Showrunners - Training Gaps Analysis - Cultural Human Resources ...

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IV. Training Needs PRODUCTION CASE STUDIES Showrunners Training Gap Analysis 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 Deborah Carver and Benoit Dubois, January 2009
Showrunners Training Gap Analysis CREATIVE TEAM 7 : 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 Vérité 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 Deborah Carver and Benoit Dubois, January 2009
Page 1 and 2: Training Gaps Analysis Showrunners
Page 3 and 4: Table of Contents Showrunners Train
Page 5 and 6: Showrunners Training Gap Analysis S
Page 7 and 8: I. Executive Summary Showrunners Tr
Page 9 and 10: Showrunners Training Gap Analysis F
Page 11 and 12: Showrunners Training Gap Analysis w
Page 13 and 14: Showrunners Training Gap Analysis t
Page 15 and 16: Showrunners Training Gap Analysis d
Page 17 and 18: WHAT IS A SHOWRUNNER? Showrunners T
Page 19 and 20: Showrunners Training Gap Analysis t
Page 21: Showrunners Training Gap Analysis A
Page 25 and 26: Master’s Degree: 2 Doctorate: 1 S
Page 29 and 30: Showrunners Training Gap Analysis a
Page 33 and 34: V. Training Offerings ON-THE-JOB TR
Page 35 and 36: Showrunners Training Gap Analysis T
Page 37 and 38: VI. Training Gap Analysis Showrunne
Page 39 and 40: Showrunners Training Gap Analysis 1
Page 41 and 42: Showrunners Training Gap Analysis a
Page 43 and 44: Showrunners Training Gap Analysis s
Page 45 and 46: Showrunners Training Gap Analysis f
Page 47 and 48: VII. Conclusions Showrunners Traini
Page 49 and 50: PROFESSIONAL COMPETENCIES APPENDIX
Page 51 and 52: L. DEMONSTRATE PERSONAL SKILLS 1. D
Page 53 and 54: APPENDIX B2 TRAINING NEEDS ASSESSME
Page 55 and 56: 2B IF THERE IS A SHOWRUNNER ON THE
Page 57 and 58: - Selon vous, quels sont les avanta
Page 59 and 60: SHOWRUNNER PROFESSIONAL COMPETENCIE
Page 65 and 66: NATIONAL APPENDIX E TRAINING PROVID
Page 67 and 68: QUÉBEC Algonquin College Full time
Page 69 and 70: EDM3252 Gestion de la production au
Page 71 and 72: Main Film Formations sous forme d
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AB Educator CSIF Showrunner Educato
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Showrunner Educator Survey Availabi
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BC Educator Capilano U Showrunner E
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MB Educator Film Training MB Showru
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NL Educator NIFCO Showrunner Educat
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NS Educator Acadia U Showrunner Edu
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ON Educator Algonquin College Showr
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PE Educator Island Media Arts Co- S
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QC Educator MHSoC Showrunner Educat
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SK Educator Saskfilm Showrunner Edu
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