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

Showrunners Training Gap Analysis
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 works…who 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 they’re 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 Québécois writer)
I’m convinced it’s possible to learn the trade of Showrunner, like it’s 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. It’s of the same
order as courses in production or in directing at INIS. (a Québécois 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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Deborah Carver and Benoit Dubois, January 2009