aspects dvelopper dans un avenir rapproch?
APPENDIX D
CASE STUDY RESULTS (ENGLISH)
production
Series Title Network Genre location yr(s) Production Showrunner creator producer other
scripted Virginia Paul Mather,

Corner Gas CTV comedy SASK 2004-9 Vrit Films Brent Butt* Brent Butt Thompson Mark Farrell Kevin White
Michael
This Hour Has 22 comedy 1993- Walsh / Susan Donovan,
Minutes CBC /magazine NS 2008 Halifax Film Mark Farrell Mercer / Jones Macdonald exec producer
Avamar Tassie Mark Ellis /
Entertainment Mark Ellis / Bill Mustos / Cameron, Stephanie
/ Pink Sky Stephanie Anne-Marie La head writer, Morgenstern,
Flashpoint S1 CTV / CBS drama ONT 2008 Entertainemnt N/A Morgenstern Traverse exec prod writers
Avamar Mark Ellis /
Entertainment Mark Ellis / Bill Mustos / James Hurst, Stephanie
/ Pink Sky Stephanie Anne-Marie La supervising Morgenstern,
Flashpoint S2 CTV/CBS drama ONT 2009 Entertainemnt N/A Morgenstern Traverse producer writers
Trey Anthony /
scripted Trey Anthony / Ngozi Paul,
Da Kink in my Hair S1 Global comedy ONT 2007-8 Barna Alper Shelly Scarrow Ngozi Paul Damion Nurse lead cast
Trey Anthony /
scripted Shernold Trey Anthony / Ngozi Paul,
Da Kink in my Hair S2 Global comedy ONT 2008 Barna Alper Edwards Ngozi Paul Damion Nurse lead cast
Aaron Martin /
DeGrassi: The Next 2001- Epitome Linda James Hurst,
Generation CTV teen drama ONT 2008 Pictures N/A Linda Schuyler Schuyler etc.
James Hurst,
senior writer
Being Erica CBC drama ONT 2009 Temple Street Aaron Martin Jana Sinyor Tecca Crosby Jana Sinyor producer
OTHER
Soul Vision drama NS 2008 Halifax Film Peter Lauterman Floyd Kane
The Border CBC drama ONT 2008-9 David Barlow Peter Raymont
Damian
TMN/ SCI Kindler / Martin
Sanctuary FI/ web drama BC 2008 Stage 3 Wood Martin Wood
* yellow fill indicates interview

SHOWRUNNER PROFESSIONAL COMPETENCIES
SERIES NAME: Being Erica
essential, optional,
done by unnecessary if no showrunner
showrunner (y,n) (2,1,0) who does this?
1 Generate and develop idea for production N 1
2 Create a pitch document adapted to marketplace N 1
3 Make the sale N 1
4 Write Bible, articulate the vision of the world, create characters, story arcs, episode springboards Y 2
5 Recommend key creative personnel Y 2
6 Write the pilot N 2 Creator
7 Close the broadcast deal Y 2
Also assemble key

8 Assemble a writing team by evaluating talent and selecting team Y 2 creative heads
9 Secure approvals for writing team hires and close deals Y 2
10 Communicate vision Y 2
11 Collaborate on scheduling Y 1
12 Develop production budget N 0 Line Producer
Including key
13 Build team and make optimal uses of all resources Y 2 creative heads
14 Establish and manage a safe creative environment N 2
15 Write original scripts Y 1
16 Break stories & direct the research Y 1
17 Schedule delivery of script stages Y 2
18 Direct the writing and rewriting Y 2
19 Train writers Y 2
20 Deliver all production drafts (draft /blue/pink/yellow/subsequent)s Y 1
F. SUPERVISE EPISODIC PREPRODUCTION
21 Hold concept and tone meeting with Director Y 2
22 Collaborate to create a production schedule / board Y 2
23 Cast guest actors / stars Y 2
24 Approve key creative elements Y 2
25 Run production meetings N 0 AD
26 Run a read through Y 2
G. SUPERVISE PRODUCTION
27 Spend time on set and ensure series vision is maintained N 1
28 Ensure production is on time and on budget N 1
29 Evaluate dailies N 1
H. SUPERVISE POSTPRODUCTION
30 Deliver locked picture(s) and broadcast versions N 2 Producer
31 Complete all other visual and sound components / requirements N 2 Producer
I. ASSIST WITH DISTRIBUTION AND EXPLOITATION OF THE SERIES
32 Facilitate publicity campaign /Support creation of promos / trailers N 1
Producer;
33 Create internet component N 1 Broadcaster
34 Consult on licensing and merchandising N 1
35 Support creation of DVD / CD / downloads N 1
SERIES NAME: Da Kink In My Hair
1 Generate and develop idea for production N 1 creators
2 Create a pitch document adapted to marketplace N 1 creators
creators and
3 Make the sale N 1 producer
6 Write the pilot Y 1 creators
7 Close the broadcast deal N producer
8 Assemble a writing team by evaluating talent and selecting team Y 2
9 Secure approvals for writing team hires and close deals Y 0 Executive Producer
11 Collaborate on scheduling 0
12 Develop production budget 0
13 Build team and make optimal uses of all resources Y 2
14 Establish and manage a safe creative environment Y 2
15 Write original scripts Y
16 Break stories & direct the research Y
20 Deliver all production drafts (draft /blue/pink/yellow/subsequent)s Y
22 Collaborate to create a production schedule / board N 0 AD
producer and
23 Cast guest actors / stars Y 2 director
25 Run production meetings N 0
Depends who else
27 Spend time on set and ensure series vision is maintained Y 1 is on set
28 Ensure production is on time and on budget N 1
29 Evaluate dailies Y 1
30 Deliver locked picture(s) and broadcast versions 1 Post-Supervisor
31 Complete all other visual and sound components / requirements 1
33 Create internet component N 1
SERIES NAME: Degrassi, TNG
Note: for the purpose of this chart only, "showrunner" means head writer/producer showrunner (y,n) (2,1,0) who does this?
1 Generate and develop idea for production N 0 Producer
2 Create a pitch document adapted to marketplace N 0 Producer
3 Make the sale N 0 Producer
6 Write the pilot N 1
7 Close the broadcast deal N 0 Producer
9 Secure approvals for writing team hires and close deals N 0 Producer
12 Develop production budget Y 2
21 Hold concept and tone meeting with Director Y (with Producer) 2
22 Collaborate to create a production schedule / board N 1
23 Cast guest actors / stars N 1 Producer
25 Run production meetings N 0 AD
26 Run a read through N 2 Producer
27 Spend time on set and ensure series vision is maintained N 2 Producer
28 Ensure production is on time and on budget N 2 Producer
29 Evaluate dailies N 2 Producer
30 Deliver locked picture(s) and broadcast versions N 1 Producer
31 Complete all other visual and sound components / requirements N 1 Producer
32 Facilitate publicity campaign /Support creation of promos / trailers Y 0
33 Create internet component Y 0
34 Consult on licensing and merchandising Y 0
35 Support creation of DVD / CD / downloads Y 0
SERIES NAME: Flashpoint Season 1
Note: for the purpose of this chart only, "showrunner" means head writer/producer showrunner (y,n) (2,1,0) who does this?
1 Generate and develop idea for production N 1 Creator
2 Create a pitch document adapted to marketplace N 1 Creator
3 Make the sale N 1 Creator
4 Write Bible, articulate the vision of the world, create characters, story arcs, episode springboards N 1.5 Creator
5 Recommend key creative personnel N 1.5 Creator
6 Write the pilot N 1.5 Creator
7 Close the broadcast deal N 1.5 Creator
8 Assemble a writing team by evaluating talent and selecting team N 1.5 Creator
9 Secure approvals for writing team hires and close deals N 1.5 Creator
12 Develop production budget Y 2
22 Collaborate to create a production schedule / board Y 2
23 Cast guest actors / stars Y 2
25 Run production meetings Y 2
27 Spend time on set and ensure series vision is maintained N 1.5 Producer
28 Ensure production is on time and on budget N 1.5 Producer
29 Evaluate dailies N 1.5 Producer
30 Deliver locked picture(s) and broadcast versions N 1.5 Producer
31 Complete all other visual and sound components / requirements N 1.5 Producer
33 Create internet component N 1
SERIES NAME: This Hour Has 22 Minutes
1 Generate and develop idea for production N 0
2 Create a pitch document adapted to marketplace N 0
3 Make the sale N 0
4 Write Bible, articulate the vision of the world, create characters, story arcs, episode springboards N 0
5 Recommend key creative personnel N 0
6 Write the pilot N 0
7 Close the broadcast deal N 0
9 Secure approvals for writing team hires and close deals Y 2
10 Communicate vision Y
Line Producer and
11 Collaborate on scheduling N Producer
Line Producer and
12 Develop production budget N Producer
Line Producer and
13 Build team and make optimal uses of all resources N Producer
14 Establish and manage a safe creative environment Y
21 Hold concept and tone meeting with Director N 0
22 Collaborate to create a production schedule / board N 0
23 Cast guest actors / stars Y 1 with Prodco Exec
25 Run production meetings Y 2
27 Spend time on set and ensure series vision is maintained Y 2
28 Ensure production is on time and on budget N 0 Line Producer
29 Evaluate dailies N 0
Producer then
30 Deliver locked picture(s) and broadcast versions Y 1 Showrunner
Producer then
31 Complete all other visual and sound components / requirements Y 1 Showrunner
32 Facilitate publicity campaign /Support creation of promos / trailers Y 1
33 Create internet component Y 1
35 Support creation of DVD / CD / downloads N 1 HFX Film
SERIES NAME: Corner Gas
essential optional if not the

done by unnecessary showrunner, who
showrunner (y,n) (2,1,0) does this?
1 Generate and develop idea for production Y 2
2 Create a pitch document adapted to marketplace Y 1
3 Make the sale Y 1
6 Write the pilot Y 2
7 Close the broadcast deal Y 2

9 Secure approvals for writing team hires and close deals N 1

10 Communicate vision Y
11 Collaborate on scheduling Y
12 Develop production budget N
13 Build team and make optimal uses of all resources N
14 Establish and manage a safe creative environment N producer

15 Write original scripts Y
16 Break stories & direct the research Y
17 Schedule delivery of script stages N supervising producer
18 Direct the writing and rewriting N supervising producer
19 Train writers N supervising producer
20 Deliver all production drafts (draft /blue/pink/yellow/subsequent)s N supervising producer

21 Hold concept and tone meeting with Director Y
22 Collaborate to create a production schedule / board N supervising producer
23 Cast guest actors / stars Y
24 Approve key creative elements Y
25 Run production meetings N supervising producer
26 Run a read through N supervising producer
27 Spend on set and ensure series vision is maintained Y
28 Ensure production is on time and on budget N
29 Evaluate dailies Y
30 Deliver locked picture(s) and broadcast versions Y
31 Complete all other visual and sound components / requirements Y

32 Facilitate publicity campaign /Support creation of promos / trailers Y
33 Create internet component N
34 Consult on licensing and merchandising Y
35 Support creation of DVD / CD / downloads Y
APPENDIX E
TRAINING PROVIDERS INTERVIEWED
NATIONAL
Banff Canwest Showrunner Program

Tecca Crosby - Program Director 2008
Priya Rao - Head of Content - Banff World Television Festival - Achilles Media
Christine Shipton - VP Original Content - Canwest
Canadian Film Centre (CFC)

Kathryn Emslie - Director CFC TV
National Screen Institute (NSI)

Kit Redmond - NSI Totally Television - Program Manager
Liz Janzen - Director of Programming
WGA West
Ann Widdifield - Assistant Executive Director
Carole Kirschner - Showrunner Program Administrator
BRITISH COLUMBIA
University of British Columbia (UBC)

Full Time / Full time correspondence
Peggy Thompson Associate Professor - Creative Writing Program
Sharon McGowan Associate Head Film Production
Vancouver Film School (Van Film School)

Full time
Michael Baser Head of Writing for Film & Television
Capilano University (Capilano U)

Full time
Seanna McPherson Program Coordinator Motion Picture Production Program
Langara College (Langara)

Full time
Alyson Drysdale Department Chair - Film Arts
Simon Fraser University (SFU SCA)

Full time
Patricia Gruben Associate Professor Film School for the Contemporary Arts
PRAXIS (SFU Praxis)

Mentor / Master class / workshop
Patricia Gruben Director Centre for Screenwriters
1
ALBERTA
Calgary Society of Independent Film Makers (CSIF)

Workshops
Melody Jacobsen Operations Coordinator
Southern Alberta Institute of Technology (SAIT)

Full time continuing education
Dan Gascon Instructor Film and Video Production
University of Calgary (U of Calgary)

George Melnyk Associate Professor / Program Coordinator Film Studies
SASKATCHEWAN
Saskfilm
Workshops / mentorship
Charlene Hilkewich Program Officer
University of Regina (U of Regina)

Full time
Gerald Saul Associate Professor Film and Video Production
MANITOBA
Film Training Manitoba (Film Training MB)

Workshops
Neila Benson Executive Director
University of Manitoba (U of Man.)

Full time
George Toles Professor & Program Chair Film Studies
ONTARIO
Humber College
Full time Continuing education
Basil Guinane Associate Dean of Media Studies
York University (York U)

Full time
Peter Lower Course Director: Screenwriting Department of Film
Ryerson University (Ryerson)

Full time
David Tucker Director Radio and Television Arts
Confederation College
Full time Continuing education
Eric Weller Program Coordinator - Film Production
2
Algonquin College
Full time
Lynn Tarzwell Program Coordinator Scriptwriting School of Media &
Design
University of Windsor (U of Windsor)

Full time
Kim Nelson Assistant Professor Department of Communication Studies
QUBEC
Concordia University Mel Hoppenheim School of Cinema (MHSoC)

Full time
Jean-Claude Bustros Department Head Graduate Program
NEW BRUNSWICK
University of New Brunswick (U of NB)

Full time
Robert Gray Film Instructor
New Brunswick Film Co-Op

Workshops
Cat LeBlanc Member Services Director
NOVA SCOTIA
Acadia University (Acadia U)

Dr. Patricia Rigg Chair Department of English
Dalhousie University (Dalhousie U)

Full time
Darryl Whetter Assistant Professor Creative Writing Department of English
Nova Scotia College of Art & Design (NSCAD)

Full time
Sam Fisher Associate Professor Media Arts
PRINCE EDWARD ISLAND
Island Media Arts Co-Op

Workshops
Corin McFadden Executive Director
NEWFOUNDLAND
Newfoundland Independent Film Co-Op (NIFCO)

Workshops / Mentors
Roger Maunder First Time Filmmaker Mentor
3
APPENDIX F
TRAINING OFFERINGS FOR SHOWRUNNERS IN QUBEC
Cgeps (collges)
CEGEP de Jonquire, Art et technologie des mdias, Jonquire

Techniques de production et de postproduction tlvisuelle
589-JBA-JQ Introduction aux scnarios
589-JDA-JQ Introduction la postproduction
589-KAA-JQ Adaptation tlvisuelle dun scnario
589-KDA-JQ Production en studio de tlvision
589-LBA-JQ Coordination de production
589-LDA-JQ Cration en studio de tlvision
589-LMA-JQ Direction de productions
589-LNA-JQ Planification de productions
589-SAA-JQ Stage en production tlvisuelle
589-SBA-JQ Stage en postproduction
CEGEP St-Laurent
DEC Cinma et communication
530-GQE-03 criture pour les mdias
530-GQR-SL Production en vido 1
530-GQH-04 Production en vido 2
530-GQL-04 Projet d'intgration en vido
Universits
Universit du Qubec en Abitibi

Mineur en Cinma
CIN1203 Scnarisation cinmatographique
CIN1209 Mise en scne : clairage, espace scnique, espace filmique CIN1210 Projet
synthse : cration d'une oeuvre
Universit du Qubec Chicoutimi

Certificat en cinma et en vido
7CIN114 Production en cinma et vido I
7CIN222 Production en cinma et vido II
7ETH402 Atelier d'criture dramatique et de scnarisation
Universit du Qubec Montral

Bac Communication Cinma
Bac Communication Tlvision
Certificat en scnarisation cinmatographique
EDM3825 Stratgies de dramatisation mdiatique
EDM4045 Production de films de fin d'tudes
EDM4030 Direction de la photographie 3: le cinma de fiction
EDM4133 Ralisation 3: la mise en scne
4
EDM3252 Gestion de la production audiovisuelle
EDM4250 Production d'une srie tlvisuelle (studio et extrieur)
EDM3815 criture et dveloppement de projets en tlvision
EDM4230 Conception et criture tlvisuelle: fiction
EDM3815 criture et dveloppement de projets en tlvision
EDM4260 Atelier production de fin d'tude: format tlvision 6 cr.
EDM4250 Production d'une srie tlvisuelle (studio et extrieur)
Universit Concordia (Mel Hoppenheim School of Cinema)

FMPR 231 Filmmaking I
FMPR 332 Filmmaking II
FMPR 432 Filmmaking III
FMPR 336 Introduction to Film Producing
FMPR 341 Writing for Film I
FMPR 441 Writing for Film II
FMPR 445 Professional Internship
FMPR 447 Professional Internship II
FMPR 446 Professional Internship I
FMPR 498 Special Topics in Film Production
Universit de Montral
Bac bidisciplinaire en criture de scnario et cration littraire
Bac en cinma
Mineure en cinma
CIN1003 Laboratoire cinmatographique
CIN1004 Laboratoire de scnarisation
CIN2002 Pratique vidographique
CIN2003 Pratique scnaristique
CIN2004 Pratique cinmatographique
CIN3001 Projets dirigs
CIN3002 Stage
CIN1014 Laboratoire de scnarisation
CIN2013 Pratique scnaristique
CIN3105 critures scnaristiques: genre et mdia
CIN1108 Cinma et tlvision
Collge OSullivan, Montral

Technologie des mdias et plateau de tournage
Scnario et dcoupage technique
Gestion d'un plateau de tournage
coles professionnelles et prives
Parlimage
Scnarisation srie tlvision
Comment monter un financement
Comptabilit de production
Formation sur mesure
5
Institut National de lImage et du son (INIS)
Programme Tlvision
Profil auteur
titre dtudiant au profil auteur, vous aurez concevoir et rdiger plusieurs exercices en
respectant les contraintes imposes. Pendant votre formation, vous explorerez toutes les tapes
dcriture dune uvre de fiction destine la tlvision : cration de personnages et de
situations; laboration de la courbe dramatique; criture des dialogues; rvision et retour critique;
interprtation des textes par des comdiens; rcriture et livraison.
Profil ralisateur
titre dtudiant au profil Ralisateur, vous aurez raliser plusieurs exercices en respectant
les contraintes imposes. Pendant votre formation, vous exprimenterez tous les paramtres de
production dune dramatique tlvisuelle. Mthodes de lecture et danalyse de textes;
communication des commentaires; valuation de projet et gestion du temps; identification du
traitement; dcoupage technique et distribution des rles; rptitions et tournage; direction
dacteurs et mise en scne; montage de limage et du son; enrobage visuel, sont quelques-uns des
volets abords pendant la formation.
Profil producteur
titre dtudiant au profil Producteur, vous aurez produire une mini srie en respectant les
contraintes imposes. Pendant votre formation, vous tudierez le dveloppement de projet; les
mcanismes dinteraction entre lauteur et le ralisateur; le suivi des tapes, de la prproduction
la diffusion; les paramtres budgtaires; la gestion des ressources financires et humaines; la
gestion du calendrier de production et des ressources techniques; la finalisation des documents et
les relations avec le diffuseur.
cole de cinma et tlvision de Qubec (ECTQ)

Scnariste
criture de scnarios de fiction
Ateliers de scnarisation
Dcoupage technique et montage esthtique
Intrigue et scnario
Centres dartistes
Productions Ralisations indpendantes de Montral (PRIM)

Offre de formations sur mesure
Studio XX, Montral

Offre de formations sur mesure
Les films de lautre, Montral

Formations sous forme dateliers
Budget de production
Structure de financement
Outil de gestion
Initiation la distribution
6
Main Film
Formations sous forme dateliers
Financement e budget
Scnarisation
Gestion dune production
Organisations professionnelles
Le RFAVQ
Programme de formations modifi ou mis jour chaque anne.
7
Appendix G
PRODUCTION STATISTICS CANADIAN TELEVISION SERIES
Number of television series projects, by genre

1996/97 1997/98 1998/99 1999/00 2000/01 2001/02 2002/03 2003/04 2004/05 2005/06 2006/07
Fiction 65 46 64 83 80 87 81 80 91 93 97
Documentary 81 74 127 132 162 188 207 229 223 227 211
Children's
and youth 61 56 89 90 86 89 85 76 74 87 87
VAPA 33 43 36 47 61 54 54 58 47 45 51
Magazine 59 73 95 154 171 163 212 169 182 156 116
Other 15 23 39 32 31 32 53 50 57 57 60
Total 314 315 450 538 591 613 692 662 674 665 622
Source: Estimates based on CAVCO data
Number of hours of television series production, by genre

1996/97 1997/98 1998/99 1999/00 2000/01 2001/02 2002/03 2003/04 2004/05 2005/06 2006/07
Fiction 776 626 790 939 922 896 928 1,034 957 832 776
Documentary 757 725 810 876 820 922 804 688 799 829 757
Children's
and youth 603 545 1,027 932 1,461 1,532 1,517 1,559 1,605 1,548 603
VAPA 575 848 835 1,016 1,006 904 989 950 754 432 575
Magazine 1,714 1,762 1,898 3,332 4,280 3,457 4,460 3,639 3,837 3,391 1,714
Other 160 548 648 502 398 284 559 419 410 425 160
Total 4,585 5,054 6,008 7,597 8,887 7,995 9,257 8,289 8,362 7,457 4,585
Source: Estimates based on CAVCO data
From CFTPA Profile 2008
8
Showrunner Educator Survey
Availability Type of Training Available

AB
Educator CSIF
A1 Teach students to generate and develop an idea for production Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
A2 Teach students how to create a pitch doc adapted to marketplace Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
A3 Do you teach students how to make the development deal sale Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
B1 Are students taught to write a Bible, articulate vision of the world, create char & story arc Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
B2 Are students taught how to identify key creative personnel Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
B3 Are students instructed in the process of writing a Pilot No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
B4 Are students taught how to close the broadcast deal No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
C1 Can students assemble a writing team by evaluating talent No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
C2 Do students learn how to secure an approval for the writing team & close contract deals No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D1 Will students be taught how to communicate a vision Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D2 Are students taught how to collaborate on scheduling Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D3 Are students instructed how to develop a production budget Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D4 Can students build a team and make optimal use of all resources Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D5 Do students learn how to establish and manage a safe creative environment Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E1 Do students write original scripts Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E2 Can students break stories and direct research No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E3 Are students taught a system to schedule delivery of script stages No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E4 Can students direct the writing and rewriting with other writing students Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E5 Are students taught a means to train other writers No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E6 Do students complete all production drafts (draft/blue/pink/etc) No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G1 Are students taught how to hold concept and tone meetings with directors Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G2 Do students learn how to create a production schedule or production board Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G3 Are students taught the process of auditioning & selecting Cast Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G4 Are students taught how to identify key creative elements No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G5 Will students be given the opportunity to run a production meeting Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G6 Do students run a script read though Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 1
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H1 When filming, will the student ensure the series vision is maintained Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
H2 Is the student instructed how to ensure production is on time and on budget Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
H3 Is the student involved in evaluating the dailies Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
I1 Do students learn about locked pictures and broadcast versions Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
I2 Do students learn the steps to complete all other visual & sound components Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J1 Do students learn about publicity campaigns / creation of promos & trailers Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J2 Do students learn how to create an internet component Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J3 Do students learn about licensing and merchandising No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J4 Do students learn about media releases such as DVD, CD and downloads Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Educator SAIT
A3 Do you teach students how to make the development deal sale Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
B3 Are students instructed in the process of writing a Pilot Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
B4 Are students taught how to close the broadcast deal Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
C1 Can students assemble a writing team by evaluating talent Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
C2 Do students learn how to secure an approval for the writing team & close contract deals Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E2 Can students break stories and direct research Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E3 Are students taught a system to schedule delivery of script stages Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 2

E6 Do students complete all production drafts (draft/blue/pink/etc) Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G1 Are students taught how to hold concept and tone meetings with directors Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G3 Are students taught the process of auditioning & selecting Cast Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G4 Are students taught how to identify key creative elements Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G5 Will students be given the opportunity to run a production meeting Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
H3 Is the student involved in evaluating the dailies Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
I2 Do students learn the steps to complete all other visual & sound components Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J2 Do students learn how to create an internet component Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J3 Do students learn about licensing and merchandising Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Educator U of Calgary
A1 Teach students to generate and develop an idea for production No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
A2 Teach students how to create a pitch doc adapted to marketplace No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
A3 Do you teach students how to make the development deal sale No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
B1 Are students taught to write a Bible, articulate vision of the world, create char & story arc No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
B2 Are students taught how to identify key creative personnel No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D1 Will students be taught how to communicate a vision No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 3

D2 Are students taught how to collaborate on scheduling No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D3 Are students instructed how to develop a production budget No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D4 Can students build a team and make optimal use of all resources No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D5 Do students learn how to establish and manage a safe creative environment No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E1 Do students write original scripts No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E4 Can students direct the writing and rewriting with other writing students No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G1 Are students taught how to hold concept and tone meetings with directors No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G2 Do students learn how to create a production schedule or production board No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G3 Are students taught the process of auditioning & selecting Cast No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G5 Will students be given the opportunity to run a production meeting No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G6 Do students run a script read though No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
H1 When filming, will the student ensure the series vision is maintained No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
H2 Is the student instructed how to ensure production is on time and on budget No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
H3 Is the student involved in evaluating the dailies No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
I1 Do students learn about locked pictures and broadcast versions No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
I2 Do students learn the steps to complete all other visual & sound components No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J1 Do students learn about publicity campaigns / creation of promos & trailers No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J2 Do students learn how to create an internet component No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J4 Do students learn about media releases such as DVD, CD and downloads No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 4

BC
Educator Capilano U
B4 Are students taught how to close the broadcast deal Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
C2 Do students learn how to secure an approval for the writing team & close contract deals Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E2 Can students break stories and direct research Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E3 Are students taught a system to schedule delivery of script stages Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E5 Are students taught a means to train other writers Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 5

Educator Langara
B4 Are students taught how to close the broadcast deal Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
C1 Can students assemble a writing team by evaluating talent Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
C2 Do students learn how to secure an approval for the writing team & close contract deals Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 6

Educator SFU Praxis
A3 Do you teach students how to make the development deal sale Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
C1 Can students assemble a writing team by evaluating talent Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 7

D2 Are students taught how to collaborate on scheduling Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E5 Are students taught a means to train other writers Strength Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E6 Do students complete all production drafts (draft/blue/pink/etc) Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G2 Do students learn how to create a production schedule or production board Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G6 Do students run a script read though Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
H2 Is the student instructed how to ensure production is on time and on budget Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J1 Do students learn about publicity campaigns / creation of promos & trailers Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J3 Do students learn about licensing and merchandising Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J4 Do students learn about media releases such as DVD, CD and downloads Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Educator SFU SCA
Page No. 8

B1 Are students taught to write a Bible, articulate vision of the world, create char & story arc Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E6 Do students complete all production drafts (draft/blue/pink/etc) Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 9

J2 Do students learn how to create an internet component Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J3 Do students learn about licensing and merchandising Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Educator UBC
Page No. 10

Educator Van Film School
D3 Are students instructed how to develop a production budget Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 11

G1 Are students taught how to hold concept and tone meetings with directors Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
I1 Do students learn about locked pictures and broadcast versions Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
I2 Do students learn the steps to complete all other visual & sound components Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 12

MB
Educator Film Training MB
B2 Are students taught how to identify key creative personnel Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D1 Will students be taught how to communicate a vision Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D2 Are students taught how to collaborate on scheduling Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D3 Are students instructed how to develop a production budget Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D4 Can students build a team and make optimal use of all resources Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D5 Do students learn how to establish and manage a safe creative environment Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E1 Do students write original scripts Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E2 Can students break stories and direct research Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G4 Are students taught how to identify key creative elements Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 13

I1 Do students learn about locked pictures and broadcast versions Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Educator U of Man.
B3 Are students instructed in the process of writing a Pilot Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E4 Can students direct the writing and rewriting with other writing students Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 14

G5 Will students be given the opportunity to run a production meeting Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
J4 Do students learn about media releases such as DVD, CD and downloads Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 15

NB
Educator NB Film Co-op
B2 Are students taught how to identify key creative personnel Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D4 Can students build a team and make optimal use of all resources Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E5 Are students taught a means to train other writers Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 16

H1 When filming, will the student ensure the series vision is maintained Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Educator U of NB
A1 Teach students to generate and develop an idea for production Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D1 Will students be taught how to communicate a vision Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D4 Can students build a team and make optimal use of all resources Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 17

G4 Are students taught how to identify key creative elements Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
H1 When filming, will the student ensure the series vision is maintained Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
H3 Is the student involved in evaluating the dailies Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
I2 Do students learn the steps to complete all other visual & sound components Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 18

NL
Educator NIFCO
A1 Teach students to generate and develop an idea for production Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 19

J1 Do students learn about publicity campaigns / creation of promos & trailers Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 20

NS
Educator Acadia U
A1 Teach students to generate and develop an idea for production No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
B1 Are students taught to write a Bible, articulate vision of the world, create char & story arc No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D1 Will students be taught how to communicate a vision No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D4 Can students build a team and make optimal use of all resources No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D5 Do students learn how to establish and manage a safe creative environment No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E1 Do students write original scripts No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G3 Are students taught the process of auditioning & selecting Cast No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G5 Will students be given the opportunity to run a production meeting No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
G6 Do students run a script read though No Interest Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 21

Educator Dalhousie U
A2 Teach students how to create a pitch doc adapted to marketplace Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E3 Are students taught a system to schedule delivery of script stages Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 22

Educator NSCAD
B1 Are students taught to write a Bible, articulate vision of the world, create char & story arc Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
B3 Are students instructed in the process of writing a Pilot Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 23

Page No. 24

ON
Educator Algonquin College
Page No. 25

H2 Is the student instructed how to ensure production is on time and on budget Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Educator Confederation
Page No. 26

G2 Do students learn how to create a production schedule or production board Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Educator Humber College
Page No. 27

Educator Ryerson
Page No. 28

Page No. 29

Educator U of Windsor
Page No. 30

Educator York U
Page No. 31

Page No. 32

PE
Educator Island Media Arts Co-
B1 Are students taught to write a Bible, articulate vision of the world, create char & story arc Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
B2 Are students taught how to identify key creative personnel Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D2 Are students taught how to collaborate on scheduling Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 33

H1 When filming, will the student ensure the series vision is maintained Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
H3 Is the student involved in evaluating the dailies Interested Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 34

QC
Educator MHSoC
A2 Teach students how to create a pitch doc adapted to marketplace Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 35

Page No. 36

SK
Educator Saskfilm
D1 Will students be taught how to communicate a vision Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
D4 Can students build a team and make optimal use of all resources Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
E1 Do students write original scripts Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Page No. 37

I1 Do students learn about locked pictures and broadcast versions Supported Full Time Con. Ed. Workshop OTJ Mentor Master Cl. Corresp.
Educator U of Regina
Page No. 38

Page No. 39

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Training Gaps

For the Cultural Human Resources Council

January 30, 2009

with Benoit Dubois

II. EXECUTIVE SUMMARY 6

III. PROJECT METHODOLOGY 13

CASE STUDY APPROACH FOR TRAINING NEEDS 13

IV. THE MANDATE 15

PRODUCTION CASE STUDIES 21

VI. TRAINING OFFERINGS 32

VII. TRAINING GAP ANALYSIS 36

Showrunners Training Gaps Analysis Cultural Human Resources Council

All rights reserved.

To start, an Expert Working Group of practicing Showrunners prepared a Showrunners Chart of

Flashpoint, produced by Pink Sky Entertainment and Avamar Entertainment

In order to develop a framework for training a pool of Showrunner talent, it is helpful to

Showrunners start with writing as a primary competency. As many interviewees emphasized,

Formal Training Offerings: Three professional development offerings directly targeted at

Training Gap Analysis

3.2 In Qubec, develop industry-educational partnership initiatives in which cohorts of

Training Gap 4: There is a significant lack of opportunity available for emerging

Financing Training Programs

II. Project Methodology

To start, an Expert Working Group of practicing Showrunners prepared a Showrunners Chart of

CASE STUDY APPROACH FOR TRAINING NEEDS

TRAINING OFFERING SURVEY

Several professional development offerings are directly related to Showrunners. In-depth

TRAINING GAP ANALYSIS

III. The Mandate

Flashpoint premiered on CTV and CBS concurrently, bringing in 11 million North

The preamble to the Showrunners Chart of Competencies states:

Showrunning skills cannot be learned solely in a classroom setting. Field experience is

TV series development and production is an intense, organic, ever-changing process. It requires

QUBECS UNIQUE CONTEXT

Its a producer whose involvement is also artistic. (a Qubcois producer)

If we introduced Showrunners into our productions, it would demote our directors to a

IV. Training Needs

English Interviews (see Appendix B1)

Experience of interviewees in current role:

The series used as case studies were:

DEGRASSI: THE NEXT GENERATION

THIS HOUR HAS 22 MINUTES

DA KINK IN MY HAIR Season 2

French Interviews (see Appendix B2)

Background of interviewees: We interviewed people coming from many different backgrounds,

The series used as case studies were:

LES HAUTS ET LES BAS DE SOPHIE PAQUIN

JARDIN DHIVER (working title)

DEFINING THE NEED

THE ESSENTIAL CORE COMPETENCIES OF A SHOWRUNNER

In order to develop a framework for training a pool of Showrunner talent, it is helpful to

Visual Imagination: Relationships with other creative departments

90% of a Showrunners job is managerial; 10% is writing. (a writer)

The Showrunner - broadcaster relationship is of paramount importance, as is the relationship with

Generate and develop the idea

Supervise on set production

Budgeting and scheduling

New production technologies

Assist with distribution and exploitation

THE SHOWRUNNER AND OTHER GENRES