Ray Richmond is contributing to Deadline’s TCA coverage.
The name Steven Spielberg seems to be attached to an ever-increasing number of series — in broadcast network primetime in particular. Those include Fox’s on-the-bubble Terra Nova as well as the forthcoming NBC musical drama Smash and ABC’s horror hour The River, the Bruce Greenwood-starrer that’s been tagged “Paranormal Activity outdoors” and premieres February 7 in the Tuesday 9 PM slot. But it remains something of a mystery exactly what Spielberg’s input might be as executive producer on any of these projects — or if it’s largely ceremonial and meant simply to attach his powerful brand. The subject was raised this morning at the TCA session for The River, where it was noted that Spielberg always is too busy to grace one of these panels with his presence. One of the three exec producers who was there, Zack Estrin, begged to differ: “Oh, I think he actually is here in this room,” he said. “(Spielberg’s) influence with stories, his influence when he watches the cuts is amazing. I mean, he’s off doing a movie — or two — and the fact he finds time to watch these cuts and give us notes and be just incredibly supportive is great for us. To have someone like him at our hip and giving us guidance that’s not superficial but indeed foundational is pretty great.”
After the panel, fellow River exec producer Michael Green reiterated what Estrin had said, while hinting that not all of Spielberg’s pearls of wisdom are pristine. “Mostly, what we hear from Steven filters through his executives,” he said. “He’ll weigh in with key points while we’re in development of the series and in the seasonal arc, where he weighed in quite a bit in our case. Once we’re in production, his executives will forward us his emails.” Green said those emails will typically highlight adjustments Spielberg would like to see made to make certain moments fly higher. “Sometimes it’s a wonderful idea,” he said, “and sometimes it’s not exactly what we want to do but it’s always cool to hear it. (His ideas) are never not worth our time.”


And, it must be pointed out, for all of his success on the feature side, and with TV miniseries, Spielberg has never had a hit TV series on which he received that EP credit, save for some animated series (while Amblin produced ER and he obviously benefitted financially from its success, he did not receive a credit on it).
In fact I think United States of Tara is the longest running live-action scripted series he’s ever EP’d, at three seasons.
Very weird when you think about it, especially when you realize that most if not all of his/Dreamworks series/pilots probably get on the air.
Um…. Those ‘animated series’ were Animaniacs & Pinky & The Brain and they were better then 90% of what’s on television now.
You should also give Steven Spielberg and Dream Works credit for producing the long running series “Spin City” for ABC, he was on set for the filming of the first episode in 1996 and other subsequent EP’s. His efforts and creative contributions on behalf of the show were critical to it’s success. The company actually has a body of work they can be proud of, BTW: What have you done lately?
Read between the lines…
Spielberg is too big to actually give notes on projects his name is attached to… so he ‘filters’ them through lackeys. That’s why these projects almost always look and taste like manure.
See imdb for the complete list.
yeah seriously, he slapped his name on these shows to get royalties and nothing more. Spielberg is a respected brand name, so I guess the networks think it’s an attractive draw, but it has nothing to do with the quality of the shows. just look at two high profile productions he supposedly “executive produced” last year that pretty much got universally negative reviews – Falling Skies and Terra Nova. i dunno what kind of notes he gave on those two boring stink bombs beside maybe cast more child actors who can’t act because we need more family shows.
on the other hand, early buzz on Smash and The River seemed to be better. bottom line, “executive producer” credit usually mean nothing, the show’s quality depends on the actual team involved with them.
Michael Green: writer of the Green Lantern movie and Kings, the hideous NBC show. No wonder they were happily willing to give up points for Spielberg’s “ceremonial” credit!
Green did a fantastic job on the pilot script… Hopefully they don’t let him walk away, or so will the audience.