Harry is an award-winning movie producer, member of the Television Academy, and president of NiteLite Pictures in Los Angeles. He’s produced content for TV networks, studios, ad agencies as well as Fortune 500 companies globally.
His work has garnered many hundreds of millions of online views as well as been seen worldwide on major networks, Super Bowl ads, international film festivals, and also via worldwide live stream events.
Here’s some of our conversation with Harry, watch the complete interview and check out what he has to say!
Hi guys this is Mohid Moosani from Screenbinge.com and today we have Harry Lowell who is a Tv series producer. Welcome, Harry! Well, let me tell you a little about ScreenBinge, we’re an entertainment platform that provides streaming solutions, Movie and TV series reviews, Entertainment News.
Harry Lowel: That’s great! Because we work a lot on distribution to get our film or tv series viewed by as many people as possible so your goal is to try and get it worldwide. And I think that no matter how small, you know, I know that there are South American countries that are very tiny but it’s still important that your content reaches people.
What’s the difference between being a film director and a Tv series director?
Harry Lowel: Well, I’m a producer and director right, and they’re very different so you know a film director. To summarize those two things you talked about, the film director is in charge of the entire film.
So, the vision, the look, the casting everything runs through the director they have a particular point of view and that is what you’re going to see in the film. So, they’re more of an author when you talk about Tv series… really, it’s the executive producers who are the showrunners.
They’re the ones who are working with the writers, they’re crafting a series over, you know many episodes and a director is hired to help bring to life one or two of those episodes per season.
So, a director kind of comes and goes between the series is held together in Tv by the executive producers because they’re the ones who craft the story. How many seasons it’s going to be, how long it’s going to go, how the arc of the season goes and you bring in the right directors for each episode that that is necessary.
So, there’s a very big difference in terms of the director’s role and responsibility if you’re a Tv director, you have to come in and adapt your directing style to better match the series that you’re blending into because people are comfortable with a particular set of actor’s storylines.
Harry you’re often reached for advice on you know how to sell your content to Hollywood and all that, let’s get to that because I have some solid questions! So, one of my most favourite questions is who buys literally literary work in Hollywood and how do you sell your content in Hollywood?
Harry Lowel: I think the first thing you do is do your homework; I always tell people that you have to find out what you really have to sell what are you offering everybody. What are producers going to see when you send that package.
what else are you offering to sweeten the package so that if their producer wants to look at your book or something you’ve written, you know especially if it’s like a literary perspective that they can say oh there’s more to it here. There’s already a built-in audience or it’s already got an international audience or you know there’s something else here that makes it extra interesting for them to also look into your creative work.
What producers want and need in the television and film industry? everything from genre to the number of characters can make or break the deal?
Harry Lowel: So, that’s a… let me unpack there’s a lot of questions there so I think what’s important is what you should look at the writing you do and break it down in terms of if this has to go into a tv or film scenario a producer is going to break it down.
This way they’re going to look at the number of characters they’re going, to look at the number of locations, they’re going to look at anything else that’s going to be expensive. Is it the 1930s and we have to get all these old cars and wardrobe?
Visual effects are the kinds of things that they have to look at not only do they have to love the story they have to also figure out a way to produce it in a feasible productive scenario, then you have to look at how you’re going to recoup your money and who wants to distribute this then you look at the big picture too!
which is what genre is the film in right? Is it a romantic comedy? Is it an action thriller? Those are important questions because that will help you determine whether you’re going to make your money back?
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