WHAT'S A PITCH PARTY?
For the eighth year in a row we're opening up an entire section of our publication (read by more animation decision-makers than any other) to 1/6th page advertisements that pitch new ideas. For less than the cost of a workshop on "breaking into the biz" you can get your great idea in front of our major readers. [NOTE: This opportunity is only available once a year. AND to help you out, we're offering these ads at a heavily discounted price!]
PLUS! We've enlisted a panel of ten powerful development execs, producers and agents to judge your entries. The Pitch Party winner will receive a chance to pitch the judge of his or her choice. AND the winner will receive FREE Pitch Party Participation.
WHO'S JUDGING THIS THING?
We get some of the most powerful people in the industry to judge the work of our Pitch Party Participants. Check back here everyday for the next few weeks to see what doors you could open just by entering our Pitch Party!
Meet Your Pitch Party 2009 Judges:
SVP of Animation Production and Development, Twentieth Century Fox Television
Marci Proietto has been with Twentieth Century Fox Television since 1995 and oversees production on all of the studio’s animated hits, including The Simpsons, Family Guy, King of the Hill, American Dad, Futurama and The Cleveland Show. As Senior Vice President of Animation Production and Development, she works closely with each show’s team of writers and production staff as well as creators Matt Groening, Seth MacFarlane and Mike Judge. She is also charged with identifying burgeoning animation talent and developing future series to add to the studio's roster of blockbuster properties.
Senior VP, Original Series, Walt Disney Television Animation
As senior VP of original series at Walt Disney TV Animation, Eric is responsible for leading Disney's animated television development including short-form and long-form series for Disney Channel, Toon Disney and Jetix platforms, which are available to over 219 million homes worldwide. Previously, he spent 15 years at Nickelodeon, where he most recently served as VP and exec producer of animation development and production and was the exec in charge of production on the iconic SpongeBob SquarePants, among others. Eric began his career at Nickelodeon in New York, where he worked on the first wave of original Nicktoons, Rugrats, Ren & Stimpy and Doug. He then moved to Los Angeles and, as manager of development, worked on many animated pilots, including Rocko's Modern Life, Hey Arnold! and Angry Beavers. He was also the development exec on the pilot and exec in charge of production for SpongeBob SquarePants. In recent years, Coleman served as exec producer on Avatar, Catscratch and El Tigre, and was the exec in charge of production on Invader Zim.
Head of Content Acquisition and Programming, Vuze
Erik leads animation acquisition and programming at Vuze, a leading online video portal. Erik’s core focus is short-form animation geared at men 18-35. He has been acquiring animation for digital distribution for the last three years and has licensed original programming from studios of all sizes as well as individual animators. Prior to joining Vuze, he led animation acquisition at Akimbo, an IPTV platform.
Vice President Original Series,
Disney Channels & Jetix
Orion Ross joined Jetix Europe in July 2008, and was appointed to the
position of Vice President Original Series, Disney Channels and Jetix,
in May 2009. He is responsible for the creative development of new
animation and original series properties from concept to production.
Before moving to London, Orion was based in Hong Kong as Vice
President, Creative and Original Content, for Turner Broadcasting Asia Pacific. Since 2001 he supervised the creative strategy for Turner's
entertainment networks across the region including eight Cartoon
Network channels, Boomerang, Pogo and TCM. He has also written for film and television and directed broadcast design, music video and commercial projects.
Director, Comedy Animation, Cartoon Network
Curtis joined the Original Series department at Cartoon Network in Atlanta in 2005, and has recently relocated to Cartoon Network Studios in Burbank as director of comedy animation. Currently his goal is to seek out the best comedic voices and projects for the network as well as his continuing work on current series. Previously he worked in development at DreamWorks Animation and Storyopolis Productions.
Director of Programming and Acquisitions for Adult Swim
Kim joined Cartoon Network in 2002, soon after the launch of Adult Swim. She heads up the programming department in addition to scheduling stunts, premieres, specials and creating the lineup for the popular late-night programming block. She helped develop Robot Chicken, The Venture Brothers, The Drinky Crow Show and Tom Goes to the Mayor. Manning acquires shows for Adult Swim—anime (Bleach, Fullmetal Alchemist, Death Note) and more recently British Comedy (Mighty Boosh, Look Around You, The Office).
Acquisitions Manager, Atom.com
Tina Santomauro is acquisitions manager for ATOM.com, based out of the company’s New York office. Tina joined ATOM in June of 2007. Her key responsibilities are to license and develop high-performance programming that best fits with the ATOM brand, focusing on live action and animated comedy short films and web series. She is also the exec producer of Atom TV, weekly late-night show that airs on Comedy Central. She previously worked for Comedy Central in the programming acquisitions department for five years, licensing feature length films and stand up specials for the channel and short programming for comedycentral.com.
VP of Development, Frederator
Eric Homan began the 1990s first teaching high school English and then reporting news for a string of radio stations in and around his hometown of Reading, Pennsylvania. In 1992, he joined Hanna-Barbera Cartoons in Hollywood and later became the creative director of its animation art department. When the cartoon company was folded into the Time-Warner family in late 1996, he was hired by Warner Bros. Studio Stores to continue overseeing the production of Hanna-Barbera artwork and collectibles. In 1998, Homan became the first employee of Frederator Studios. Following a brief stint developing special projects for the online division of MTV Networks in New York City, he is back in Los Angeles and back with Frederator, serving as the studio's vice president of development, managing the creative affairs of the studio's new cartoon and book projects.
Director of Development, Cookie Jar Entertainment
Melissa Wolfe is the director of development for Cookie Jar Entertainment where she focuses on the creative development of Cookie Jar’s diverse slate of animated and live-action properties ranging from preschool all the way to primetime genres. Prior to joining Cookie Jar, she was a development executive for Fred Seibert at Frederator Studios, helping to develop 39 animated seven-minute pilot shorts for Nickelodeon’s Random Cartoons. At Frederator she also co-created and produced one of her own shorts for Nickelodeon called Sparkles and Gloom, associate produced two seasons of the Nicktoons Network Animation Festival and played an integral role in programming the first 90 episodes of the Channel Frederator podcast.
Head of Children’s Programming, M6 France
Natalie Altmann joined M6 in 1997 where she heads the children’s programs department (M6 Kid). Amongst other responsibilities, she overseas co-productions and acquisitions of animated series, as well as the production of the in-house programs broadcast within the children’s slots. Since May 2003, she is also the executive in charge of M6 Studio, a M6 subsidiary production company, specialized in animated feature films and series. As such she produced the animated feature film Asterix and the Vikings, released in France in 2006. She is currently producing the animated series Little Nick, adapted from the series of books Le Petit Nicolas by Goscinny and Sempé. Before joining M6, Natalie Altmann was head of development at Saban International Paris, where she supervised, from 1992 to 1997, the development and writing of numerous animated series for the French, European and international markets.
AND WHAT DO I WIN?
For one thing, a whole lot of print and online coverage! Not only do you get a 1/6th page ad in our print edition, if you're a winner, you'll get additional editorial coverage, a chance to pitch your idea to the judge of your choice and the cost of your entry reimbursed. BUT, WAIT! There's more (here's a big list of everything you could get just by entering).
1) Call 818-991-2884 or e-mail firstname.lastname@example.org to reserve your entry space. One of our great sales execs will contact you immediately. Entry Deadline is June 10, 2009. What you'll need to provide via e-mail: a JPEG or TIFF image from your pitch, a 30-word description of your pitch and your contact information. The entry fee is $375. Ask about our special student discounts.
FREQUENTLY ASKED QUESTIONS
How Do I Protect My Idea? Well, the easiest answer is "by entering the Pitch Party." If you're pitching your idea in our magazine then your idea has appeared in print with your name attached; your idea is no longer floating around out in the ether for anyone to pick up. To further protect yourself though, we suggest registering your idea with the Writers Guild. Go to www.wga.org for more info.
WHAT KIND OF STUFF CAN I ENTER?
Anything! As long as your idea has the potential to be animated, you can enter a television series, movie, game, whatever! Be forewarned, however, our judges are strictly from the movie and TV arena.
WHEN DO YOU ANNOUNCE THE WINNERS?
As soon as our August issue hits the newsstands, around July 1. We will also be hyping our winners online during the week of the San Diego Comic-Con, July 24-27 (www.comic-con.org).
WHAT SHOULD I ENTER?
Basically an idea that's different; something our judges haven't seen before. Most development folks want a show that is "character-driven" or "kid-relate-able." In artist-speak that just means they're looking for a show that has a strong character at the center of the action and, if it's a TV show, a character that kids can latch onto. Remember to pick a really strong image for your entry, one that describes your show or its main character in a striking visual manner. Concerning your 30-word description, all we can say is re-write, re-write, re-write. Don't just give us the first thing that trips off your fingertips onto the keyboard and into Microsoft word. Work it! Then read it to your friends. They'll tell you if they get it or not. (And, we know this sounds dumb, but run a spell check.)
Animation Magazine is not responsible or liable for ensuring the images used in Pitch Party Participant advertisements are the property of the advertisers/participants.