NexTv Talent Search for Directors & Actors

Los Angeles, California – USA
Winners Announced: March 28, 2013

December 21, 2012 – Late Deadline

The NexTv Talent Search for Directors & Actors aligns the industry’s top decision-makers with some of the brightest film and television talents of tomorrow.

This year’s NexTv Talent Search for Directors & Actors includes an optional “viewer’s choice” mini-competition, through which audience selection will determine five of the NexTv finalists. Participating submissions will be posted on the NexTv website one month after their receipt by NexTv, allowing online voters to cast their ballots for a favorite submission of the month. Whether your film is beloved by NexTv’s online audience or by its esteemed panel of industry judges, or both, success in the NexTv Talent Search can offer a considerable boost to your career. Actors and directors: submit your creative samples to the NexTv Talent Search for Directors & Actors today!

NexTv understands the value of industry mentorship and offers tremendous advantages to emerging talents ready to embrace their futures. Winners in each competitive category – including Comedy Director, Drama Director, Unscripted Director, Actor Age 17 and Younger, and Actor Age 18 and Older – will be announced in a press release delivered to more than 10,000 industry professionals and will be featured in a multimedia industry showcase that hints at a bold new future for Hollywood. The NexTv Grand Prize-winner will receive all of these benefits, as well as a trip to Los Angeles to embark on meetings with high-level industry players like Lynette Ramirez, Sr. Vice President of Development and Production at George Lopez Presents.

Applicants are encouraged to submit any materials – such as shorts, webisodes, monologues, or reels – that display their talents and excite viewers. Finalists will be selected based on overall quality of work and on perceived viability in the industry marketplace. Directors who submit samples of their work to NexTv will receive a free copy of The Producer’s Handbook, a guide filled with checklists, contracts, and expert advice on the business of industry salesmanship and personal branding. Actors who submit their creative samples will receive a free copy of The Actor’s Handbook, which unlocks the secrets to taking control of an acting career in just eight weeks.



Source: The New York Times

News Corporation is holding a fire sale for IGN, its online network aimed at guys. Disney XD, a cable channel for boys, is growing in popularity — among girls. Comcast’s game-focused G4 channel is retooling its entire programming strategy.

Where are all the “lost boys,” as analysts sometimes call them? Increasingly, the answer involves Machinima.

Intensely focused on 18- to 34-year-old men, Machinima is a Web and mobile distribution network that delivers free game-oriented shows, trailers and news reports. The company, founded in 2000, generates more than 2.2 billion video views a month, according to comScore data. Machinima Prime, a YouTube channel that arrived in August and is dedicated to highly polished episodic series, ranked as the video hub’s No. 1 destination this month.

Despite their escalating reluctance to watch television or go to the movies, young men continue to flock to traditional outlets like Disney’s ESPN or Viacom’s Comedy Central.

And Machinima is certainly not the only online network where young men congregate; Break Media operates testosterone-heavy sites like and

But Machinima has rapidly evolved into a must-visit site for young men by improving the quality of its programming. The company’s mission is not dissimilar to that of cable channels: gain a foothold with inexpensive content (in Machinima’s case it was user-generated videos) and then use that perch to attract higher-quality programs, as AMC did with “Mad Men.”

Ultimately, Machinima intends to produce its own long-form episodic series.

First, Machinima must prove that YouTube can indeed become the new television — that consumers will watch long videos and come back the next week for another episode. In many ways, Machinima just pulled that off with “Halo 4: Forward Unto Dawn,” a five-part live-action series.

“Forward Unto Dawn,” which cost Microsoft $10 million to make and was meant to promote the release of the game Halo 4 on Xbox, has been viewed about 27 million times; four related videos delivered 9.2 million additional views. Machinima also said it experienced very little viewer “fall off,” an industry term for people leaving after watching only a couple of minutes.

Fans understand that this kind of programming is really marketing masquerading as entertainment, said Allen DeBevoise, Machinima’s chief executive. But he contended that “high-quality content is better marketing than traditional advertising; if it’s the equivalent of what people would watch on their own anyway, fans really appreciate that.”

Halo 4 had $220 million in global sales in its first 24 hours in stores.

“If you’re a marketer and not paying serious attention to Machinima, you’re really behind the curve,” said Matt Britton, a founder of MRY, a youth-focused New York marketing firm. “College kids may not be bringing TVs to their dorm rooms anymore, but Machinima, because it has smartly built itself around YouTube, is right there on their laptops.”

NBCUniversal recently decided Machinima was the best way to bring one of its TV movies to consumers. “Battlestar Galactica: Blood and Chrome,” a prequel to the Syfy channel’s 2004 “Battlestar Galactica” series, was cut into 10 episodes and is rolling out on Machinima Prime. “Blood and Chrome” will then run on Syfy next year as a two-hour movie.

Warner Brothers is completing a programming deal with Machinima for a new series tied to its Mortal Kombat game franchise. “Mortal Kombat: Legacy,” a nine-part series, ran on Machinima last year, and at least one installment captured over 10 million views — on par with viewership for some fantasy programs on television.

Machinima, which is based in Los Angeles and makes money by selling advertising, got its start in 2000 as a Web site dedicated to a genre of digital filmmaking that uses video game graphics to create original animated movies.

In 2005, Mr. DeBevoise and his brother, Philip, bought the Web site and set about turning it into a global entertainment network. It has about 200 employees and secured a $35 million round of financing in May; the company declined to discuss revenue or profitability.

Mr. DeBevoise said about 50 percent of Machinima’s total traffic now came from overseas. The company — with backing from MK Capital, Redpoint Ventures and Google, which owns YouTube — also has a significant presence on mobile devices.

Machinima Prime is part of YouTube’s strategy, started a year ago, to lure television viewers and advertisers with higher-quality videos, even if aimed at niche interests.

YouTube invested about $100 million in the overall effort — Machinima received an undisclosed portion — and in recent weeks YouTube began evaluating which channels had done well enough to receive a second round of financing.

In addition to Machinima Prime, YouTube successes include AwesomenessTV, aimed at 12- to 17-year-olds, and Vice, which also courts young men. In an e-mail, Malik Ducard, YouTube’s director of content strategy, called Machinima “a great example of how a Web brand with a laserlike focus on serving a single audience can drive massive eyeballs.”

Mr. Ducard added that YouTube partners like Machinima, sometimes dismissed as niche players, were adding subscribers at a rate “four times faster” than they did just a couple of years ago.

“Niche may not be the right word because that may sound small,” he said. “Billions of views is not small.”



Los Angeles, California – USA, April 4 to 7, 2013

LA Comedy Shorts (and LA Comedy Scripts) CALL FOR ENTRIES!

Regular Deadline ends November 6th, 2012 so submit your comedy short film or comedy screenplay/TV script now.

NEW for 2013: now accepting comedy TV spec scripts!

LA Comedy Shorts (and LA Comedy Scripts) is dedicated to getting talent noticed while offering filmmakers and screenwriters an incredible festival experience in the heart of the entertainment industry.

LACS is proud to offer cash prizes in a variety of categories, including Best Comedy Short, Best Comedy Animated Short, Best Comedy Student Film, Best Feature Comedy Script, Best Half-Hour Comedy TV Pilot Script, and Best Half-Hour Comedy TV Spec Script. In addition to cash awards, screenwriting winners will receive airfare and accommodation reimbursement (up to $1,000 USD). All winners receive industry software and meetings with management and production companies, and attending filmmakers are granted VIP passes to all screenings and special events.

LA Comedy Shorts (and LA Comedy Scripts) concludes with a red carpet gala, complete with the hottest faces in comedy on hand to present top-notch prizes. For your chance to take part, submit your comedic short film or script today!

The 5th Annual LA Comedy Shorts (and LA Comedy Scripts) (LACS), is proving that short-form filmmaking can yield huge laughs and attract big crowds. Named one of the “Top Ten Film Festivals in the United States” by The Brooks Institute and twice voted among the “25 Festivals Worth the Entry Fee” by Moviemaker Magazine, LACS is a premier opportunity for comedic filmmakers and screenwriters to have their voices heard by industry professionals who can advance careers.

Featuring four nights of unforgettable parties and networking opportunities, LACS draws some of the biggest and best names in the business – with judges and panelists including Bryan Cranston, Julie Bowen, Aisha Tyler, Wayne Brady, Key and Peele, and Bob Odenkirk – and is sponsored by outlets like Cartoon Network, Funny or Die, Atom TV, and Freemantle’s Atomic Wedgie. The result is a festival that’s packed with opportunities to make connections, swap stories, seek out advice, and share in a few laughs. Festival winners are guaranteed industry meetings, and more than a dozen writers and filmmakers have secured development deals as a direct result of the festival.

Over the past four years, winning scripts and films at LACS have been requested by esteemed industry players like CAA, Disney, Gersh, Benderspink, and ICM. Tom Hoffman with Fremantle Media (American Idol, America’s Got Talent) says of LACS: “We’ve found many talented comedy filmmakers since year-one, and only expect to find more in the years to come.”