HRTS Partners

 

The Lippin Group

Q: Can you tell us about your background and what made you want to work in entertainment? how did you get involved with the HRTS?
A:  I guess I'm very much a product of the iconic films and TV shows of the 70's and 80's that I grew up with.  Entertainment that took risks, pushed boundaries, had something to say and shaped our popular culture. As a kid growing up in "the burbs" of New York, it was exciting stuff, and it spoke to me. 

Not surprisingly, the west coast eventually beckoned, and UCLA law school provided the perfect opportunity.  LA was a whole new world (I was the kid in the candy store!) and it didn't take me too long to figure out I wanted to work in showbiz...just not necessarily as a lawyer!  So, I started there, but kept my eye out for a chance to get closer to the action, to get more involved in the creative and production aspects of our business.

Finding my way to Disney was my "big break."  I landed there in '87 in the midst of one of the greatest studio revivals of all time.  I went to work for Jeffrey Katzenberg and his outstanding team of executives.  The energy was amazing, and I remember thinking, Wow!  How did I get in here?  I started as a movie lawyer and began my slow, fitful climb up the food chain.  The culture was tough, aggressive, but it was really smart, too.  I loved every minute of it.

After a decade at Disney I moved over to Turner, and it was there that I really became immersed in the TV biz.  Again, I was really lucky, this time having the incredible good fortune (and privilege) to meet and work with Ted Turner, who I regard as one of our industry's true visionaries, a demanding but exhilarating leader who inspired us to pursue excellence.

Often, when Ted came to LA I would be asked to shepherd him to and from events, and on one trip I was asked to accompany him to an HRTS lunch, where he was that year's keynote speaker.  I remember it well because it was the very day the news broke that Ted had pledged to give one billion dollars toward UN-sanctioned charities.  In fact, I first heard it on the radio in a car on my way to the lunch, with Ted sitting next to me!

It was my first HRTS lunch, and Ted had the audience roaring (something about a pay per view boxing match, him vs. Rupert Murdoch...really!). Sitting in that room I remember thinking, aha...so these are the people on the inside, who control the TV biz. Maybe some day I'll earn a seat at this table.  So, needless to say, I was incredibly honored when Kevin called up and suggested I join the board!

Q: How would you define the A&E brand, and how has it evolved over the
years? what are your key demographics?
A:  At the risk of stating the obvious, A&E has gone through quite a transformation over the past few years.  First, we introduced the network to a whole new generation of younger viewers.  And second, we morphed from a premium arts platform into what we are today, a premium entertainment destination.  And I can sum up our new brand with three simple words, "Real Life. Drama."  It's who we are; unscripted real life shows and scripted dramas.  Our unscripted shows are emotional and dramatic, and our scripted dramas are authentic and real.  We believe in honest, emotionally intense television that commands attention, that isn't afraid to show life as it really is, television that engages you, television you can't turn away from. 

You know what?  I think it's working.  When I got to A&E, the median age of the network viewer was 61 and we were ranked #15 in adults 25-54 and #21 in adults 18-49.  Today, the median age is a very valuable 46 and we have become a top 5 network in both demos.  Needless to say, we are very proud of the progress we've made with this coveted brand.

Q: Many of your shows focus on unique characters and situations, what is your development process like?
A:  To us, creative development is our lifeblood.  There's nothing more than smart, aggressive development.  And your development is only as good as the talented executives you have shaping your programming.  To me, it's all about taking calculated risks.  To develop quality shows, you have to step outside of your comfort zone, and you have to have the ability to look forward, read the tea leaves and be predictive about where our popular culture is headed.  And if you get it right, you'll find an "Intervention," or "The First 48" or "Dog the Bounty Hunter" or a show like "The Cleaner".

Q: What are you doing in new media?
A:  As the lines between traditional and new media become increasingly blurred, you need to be proactive or you're going to be left behind.  It starts with ramping up our own websites, which now offer more original content than ever before.  But it also involves working more broadly, across all relevant platforms, embracing emerging media, social networking sites and new technologies.  Just last month, we launched our iPhone app.  We also have the only branded application on Facebook to crack the top 10 list of all applications.  All of our key franchises have their own widgets, and that's in addition to the A&E Network widget.  We continue to be a leader in viral marketing and are always looking for new and innovative ways to reach our audience.  

Q: Where do you want your networks to be five years from now?
A:  Of course we'd like to maintain our leadership position and be known as cable's premium entertainment destination, but beyond that, there's risk associated with trying to look too far into the future.  Rather, we need to stay connected, be observant and keep riding the currents of pop culture.

Q: Anything you would like to add?
A:  Sure.  In this business, you're only as good as the people you work with.  Leadership starts at the top and I'm very lucky to have our CEO Abbe Raven as a supportive leader and guiding force.  I also have the
best team in the business, led by Rob Sharenow, our head of unscripted programming; Tana Nugent Jamieson, our head of scripted drama programming; Guy Slattery, our marketing whiz and Tom Moody in program planning.  These are the guys that make me look good every day.