AMA with Steph Ouaknine (Carmilla/Other Gay Things!)


(Steph O) #61

It was something we wanted to do while prepping for season 3. Whether or not we were going to be able to do it depended on a) getting funding for the concept trailer and campaign from the OMDC (Ontario Media Dev Corp) and approval from the corporate bosses. Now ideally we’ll get the chance to make the hour long series. :slight_smile:


(Sara Biga) #62

How did you choose Jordan Hall as Carmilla’s writer? And what were you looking for in the cast? Adherence to the overall tone of the piece? Potential appeal to your target audience? Or something you would be eager to read/watch yourself as well, as the writing has obviously been layered to appeal beyond its target audience?


(Steph O) #63

Outing myself as a bonafide fangirl of over 15 years :slight_smile: One of our core team members was also a prolific fic writer in the f/f fandoms.


(Sunny Larkson) #64

MORE CARMILLA?!?!


(Steph O) #65

We’re working hard on it! Cross all extremities and pray to the gay TV gods.


(Jerome Keith) #66

Thank you! I was thinking more in terms of ‘regular’ digital series, but it’s interesting to here about the process of going back and forth with a brand on creating a series that fits their tone. How do you first go about approaching a brand and getting them onboard with you as a creator?


(Bri Castellini) #67

More signal boosts! And I THINK I’ve got all unanswered questions highlighted in yellow :slight_smile:


(Steph O) #68

Hi gang -

I have to jump into a meeting but will definitely come back afterwards to answer these. Keep 'em coming. xo


(Sara Biga) #69

How different is the expected target audience for the (fingers/everything crossed) TV series from the original Carmilla webseries audience? And how do you work to expand that? Do you work on tone, genre, plot? Do you add or lessen the number of layers to the writing? Did you discuss this with the writers?


(Sara Biga) #70

Ok, now we want to now their pseudonym as a fic writer! :grinning:


(Steph O) #71
  • Optimize creative to budget
  • Create for the platform it will be distributed on
  • Always feed your cast & crew with the best damn food and homemade snacks you can provide and get help with
  • Lead performances are key
  • trust your gut as to which compromises you can live with, and which ones you can’t. That’s the gist of the job once the ball gets rolling.
  • Be as creative with distribution and outreach as you are with the piece itself

(Steph O) #72

Honestly these nuances will come from the broadcast/streaming partner - Starz is looking for a different pace than Syfy co-pros. At the end of the day, though, we’re committed to our existing audience and growing along with them!


(Steph O) #73

If you’re not going through a production company - suggest you get in touch with the ad agency that represents your brand target. Or if someone can connect you directly to the brand’s marketing team, that’s aces.


(Steph O) #74

They had the best chemistry read and there’s no one like them for sure. And yes - had to make sure their styles fit the format so the auditions were shot in that frame size.


(Steph O) #75
  1. We wanted to fit into the emerging tradition of Lizzie Bennet-esque literary vlog series. You’re not competing against every Netflix original that’s shot conventionally - but people who’ve checked out other vlog series, though that changed very quickly.

most importantly - it gave us the opportunity to shoot over 200+ pages in 4 days and tell a complete season of 36 episodes! The long tail and buildup were crucial to finding our audience. Would’ve been hard to tell the same story in 7 eight minute eps if they were shot conventionally.