Under the pact, the World Cup champ will host an unscripted show called 'The Cutting Edge.'
Hope Solo is going from the soccer field to the TV development world.
The World Cup champion has signed a deal to develop unscripted programming with Invelop Entertainment, The Hollywood Reporter has learned.
Under the pact, Solo and her manager/producing partner, will develop and proceed new unscripted programming. As part of the deal, Invelop and Solo will team for sports medicine series The Cutting Edge. Solo will host the Fox Sports One series after appearing in season one.
Invelop, overseen by Brant Pinvidic, is in a multiyear production deal with STX Entertainment and its unscripted television division.
“I am very excited for the opportunity to work with Brant and Invelop Entertainment,” said Solo. “He is an industry leader that shares my passion for unique storytelling, and together we look forward to delivering content that will resonate with not just sports fans but all viewers.”
TALKING SHOP: With Netflix planning 30 unscripted originals this year, C21 news and factual editor Clive Whittingham investigates what this means for the industry.
Having previously announced series including Our Planet and Ultimate Beastmaster and created waves with Making a Murderer, the streaming giant is making a concerted push into factual programming in 2017, while Amazon has The Grand Tour.
This Talking Shop explores the opportunities for producers, what the content will look like and who will be under threat as SVoD players step up their game.
Featuring in this episode: Tom Brisley, joint creative director, Arrow Media; Thomas Viner, creative director, Pioneer Productions; Brant Pinvidic, CEO, Invelop Entertainment; Jonathan Hewes, CEO, Mentorn Media; and Jago Lee and Vanessa Case, creative director and executive VP of content respectively, Blue Ant Media.
Brant Pinvidic speaks at the 7th Annual Produced By Conference on May 31, 2015 in Hollywood, California. FREDERICK M. BROWN/GETTY IMAGES
Brant Pinvidic thought his 13-year-old daughter was crazy for spending so much time playing Pokemon Go, so he decided to try it himself just to be sure.
What Pinvidic -- the filmmaker behind 2015’s similarly themed “Why I’m Not on Facebook” -- ended up with was the short documentary “Why I’m Not on Pokemon Go” -- not to mention a better relationship with his daughter, he told CBS News.
What has the response been to the video since its release?
It’s been really fun, a lot of attention. And I’ve gotten a lot of feedback from parents. A typical response is, “I’m doing PokemonGo right now” because a lot of them have kids that are completely swamped by it. What I always thought as a parent was you try to engage with your kid on something they’re doing -- try to figure out how to enjoy it -- and it usually doesn’t work. This taught me to look at stuff and try to figure out why they like it -- what is the appealing element to a 13-year-old girl? What is the appealing element to a 9-year-old boy? Or whoever it is you’re parenting. It was just a different perspective and I became a lot less judgmental on things -- a lot less is maybe exaggerating, but less judgmental than I was.
Do you feel like you get it now? Or do you at least enjoy playing it?
I do enjoy playing it. I totally get and understand the appeal, and what was really good for me was I understood the appeal to my daughter, why she liked it and what was interesting for her because I let her explain that, and that was what I was genuinely interested in. I wasn’t trying to get her to convince me why it’s great or why I should play it, I was trying to get her to explain what was appealing to her -- why she wanted to be on it all the time, why it would make her want to sneak out of the house to walk around the neighborhood. That was a different perspective, and she spoke differently when I talked to her like that.
Do you run the risk as a parent of turning them off of something by engaging with it?
Actually, I 100 percent subscribe to that idea, but I think that’s a different generation. The rebellious nature of the teenager is a little different now. When I was young, my parents were so square and out of my life, if they tried to get into my life it would be very objectionable. But in our modern day, having parents in and around and doing things is not so egregious to these kids anymore, and I don’t find that the rebellious nature is the same to just do the opposite of what your parents are doing.
What was your daughter’s reaction to the short?
The funny thing was she didn’t even watch it right away. I told her it was finished and she was like, “Yeah OK.” I think part of it was she had no idea the sort of depth of the film because I just sort of roped her into it. I don’t think she had a context of the totality of what we were doing. She got so swept up in it and so overwhelmed, I don’t think she really put two and two together that the whole film sort of ended up being about her. It wasn’t for at least a week after the release that she finally said, “OK, let’s watch this.” She sat down and she watched it and she really liked it. I got a big smile, and that’s a big win in my book. I only get about five of those a year.
How are you planning on expanding this?
My company is developing the “Why I’m Not On” brand into other subjects that fit into that structure. I try to go into these subjects with an open mind, and I’m clearly OK playing the fool in those. I’m hoping that a few times that it comes out where I’m actually right in the beginning. So far I haven’t hit that, but I’m sure at some point I’ll pick one right. We’re going to be developing that as a TV series ,and I have a podcast starting in the beginning of February. And then we’ll look to continue this as a franchise and maybe do one more documentary, we’ll see.
What’s your perspective on the changing landscape of what is and isn’t TV and where a series can live now?
I’ve gone through cycles in my career of excitement and disappointment and terror and elation. Last year and the year before was quite a bit of terror because the changing landscape of TV looked like the end of the way I did business. This daunting task of getting into the digital world was nerve-wracking. Luckily, what I think is starting to come to fruition is that TV as a delivery platform may change, but TV in the sense of how people watch content is as strong as ever, if not stronger. You see that with Apple or Snapchat or Twitter or YouTube -- when they buy shows and original content, a lot of that is TV-structured content -- the 30-minute, the hour, the storytelling -- everything around that feels like long-form content. As a content creator, I’m starting to feel much more secure and much more excited. As long as the consumer doesn’t change the way they consume the TV content, I think I’m in a great position.
Ten new member companies have joined the Nonfiction Producers Association (NPA), lifting the organization’s membership to a total of 52 entities across the U.S. and Canada.
Of the 10 companies joining the NPA following last week’s 2017 Realscreen Summit in Washington, D.C. and 2017 NATPE in Miami, eight are production companies and individual producers, including Matthew Kelly and Michael Sorensen‘s prodco Anomaly Entertainment; I Am Homicide producer Blackfin Productions; Bottle Rocket Films, founded by Flower Hulihan; multimedia prodco INvelop Entertainment, launched by Brant Pinvidic; producer Diana Marcketta; Magilla Entertainment-owned Mix Tape Media from Seanbaker Carter; OAKZ Media-owned Pink Sneakers from founders John and Kimberly Ehrhard; and Red Rock Films, founded by 30-year TV veteran Brian Armstrong.
The remaining two are “associate” member companies, which serve the industry. They include Media Central, a global company offering crews, production and post; and Wise Entertainment Law, focusing on the negotiation of U.S. cable network agreements and other transactions relating to reality television shows.
“We’ve had an exciting and high-profile two weeks at two of our industry’s most important gatherings, resulting in a surge of interest in the NPA and 10 new members,” said NPA GM John Ford (pictured) in a statement. “Our blue-chip membership of top companies produces over 4,000 hours of non-fiction a year, including some of the longest-running and top-rated series on the air. Our recent introduction of several new tiers of membership adds greater diversity to our ranks.
“The NPA engages the issues that are most important to producers and networks, and remains 100% committed to promoting best practices that support the unscripted business,” he added.