Alright – so today we’ve got the honor of introducing you to Samuel Kochman. We think you’ll enjoy our conversation, we’ve shared it below.
Hi Samuel, thanks for joining us today. Risk taking is a huge part of most people’s story but too often society overlooks those risks and only focuses on where you are today. Can you talk to us about a risk you’ve taken – it could be a big risk or a small one – but walk us through the backstory.
Hollywood is a risky business– pun intended– so starting a production company amidst a great transitional period in our industry may have seemed crazy. (In fact, it still may be!) There are so many barriers to entry when you go out on your own. Will the same executives respond to your inquiries or take you seriously now that you’re no longer associated with a larger, well-known entity? Are the relationships you’ve built with writers and filmmakers strong enough to create new projects together? Has your name and/or taste garnered enough respect amongst representatives to submit their clients’ material? Are you truly willing to go (literally) for broke to fulfill you dreams?
Candidly, there are perils at every turn in this ever-changing industry– with not even a modicum of success guaranteed. Thankfully, in my case, the risks were worth the reward, as I just sold a feature project to a major film studio and am well on my way to selling my first scripted TV series. Fingers crossed!
Samuel, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?
I’m a Film and Television Producer based out of Los Angeles. I got my start in entertainment as an intern for Sony Music in New York City, with the hopes of one day becoming an A&R exec. Unfortunately, graduating in ’08 threw a massive wrench into that grand plan. The execs I had spent years building relationships with were getting let go right and left and my job prospects all but dried up. I hustled for months, aggressively pursuing other music business jobs, to finally land one– in Los Angeles– in the (music) mailroom at The William Morris Agency.
Unfortunately, my time in the music department was short-lived, as I realized I didn’t want to be a booking/touring agent. Rather than leave the greatest agency in the world for “greener pastures”, I wondered if there might have been another avenue for me to explore within the company. And as a lifetime lover of film, the answer seemed clear– why not try to learn about the movie business? I earned a desk in WME’s Talent Department, then parlayed that experience into over a decade’s worth of work within the studio system– Paramount Pictures, under an overall-deal at ABC for a writer on BLACK-ISH, and then as the Director of Development at Wattpad WEBTOON Studios. After leaving WWS in 2022, I decided to launch my own production company, believing that I had garnered enough good will, writer/filmmaker relationships, and intriguing projects/concepts to take some big creative swings.
My company, In Theory Productions, has one creative mission: make audiences question the world in which they live. The majority of my Film/TV projects live in the genre space– psychological thrillers, horror/action comedies, and grounded Sci-Fi, but the projects that truly move the needle for me are grounded, inspirational dramas. (Prestige fare, if you will.) What sets us apart from other production companies, is that each of my projects– at their core– must be fueled by heart. I’m also proud of the fact that my slate contains projects that most other companies tend to pass on. They lean into “what’s safe” at the expense of refreshing or nostalgic tales. Skeptics have said “period dramas don’t work” or “audiences aren’t looking for original concepts” or “you can’t sell a project without a star attachment”, but that’s been proven false time and time again. Hollywood is a reactive business. One where no one knows anything– and anyone who claims otherwise is full of sh#t.
Can you share a story from your journey that illustrates your resilience?
Resilience is everything in Hollywood. Specifically, as it relates to a Producer. If you don’t have thick skin, a fierce belief in the vision of your projects, or an ungodly amount of patience, this crazy business will eat your ego alive.
First and foremost, to be a Producer, one must be okay with hearing the word “no.” Frankly, you’re going to hear it more often than you’re not. And sure, getting a pass can sting in the moment– especially when it comes from one of your top creative targets– but that doesn’t mean the project you’re offering isn’t well written, well imagined, or well packaged. It just means that those who you offered the project to don’t believe it’s right for them. It’s not personal, it’s just business. So please, don’t wallow in any perceived “loss”, pick yourself up and keep knocking on doors! Eventually you’ll find the right dance partner(s).
What do you think helped you build your reputation within your market?
By being honest with those who submit material, consistently going the extra mile for my creative partners, and being a man of my word. It’s a simple as this: treat others as you’d like to be treated. Your reputation and longevity in the business depends on it.
When you tell a representative that you’re going to read their clients material, you read it. When someone– regardless of their station– calls you with an opportunity or a pressing matter, you return their call. When someone emails you with questions or curiosities, you respond in a timely fashion. Being thankful, considerate, and appreciative of others’ time will open doors that might otherwise remain closed.
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