Televisionation

In this episode of Screen Culture, Tynesha shares how screen content—in the form of the sitcom Who’s the Boss—inspired her as a child to pursue a career in advertising. She shares key professional experiences, from creating a successful Super Bowl ad to becoming a leader in developing “worldbuilding’ immersive campaigns to market film and television properties and other products.

We get inside the streaming subscriber’s head in this week’s Friday Fireside with Scott Solter, industry veteran and consultant. After a brief trip down memory lane to the earliest days of “multi-pay marketing” (did you know that when Showtime started competing with HBO they had exactly the same movie line-up?), we dig into the thorny and timely issue of the true value of a streaming subscriber (probably much less than you think). Advertising isn’t the only thing that relies on impressions; the value of a streaming service is 100% based on the consumer’s (and, it should be noted, the investor’s) impressions. “Could I find what I wanted to watch? Did I enjoy it? Do I remember that I watched it?”

Today’s episode of Centriply’s Friday Fireside welcomes Chris Pizzurro, SVP of Global Sales and Marketing for Canoe Ventures. Chris unwraps the secrets of Canoe’s success, and details their operating strategy to deliver advanced advertising to 38 MILLION HOUSEHOLDS. We discuss the future of Set-Top Boxes, Nielsen, Addressable Advertising, Programmatic, Canoe’s move into streaming, and more. And we have some fun along the way!

Today’s edition of The Friday Fireside welcomes Howard Shimmel, president of Janus Strategy & Insights. Howard gives us a peak under the hood of his new venture, datafuelX, scheduled to launch in January. And with extensive experience at Turner, Nielsen, MTV Networks and AOL, Howard is uniquely qualified to discuss what’s next for Nielsen and their apparent legion of competitors, as well as the future of multi-platform, multi-device and multi-CURRENCY television advertising.

This week’s guest on the Friday Fireside is media luminary Jesse Redniss, Founder and CEO of privacy enablement and engagement platform, Qonsent. With a long history at NBCUniversal, Turner and WarnerMedia, Jesse has, like many of us, seen the shift in regulatory and consumer attitudes regarding use of Personally Identifiable Information (PII). What was previously accepted and acceptable is no longer, and that spells trouble for media, advertising and commerce. Qonsent has a solution that, in the opinion of the good doctor, will quickly become the industry standard. Watch and learn.

This episode features Paul Furia, Head of Content and Creative Packaging at independent media agency, Media by Mother. Among other things, he explains his role at the agency; how he and his team identify the right creators, producers and platforms for their campaigns; how they go about reaching the right audiences for those campaigns; and the metrics they use to determine their success.

Televisionation: Friday Fireside, the #1 television industry Webcast, features Rick Howe, The iTV Doctor, in conversation with prominent figures from the advanced-TV/video industry. This week, the Friday Fireside welcomes Landmark Media Advisors founder Adam Gaynor, who tells us in no uncertain terms what’s wrong with television advertising and what to do about it! Adam’s background includes Comcast, AMC Networks, Dish Network and VIZIO. Watch, and learn.

Rick Howe, The iTV Doctor interviews… George Schweitzer is Television Royalty. If you watched CBS between 1990 and 2020, you saw his work. And more importantly, if you were watching something OTHER than CBS, you saw his work—his job was to get you to WATCH CBS! George has experience and perspective on how to fix the absolute mess we’ve made of television. You need to hear what he has to say.

Get ready for a truly mind-blowing episode of the Friday Fireside, with Quintar founding member Buddy Scott. With experience at WarnerMedia (working on Turner’s NBA Digital AR/VR projects), and then at Magic Leap, Buddy is taking us all to the next level. Quintar’s Reality platform is going to transform televised sports, and then bring that astonishing technology right back into the stadium experience. Very Cool Stuff!

Amy E. Duddleston, ACE has over 30 years of experience in feature and television picture editing. Starting out as an Apprentice Editor, she made her way up to Assistant Editor, working on films like My Own Private Idaho, Corrina, Corrina, and To Die For. As an editor, she has cut 20 features, including High Art, Laurel Canyon, Elegy and Gus Van Sant’s remake of Psycho, as well as nearly 80 hours of television on series such as Dexter, The Killing, Vida, Hunters and most recently, Mare of Easttown, for which she received two 2021 Emmy Award nominations. In 2022 she was nominated for two Eddie Awards for limited series editing by the American Cinema Editors, also for Mare of Easttown.

She has been a member of the Motion Picture Editors Guild since 1991, and currently serves on the Board of Directors. She is also a member of American Cinema Editors, AMPAS and the Television Academy.

On this episode of Screen Culture, Amy recounts how she discovered editing after being “enthralled” by Raging Bull and inspired by the work of editors such as Dede Allen. She shares how her journey as a young apprentice and then assistant editor led her to working out of Gus Van Sant’s house during production of the now-iconic My Own Private Idaho, her collaboration with Van Sant on projects including a shot-for-shot remake of Psycho, her work with filmmaker Lisa Cholodenko on films including the groundbreaking High Art, and her recent work in television shaping prestige series such as Mare of Easttown.

Amy and Lisa also cover:

What it’s like to work on a project, like My Own Private Idaho, that becomes culturally iconic: “Most of the time when you’re working on something, you just hope people see it”
How allowing time for ideas and approaches to percolate is essential in film and TV editing—rushing is the enemy of art
That the process of editing great actors—including Frances McDormand, Kate Winslet, and Patricia Clarkson—is challenging to describe: “You’re just trying to follow the rhythms”
How Amy turned down an offer to work on Good Will Hunting to edit her friend Lisa Cholodenko’s first film, High Art, which became a Sundance sensation
How High Art as an artifact of New Queer Cinema reflected cultural growth, as it’s “not a shiny coming-out story,” and how art is essential for “creating space” for new stories and narratives around underrepresented groups
What it was like to experience Mare of Easttown’s popularity: “The outpouring of love for the show was mind-blowing”
Amy is on Twitter as @phantomframe.