Scott Robinson is graduating Central Michigan University in 2003. His preparation for a career in television includes producing and hosting programs on the college TV station. And Scott’s been doing some homework - he asks some thought provoking questions.

Randy, what do you believe are the most important trends in the industry today?

With the recent ratings of some of the "reality" programming and the network commitments for more of these shows, it's hard to put this genre into perspective as another cyclical trend that will leave a mark, but will not dominate programming a few years down the road. The lasting imprints will include the further relaxation of the traditional network standards for language and content, and the further acceptance of "real people" as television performers, hosts and announcers.

Much more significant is the fact that the industry is in the process of a major restructuring since the FCC's relaxation of ownership caps and the elimination of the "fin-syn" rules (briefly stated, the latter prohibited networks from an ownership interest in the programs they distribute). From the days when no single entity could own more than seven AM stations, seven FM stations and seven TV stations, and the controls that prohibited production studios from owning networks, there has been explosive growth in horizontal and vertical integration. And as we speak, the FCC is considering further relaxation of some of these limitations.

The result of one radio company owning 1200+ stations, as many as eight in one market, has been devastating to radio as the live, local and diverse medium that it once was. In TV and other media you only need to look at the holdings of one company to imagine the "synergy" opportunities that could also be considered a threat to competitors' ability to do business in the open marketplace:

Viacom's properties include CBS Television, MTV Networks (MTV, VH1, NICK, etc.), Showtime Networks, Infinity Broadcasting, TDI Worldwide and Infinity Outdoor, Paramount Pictures, Paramount Television, Paramount Parks, UPN, Blockbuster, Simon & Schuster, and theatrical exhibition operations in North America and abroad. The company has internet holdings and also owns a half-interest in the Comedy Central cable channel. National Amusements, Inc., a closely held corporation which operates approximately 1,300 motion picture screens in the U.S., the U.K., and South America, is the parent company of Viacom.

On balance, the long-touted 500 channel universe is becoming a reality, and alternative distribution systems such as the internet are being developed.

What will be the most likely impact of these trends on the demand for future employees?

Consolidation's shrinking of the industry may ultimately be balanced by an increase in entertainment outlets through cable and internet. I think that growth will be slow however, as no business model exists yet to indicate profitability for some of these new operations.

What will be the most likely impact of these trends on the characteristics of people being hired?

The innovation required in this changing industry will increase the demand for young professionals who can bring new thinking to the business. From the technical advances, to the increased need for innovative programming, to the new ways that programming is being financed through strategic partnerships, there will be more opportunity than ever for creative employees. Youth benefits as well as the industry continues to try to maximize profits and shareholder returns. Higher paid senior executives and the working members of the craft unions' hierarchies are regularly being offered buyouts to reduce overhead.

What will be the most likely impact of these trends on the education requirements for jobs in your field?

I'm not sure how these trends will impact the education and experience needed for future careers in television. While there are clearly fewer apprentice and middle management positions in broadcasting, the expansion of cable, internet and other future media will ultimately create many more employment opportunities. The emphasis on marketing skills and overall business acumen, such as budgeting and financial projections, lead me to believe that these traditional fields of study are taking on greater importance. I believe that understanding the nature of the business is important for everyone in the industry, performers and technical workers included.

What will be the most likely impact of these trends on the qualities required for success?

The obvious answer is the ability to handle rejection! Broadcasting has always attracted far more job applicants than it can accommodate. With the consolidation of the industry I believe there is an increased demand for people who have crystallized their specific goals and have gained previous experience in college, cable, and smaller market broadcasting.

What do you see as the most important qualities required for success in this field?

Beyond developing your innate talent and perseverance, the ability to work closely with others is vital. Television is a collaborative medium in which many people with individual skills must combine their talents, often under pressure. Because of the nature of news and the nature of chasing trends, as well as the economics of scale, much of television is produced on tight schedules that require long workdays and close interaction with others.

What do you see as the greatest challenge in your job?

There is a continuing need to adapt, grow and change with trends. Styles are continually changing in presentation and delivery. Interacting with the live and home audience requires performers to remain current with social and cultural trends, as well as all that is new in pop culture. Miss a month, and a performer's current frame of reference in movies, music, slang and other rapidly changing lifestyle matters quickly becomes noticeably outdated.

Additionally, as programmers and producers are constantly looking to ride new waves of popularity, there is a need to continually update your image within the industry.

What would you choose to do differently in building your career?

In entering the field I underestimated the importance of building personal relationships, networking and blurring the line between work and social interaction. The ability to perform and "deliver the goods" is vital to a level of professionalism and competence. But beyond that, employers welcome the opportunity to work with acquaintances for several reasons. There is an ease and perhaps "shorthand" in communicating with friends and past co-workers, there is an increased level of trust and confidence among acquaintances, and favors are more likely to be returned by friends. As shows are born and die quickly in an era of overnight ratings and increased demand for immediate success, most everyone from entry level production assistants to executive producers are continually laying foundations for future employment. Building relationships is vital to long term career success.

Now for some more specific questions:

Is the announcer of a television show usually responsible for warming up the audience, or is that usually a job held by another person?

Up until the 1990s a program's announcer was invariably responsible for audience warm-up. The AFTRA code encouraged the continuation of this long-standing tradition in its provisions for an existing "cast member" to be compensated a modest additional amount for the added responsibility for warm-ups. The AFTRA minimum compensation for a separate warm-up performer requires budgeting for an additional full salaried position. There are several otherwise mediocre announcers who maximized their careers with their truly gifted warm-up skills.

As new techniques for delivering higher production values and the intricacies of producing some shows have made tapings longer and longer. The resultant need to keep audiences for longer periods of time and to have those audiences deliver louder and more enthusiastic responses has changed the job of warm-up in recent years. In the past decade more and more shows have hired warm-up specialists. Now that has become the norm, especially on network and other large budget programs. In 2001 and 2002 I earned far more as a warm-up performer than I did in announcing and voice-over.

How important is it that an announcer also be good at warm-ups?

Lower budget cable shows continue to follow the earlier model of having the announcer handle warm-ups. The inability to do warm-up will usually preclude employment on these shows, and outstanding warm-up skills can increase the employment opportunities for marginal announcers.

What makes for a good warm-up?

That is the most difficult of your questions to answer, and can take many pages for a thorough response. Contrary to most people's beliefs, the skills for warm-up are not the same as the skills for stand-up comedy or for acting. The goals in warm-up are to create a comfortable yet high-energy environment, and to build a sense of family among audience members. The result will maximize an audience's audible responses. Members of the audience at a movie theater are far more reticent to react audibly to a movie than those same individuals would be watching that movie at home with friends in their living rooms. So the goal is to create that kind of comfortable environment and to quickly get a collection of strangers to emotionally bond.

Participation by and interaction among audience members is far more effective than the most polished comedy act in achieving the goals of warm-up. The most valuable attributes for a warm-up pro are likeability, the understanding of human nature, and insight into practical psychology.

When announcing, on average, how much time do you get to practice your copy?

On one extreme, an announcer may receive copy a day or two in advance, and on the other extreme you may only get the chance to pre-read a phrase while you are speaking the preceding phrase. Copy for a day's taping of 5, 6 or 7 episodes is usually first seen a half-hour before taping begins. Some material, such as game show contestants' names, will not be available more than a few minutes before they must be read. As prize descriptions are sometimes dependent upon the play of the game, "cold reading" skills are vital.

In major cities such as Los Angeles, is it possible to work both behind the scenes in the development of a show and as a performer? Or do you have to choose which side of the camera you'll be working on and stick to that side only?

Your skills will determine where you will find your greatest success. Initially, multiple goals can be pursued simultaneously, but ultimately the business is one of specialization. The ability to work towards multiple goals returns once an individual achieves "star" status on either side of the camera.

Star producers are afforded great latitude, but usually by the time they achieve that level of success they've lost interest in performing as a career; a career as a successful producer is infinitely higher paying. Those producers with performing aspirations find an outlet for that energy hosting run-throughs and presentations of their new shows, or by micro-managing the talent they hire. A good number of star hosts have been given a turn at producing, or have successfully formed their own production companies. Dick Clark has made more of that opportunity than anyone else in the industry.

Again, thank you very much for answering these questions! Hopefully, soon I'll move out to L.A. and get to see you do your job in person!

I hope we do get the chance to meet, Scott. I wish you much luck in pursuing your goals! And please keep in mind that these are just my thoughts on the business based on my personal experience. I'm sure you can find pros with equally valid, yet entirely different answers to the same questions!

CLICK TO RETURN TO THE

HOME PAGE