Tom Ragazzo – Associate Producer

After studying Television and Video Production at Emerson College in Boston, Tom Ragazzo moved to Los Angeles where he has worked his way up from being a PA on feature films like ALONG CAME POLLY and BEWITCHED, to Associate  Producer on the hit NBC show PARKS AND RECREATION, where he’s in charge of all post production. Now in it’s 5th season, Tom is still with the show and handles the many day to day issues that come with taking a show from the footage that comes out of a camera, to the finished product you see on TV. 

What does a Post Supervisor do?

The Post Supervisor role is different depending on what type of show you’re working on. On reality shows, the Post Supervisor (or Sup) is usually the head of the post department. On scripted shows, the Sup is usually the second in command of the post department, right under the AP or Associate Producer. In the scripted world, a post sup will usually assist the AP with day to day tasks, keep watch over the post PA (production assistant), handle the paperwork and billing for the department and other office type responsibilities.

While each AP runs their department differently, usually you see the post sup handling the video side of finishing an episode. Once an editor and producer “lock” an episode, meaning they are happy with the edit and pass it off to get ready for air, there are a bunch of tasks that still have to happen before you see the episode on TV. Since a show is comprised of both audio and video, there’s substantial work that is done to each of those before air. So the post sup will sort of oversee the video work that happens. That includes things like visual effects and video clean up (meaning adding any CGI to an episode to create elements that weren’t physically there during shooting, or cleaning up the picture to remove any set elements that accidentally got in the camera’s way, like boom poles or crew members), or things like adding opening and end credits, etc. The sup doesn’t actually physically do the work, but they will go in and work with the artist to pass along info as to how the shot should look and then approve the work once done. All of this work eventually gets married back to the finalized audio that the sound team had been working on, and then it gets aired as the show you see on TV.

What are your duties as AP on Parks and Rec? What hours do you typically work?

As the AP, or Associate Producer, on Parks and Rec, it’s my job to oversee the entire post production department. Once the tape comes out of the camera on set, it is my job to make sure that tape goes through all necessary steps to turn it into a TV show.

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Jen Grisanti: Story Consultant

Jen Grisanti has a genuine love for story and a strong desire to help writers achieve their dreams. As a story/career consultant, writing instructor, and author with a wealth of  industry experience, she is able to help “creative talents see the business through the eyes of an executive.” J.G.

Where are you from originally and how did you get your career?

I was born in Buffalo, New York and raised in Whittier, California in a place called Friendly Hills. I went to USC and studied Communications and Cinema. After graduating college, I did several internships to build my resume. Then, I signed up with the Friedman Temp and Permanent Job Agency. Friedman placed me in the position that launched my career. I started as an assistant to Aaron Spelling. He was my mentor for the next twelve years as I climbed the corporate ladder and eventually ran Current Programming at Spelling Television Inc.

Are your services geared towards writers already working in TV/Film, amateurs trying to break in? Both?

My services are geared toward anyone that has the passion and desire to write. I work with writers at all levels. If you have an idea and a desire to execute it, I will work with you. Visit my website for the services and rates that I have available for writers:

In your experience, does there seem to be a certain quality that successful writers possess that separate them from the pack? Is it shear talent, confidence, resilience, business sense? Or, are some people just born with it?

One of the qualities that successful working writers possess that separate them from the rest is the belief that they will succeed. In order to believe, you have to do the work both on the page and inside. When you believe in your work and in yourself, things will open up. Another quality is commitment. The writers that I’ve had the most success with are committed to their writing goals. They put in the work to make them happen. With regards to talent, I would say that some people are born with it. However, with writing, if you put in the practice and commit to the journey, you can be very successful.

Were there any moments along your journey in which you decided Hollywood wasn’t the place for you? If so, what kept you from leaving or pursuing another line of work?

I would say that there have been moments when my spirit has been tested. However, I have never felt that Hollywood was not the place for me. I am very resilient. My love for story started from the time that I was a child. I love what I do. Working with writers on the development of story is my calling. There is no greater gift than helping to contribute to the growth of a dream.

In your recent webinar, you talked about how writers should be trying to pick up heat in order to get attention. Can you explain what you mean by this?

Yes, I will be happy to explain this. I encourage writers to see themselves as entrepreneurs. You create your own destiny. You create heat by doing everything you can to bring attention to your accomplishments. You can do this by entering writing programs and competitions. If you place, it creates attention. You can also create heat by making videos and putting them on YouTube or Funny or Die and many other websites. It is all about defining your brand and putting it out there so people are aware of you. Now, more than ever, the power is in your hands.

I’ve heard that these days people are more interested in seeing original pilots than spec scripts for existing shows. Do you agree with this, or is it still important to have a spec TV script for your portfolio?

As a former VP of Current Programming that helped staff over fifteen top primetime shows in my career, I would say that it is important to have both original pilots and specs in your writing portfolio. With a spec script, you show the showrunner that you know how to mimic a voice and write for someone else’s show. This is important.

With an original pilot, you show the showrunner your voice.

Some showrunners will read only original pilots while others will only read specs. There are a few that like to review both. You will increase your chances of being staffed by having both.

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