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

Showrunners Training Gap Analysis
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 Deschênes 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 Québec, a prolific writer who assures the artistic control of his production by also
taking on the producer’s 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 hasn’t 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.
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Deborah Carver and Benoit Dubois, January 2009