Have your people call my people. We’ll do lunch. Failing that, we can watch “On the Lot,” Fox’s filmmaker wish-fulfillment fantasy debuting at 8 p.m. Tuesday on KDVR-Channel 31.
The first reality show screenwriters actually might like, “On the Lot” – from Mark Burnett, Steven Spielberg and DreamWorks Television – gives unscripted TV a new spin.
Now that everyone with access to YouTube is a would-be director, it only makes sense to hold a talent show for directors on the air – sort of “American Idol” with lenses.
In the same way that “Idol” warblers must present different genres different weeks, the “On the Lot” contestants will be put through paces directing comedy, suspense, sci-fi and more, with help from professional writers, actors and crew.
Initial challenges include a high-pressure “pitch” meeting; a “24-Hour Film Shoot,” where each applicant must shoot and edit a short film in a 24-hour period; plus a deadline crashing “one-page, one- hour” shoot.
As a preview clip reel revealed, some of the contenders already are dressing for the part. They’ll learn soon that the beret and arty glasses can’t help when six contenders are asked to direct a page of a screenplay. When they turn in six very different interpretations, both participants and viewers stand to learn a bit about the business.
There’s nothing to preview beyond the clip, but ideally this could be a crash course in filmmaking, with a $1 million DreamWorks development deal for the winner.
A two-hour “Film Premiere” episode, featuring the first short films produced by the 18 finalists, will be broadcast May 28. Viewers will be invited to vote, with results announced the following night. The show’s weekly “Film Premiere” episodes begin airing June 4. Weekly “Box Office” results shows will air on Tuesdays starting June 5.
When word went out that Spielberg and Burnett were collaborating on a reality gig for future filmmakers and seeking three-minute films as audition pieces, they were deluged with 12,000 DVDs from 33 countries.
Pre-selection whittled those entries to “a few hundred,” Burnett said in a conference call. Another round gleaned the top 50, which were shown to judges.
“It was horrible,” Carrie Fisher said, meaning that in a positive way. There were so many worthy entries, she said, “it was hard to get rid of any.”
The judges for the audition episodes are actor/writer Fisher (“Star Wars,” “Postcards From the Edge”), and directors/producers Brett Ratner (“Rush Hour 3,” “X-Men 3: The Last Stand”), Garry Marshall (“Georgia Rule,” “Princess Diaries,” “Pretty Woman”) and Jon Avnet (“Fried Green Tomatoes,” “Risky Business”).
Burnett warned there’s no guarantee of a blockbuster arising from this show.
“But somebody will walk away with a million-dollar development deal. Given the process these days, it only makes sense to try smaller, less expensive films by new filmmakers.”
Fisher is enthusiastic.
“There are at least four people we’re watching now who will work in this business whether they get that $1 million deal with Steven or not,” she said. “They’ll get hired to direct films or television.”
Both Burnett and the former Princess Leia were surprised by the high quality of applicants, and noted that the contestants had learned a range of modern shortcuts via computer.
“Camera work, lighting, writing, extraordinary eye … you have to have so many skills and be able to delegate on set – all of it has to be demonstrated on this show,” Fisher said.
In some cases, Burnett said, the quality was so good that viewers will have a tough time seeing the difference between a top-quality TV pilot or an amateur film “made in five days for under $1,000.”
In drumming up interest for this series, the network and the producers have claimed that it will be more than a fun entertainment or a ratings grabber for the May sweeps. They contend it will have over-arching benefits for film and filmgoers.
Consistent quality will be visible over six films, they promise; this won’t be a one-shot lucky winner.
“The young talent is out there,” Burnett said. “This show is about exposure. It’s going to be good for the industry.”
TV critic Joanne Ostrow can be reached at 303-954-1830 or jostrow@denverpost.com.
