Showrunners: The Art of Running a TV Show

I really enjoyed this. When I worked as an E.P. at a small town station...creating content for multiple hours a day is tough (think Wyoming or Montana). I agree with the "new" term Show-running. These guys are definitely more like a Station Director or Manager at that point. Not just an E.P.! This is a pretty good insight into the world of television. I was surprised at how similar the writing process is with local stuff and a network drama. It's still writing scripts to get the audience's attention. Dealing with the networks has to be nerve racking at the level! Breaking into T.V. at any level is tough now-a- days. I liked the one producer's story on how it took him ten years to be successful. This film is definitely a watch for college students trying to break into TV/Broadcasting!

Greetings again from the darkness. It's simultaneously "the best job and the worst job". While not a definition of a TV Showrunner, that is certainly the best description. With the recent renaissance of TV, and the competition between networks, cable and the internet, an incredible level of creativity and freedom has produced a more cinematic effect on the small screen. Whose broad shoulders are responsible for what we watch? The Showrunners, that's who.

This is a behind-the-scenes look at the process of getting a show to air, and then struggling to keep it there … it takes an enormous amount of talent and a ton of good luck. We learn that 84% of new TV shows fail, and it's important to note that good shows often fail – not just bad ones. Director Des Doyle presents an extremely impressive succession of interviews. These are the writers, producers and showrunners of some of TV's most innovative shows: JJ Abrams ("Lost"), Joss Whedon ("Buffy the Vampire Slayer"), Terence Winter ("The Sopranos", "Boardwalk Empire"), and Janet Tamaro ("Rizzoli & Ives") just to name a few. This who's who of showrunners generously share their insight and observations on the business that more than a few call "a grind".

Especially interesting is the concentration on the writing process. We go inside the writer's room and hear discussions on the importance of looking at the entire season, rather than a specific episode. We learn the importance of "quality scripts on time", meaning the writing must be good and must come fast – episodes frequently air within a month of filming. Joss Whedon advises writers to focus on moments, not on moves. Collaboration is crucial, and while nothing beats an actor who embodies a particular role (Michael Chiklis in "The Shield"), never lose sight that writing is the heart of TV shows.

Discussion of the various outlets (networks, cable, internet) leads to an explanation of how TV writing has evolved. Some shows are now designed for the increasingly-popular "binge watching", while network shows are still in the business of "selling ads". Another significant shift is due to Social Media. TV is described as now being like the theatre – immediate feedback is available (Twitter, Facebook). While ratings are still important, interaction between the industry and viewing public is now standard operating procedure.

It's not often we are allowed behind the curtain in the entertainment business, but this one should be mandatory viewing for anyone with an itch to become a TV writer. You should know the stress and insecurities that accompany the talent and ego. You should understand the time pressures and the lack of recognition that often follows even those who prove successful. You should also know that for those who have it in their blood, nothing else compares. This is truly "the art of running a TV show".

The film did great in regards to exposing what life is like being a Showrunner. I was glad to hear from Showrunners across all genres, and even from some who ran shows that I watch routinely. It is definitely very inspiring and intriguing to watch how much effort goes into the weekly episodes we take for granted. Though the cast is predominately white male (this reflects the business itself), it would be interesting to see more diverse Showrunners in television. As well, I would have liked to hear more about the writing process and how they come up with ideas for new episodes.

The film had great editing style which kept me engaged throughout. The clear, crisp cutting between different Showrunners and the sets, enforced how busy these people actually are. One might think of working in television as a glamorous job, but as this film shows, it is also very exhausting. The Showrunner is kind of like the middleman, under the control of the network and trying to please audiences, while also trying to be faithful to their own artistic vision (at the same time juggling between actors and crew members). I'm not sure how this title of the 'Showrunner' came about, but it seems like too much responsibility has fallen on one person.

Overall, definitely an interesting watch to get a good look behind the scenes of running an American TV show.

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I've heard the term, Showrunners, but I honestly didn't know what that meant. I've seen some tv shows suffer when a Showrunner leaves, so I get the idea that it's someone equivalent to a captain steering a ship. And of course, the captain has their mates helping to keep the ship in order, so it doesn't sink. And the journeys they shall go on, some legends to be told for years and years afterward. Speaking of journeys, this documentary guides you along a well-know sea with stars shinning above, leaving you drifting afterward, wondering if this is a path that you might take.

A documentary that explores the world of U.S. television showrunners and the creative forces aligned around them.

Although I am a huge fans of movies and have a rather solid understanding of their production and creation, I must confess I never really thought about television. I pictured it being similar, though on a smaller scale. This documentary shows that my belief is not accurate: in many ways, television is on a much larger scale, and certainly requires a greater capacity for creativity when new ideas have to be generated each week.

Touching on "Lost" was great, because it was a show many people (myself included) were addicted to. There is still debate over whether the creators really knew where the story was headed, and how much had to be invented along the way. Few, if any, of the fans were satisfied... could this have been rectified?