|Adam.Giagni|
“So… That happened” is a hilarious line (IMO) from the film, State and Main. The quote comes in handy any time something bizarre or funny occurs… which is/was often, especially during my time at UPN. (Presently known as The CW.)
Adam Giagni. For the last six years, he’s been planted at Universal Television. He is currently Sr. Vice President, Drama Development — and along with that fancy title, he holds another one entitled, “Special Place in my Heart.” Addy (as I like(d) to call him), is not just my co-conspirator who made using the above quote so very entertaining, but when I was an executive at UPN — too many years ago to count — he was only the second assistant I ever had.
“They say” you’re only as good as your assistant. FADE IN: Adam’s arrival. He was our true North. I say, “our” because I shared him with a colleague. We knew right away we had a gem in him, so you can imagine my joy (as I’ve been given a front row seat) to watch as he continues his rise through the executive ranks.
Adam shares his favorite quotes, what makes for a great zoom pitch, and why you need to hear the question behind the note… and so much more.
RS: Describe yourself in a logline.
AG: Rising from the ashes of UPN, one man (don’t you dare say middle-aged) battles the forces of evil – mostly poor executive, unimaginative buyers and Netflix, in the vague hope of one day helping to make a series that leaves a mark on the TV industry.
RS: What’s an adjective you would not use to describe yourself?
AG: Passive.
RS: Favorite boss you’ve had in the past or present (Besides me). What made them a great manager?
AG: (Obviously you). I’ve been fortunate to work for some great people who all loved what they do and are good at it. It’s hard to narrow it down to one person. I would just say the best folks have been those who are passionate about this job, don’t take it too seriously and instinctively teach by doing.
RS: I know every day is different, but describe a semi-typical day in development at a big studio?
AG: Typical pre-strike day can be a range of notes meetings (internal and then external) where we break down the latest piece of material on a project (story doc, outline draft, revision or cut), followed by general meetings with writers, directors and producers. Additionally, we are prepping pitches to take out at all times. Once a pitch is ready to go out we will clear and set zoom pitches, so any day can include one to two external or internal pitches.
Lastly, would be any internal meetings – development report review, weekend read, development meetings with management and/or our in-house networks.
RS: Name your biggest pet peeve.
Adam:
People who don’t try.
AG: That includes taking forever to respond on material etc. We should all want to do what we do. Otherwise don’t do it!
RS: How is selling different today than it was pre-pandemic?
AG: Budgets have been slashed – particularly in broadcast. Because of this they are buying a lot less and no longer operating on the same basic schedule. Where a network may have bought 60 scripts pre-pandemic, they’re doing 30-35 now. Additionally they may pick pilots up at all times or order things straight to series.
On the streaming side, they are just taking longer to make decisions. They don’t need content as fast, which has given rise to asking for back up scripts and formats before making (an) order or just hemming and hawing more.
In short, selling has gotten harder. You have to prove why they MUST buy this.
RS: Describe your most memorable meeting with a writer.
AG: One younger writer spilled their entire coffee on me and then kinda played it off like it didn’t happen or whatever. (Weirdly we have worked together.)
RS: On average – how many overall deals with producers/writers are you assigned to?
AG: I cover about twenty five deals.
RS: What’s the secret to good communication with your creatives and your team?
AG: Being straight forward and honest. I’m a terrible liar and not good at playing games. My deals, producers and co-workers should always expect that I’m giving them the real so we can all find solutions together. Naturally there’s information that I may not be able to share at times, but that doesn’t mean I need to hide things or lie. We’re all adults and we should all have the same motivation to win together.
RS: How many fires a week are you having to put out? Is there a common theme among them?
AG: Depends on the week. Typically that can be based on networks making unrealistic demands based on time or their wants. OR creatives just wanting what they want without listening to reason.
RS: What’s something you learned in this job that surprised you?
AG: That it’s not about selling one show. It’s about a larger global strategy for success. Should we sell that one show to that buyer or is there a better path for the project and studio.
RS: Writers struggle to stand out. Beyond a great script, what can they do to make a bigger splash… to get noticed?
Adam:
Be collaborative. Be someone people like working with, not because you compromise to their demands but because you can take feedback and use it to improve on your vision.
AG: And be innovative. Write what is exciting to you, but also listen to your partners to tailor that passion to what is commercial. Doesn’t mean make basic crap. But make something you’re excited to write and others will want to buy.
RS: Do you have any opinions or advice on zoom pitches? What can writers do better? What are things to avoid?
AG: Personally I think zoom pitches are great! Rather than awkward conference rooms we have execs facing us directly on screen in a setting that allows for a real visual component as the writer tells their story – and they can read it without feeling any sense of misplaced shame for not being off book!
In this setting, the visual deck accompanying your pitch is KEY. Think of this as a visual flip book that sets the tone of the show, the look and feel of the world, the character template and then walks us through the moves of the pilot and beyond. Not putting time into this visual is a big flaw for a zoom pitch and will most likely turn folks off in the zoom.
The pitfalls of this style of pitching that are unavoidable and just means the writer and producers (and us) have to work harder in the room (and make the pitches that much stronger) is the loss of connection to the buyers that came from being in the room.
Also, sadly some execs are not great listeners. They may try to “slyly” look at their phones, text, order take out, whatever. Some may even fall asleep. Don’t let them throw you. You can make execs better in that pitch. Just present the best show you can!
RS: After doing this job for so long, what’s become like second nature and what do you still struggle with?
AG: Evaluating material has become second nature in that this is just how I read now. Crafting pitches continues to be an ongoing work in progress. More so in that we have to keep designing projects that meet the interest and needs of buyers who keep changing.
RS: When taking on new projects, what are you drawn to and what types of writers do you look for?
Adam:
I’m looking for projects with compelling characters and a strong emotional core. If you take all the stuff away – what is this show really about and what does it really want to say? Have a point of view! Doesn’t have to be so heavy of a concept – but there should be a concept.
AG: Working for a studio I get to play in a lot of sandboxes and try to look for projects that go beyond my personal viewing habits. We’re not programing for Adam.
RS: Do you like to get in the weeds with writers as far as note giving or do you try to give bigger picture notes?
AG: Depends on the project and the writer. My job is to help them deliver on their vision. I don’t like to just give notes for notes sake, but rather work to improve projects. If I am helpful digging in, then let’s do it. If it’s really just top line help — to get us there, cool.
RS: For those starting out today, any advice to those who want to join the executive ranks?
AG: You need to find a way in and slowly work your way up. It’s a marathon not a sprint and if you do it right, you will learn a lot of great skills along the way – even from bad bosses.
RS: Describe the perfect vacation.
AG: A beach, a drink, some waves.
RS: What are some missteps writers make in regards to the development process or in the writing itself?
Adam:
Not being able to hear the question behind the note.
AG: Rather than digging in your heals or being all EXECS be dumb; what is the note really asking? What is the element that you intended that the reader is not getting – hence the dumb note of raising the stakes.
RS: What’s the last book you read solely for the love of reading?
AG: NONA THE NINTH – Lock Tomb Series.
RS: I seem to recall years ago you took a stab at writing. Are you still interested in going down that road someday?
AG: I did write a middle grade fiction book. It’s on a hard drive! I would love to one day be an author but my TV writing dreams are over. I’ve discovered that I love working with great writers to develop shows. But I don’t have that type of brain and I’m good with that.
RS: Do you have an opinion on what the industry is doing right regarding diversity. Moreover, what areas do you feel still need nurturing?
Adam:
We’re finally taking things seriously on many fronts which is good. I hate quotas for quota sake.
AG: We should be championing emerging voices to bring audiences stories that are not their own. I love this initiative – it’s what we tried with AS WE SEE IT. More of this please and more of casting out the scumbags!
RS: Name one of your idiosyncrasies.
AG: I LOVE COFFEE. Work better with a black cup in front of me.
RS: Broadcast, streaming and cable folks always have a yearly mandate of what they’d like you to bring them. If you find something unique that is clearly not within the mandate, (in today’s climate) — do you still give it a go?
AG: YES, because that’s what we should do. BUT it’s a business so you have to manage those big swings and try to make them commercial enough to sell.
RS: What inspires you?
AG: People who have good ideas and want to turn them into shows. People who like TV and want to make more of it!
RS: Is there a line from a movie or TV show that you often quote?
AG: (He had a few)
Adam:
“I love this plan and I’m very excited to be a part of it!” (Ghostbusters)
“So that happened!” (State and Main, of course)
“Why does Brian get to get up. If he get’s up, then we’ll all get up, it will be anarchy.” (Breakfast Club)
“Wrong sir, Wrong, you stole fizzy lifting drinks…” That one is more for my kids.
(RS Side Note: For those who don’t know that last quote? For shame!)
RS: Do you remember what your first sale was when becoming a studio executive? How did you celebrate?
AG: Sadly no. My first meaningful sale is when I resold a busted project from my boss’s old slate and made it better. Then I went into her office and said “na na na na.” Weirdly I don’t work there anymore.
RS: Your father, Peter Giagni, has been a long time agent/manager. Are there pieces of advice he gave you early on that still rings true?
AG: Always be ready to grab your rolodex and run out the door. Not sure that one still works given we don’t have those old things. His advice was always work hard at the thing you’re doing. If it’s making copies, those need to be the best damn copies.
RS: What showrunner is on your wish list to work with? Why?
AG: TOP SECRET – and it continues to change. One right now rhymes with Moe Martin. Also would love to work with Graham (Yost) again. SILO is great.
RS: Is there a character on television that you relate to? That mirrors your own personality?
AG: Hard question. Changes. Maybe Leo on The West Wing?
RS: What’s the biggest compliment you’ve ever received? On the flip side, is there a piece of criticism you’ve received that was eventually helpful?
AG: Hearing from creative people I respect that they really valued my feedback and that it made the show better. I received good criticism as to how to step up into my job more. Really helped me take on the role.
RS: What hobbies do you partake in – in order to destress?
AG: Hockey, Movies, Bourbon.
RS: What’s the last thing you watched — that you loved? Why was it great?
Adam:
PERRY MASON – great reinvention of an old character.
AG: (I) like SILO right now. Loved the book series and they’ve done a good job. Loved LAST KINGDOM as a way to do a practical swords and sandal soap. LAST OF US – great character work.
RS: What question do you wish I would have asked? What question are you glad I didn’t?
AG: NO MORE QUESTIONS. (I guess my thoughts on the state of the industry.)
Annnnnnnd soooooo…. That happened. The always Affable Adam. And for what it’s worth… I’d agree with him; He is indeed a lot like LEO from The West Wing. Not a bad choice given he is one of the most memorable characters from one of my favorite tv dramas of all time. Pragmatic, empathetic, creative, and poised. And has my all time favorite sense of humor: delivered with a side of Dry.
Bonus: Link to the scene that cemented our friendship: https://www.youtube.com/watch?v=tUXpYMV17fw
For more q&a’s go to: www.rebecca-stay.com/blog
Bio:
Adam Giagni, SR VICE PRESIDENT, DRAMA DEVELOPMENT, UNIVERSAL TELEVISION.
Adam Giagni joined Universal Television in 2017. He most recently oversaw development and production for the pilots and first seasons of the propulsive thriller THE ENDGAME and epic adventure series LA BREA; both for NBC. His other recent pilot/series include the epic Netflix series AWAY starring Hillary Swank, the Amazon neurodiverse dramedy AS WE SEE IT, MAGNUM, P.I. at CBS, the NBC series QUANTUM LEAP, and the Peacock series THE CALLING created by David E. Kelly. Prior to joining UTV, he served as Director of Development at ABC Signature, the cable arm of ABC Studios, where his development credits include the Freeform horror dramedy DEAD OF SUMMER from executive producers Eddy Kitsis & Adam Horowitz and Ian Goldberg and the ABC series BLOOD & OIL starring Don Johnson. Before becoming a studio executive, Giagni rose through the ranks at Timberman/ Beverly Productions. Eventually serving as Director of Development, he helped develop a diverse slate of projects that included the critically acclaimed series JUSTIFIED for FX, MASTERS OF SEX for Showtime and HINDSIGHT for VH+1, as well as dramas ELEMENTARY and UNFORGETTABLE and the remake of the hit comedy THE ODD COUPLE all for CBS.
