Industry Pro: Producer/Transmedia Producer Michael Blum

Michael Blum recognized early on what his strengths were and, like so many of the other talented, successful Inside Scoop profile subjects, pursued a career path that applied those strengths where his passion lied. That is what we here at YII call a “career sweet spot” and Michael is clearly enjoying being in his. Read on to find out how his career path has intersected with those of Michael Jackson, Criss Angel, George Lucas, Don King, and Jon Bon Jovi.

Current Projects: Producing Bon Jovi’s next video, a live version of “When We Were Beautiful” shot at American Airlines Center in Dallas, and Transmedia Producer, making custom content for BonJovi TV.

College & degree:  B.S. Northwestern University, Evanston Illinois Film/TV

Internship: I interned at the LA Weekly in the Advertising, Marketing and Promotions Dept.

First job in the entertainment industry: I was a PA on “Monster in the Closet,” a horror spoof directed by Academy Award Short Director Bob Dahlin and produced by Robert Altman’s Producer, David Levy. (The sign on David Levy’s desk read “Only those who attempt the absurd, achieve the impossible!” That still inspires me.)

What made you want to be a producer? I grew up in Northern New Jersey and cut school to see Broadway theater and movies. I loved the art of telling a good story and bringing it to life. I loved the dysfunctional community of entertainment type people. I greatly admired multi-gifted auteur writer / producer / director / actors like Scorsese and Woody Allen and multi-project impresarios like David Geffen and Jerry Weintraub. I noted that  directors, writers and actors all were hired by the producers, so if  I became a successful producer first, I could eventually hire myself to become the other three.

How did you know you’d be good at producing? I discovered I was mentally ambidextrous with right and left-brain skills, math and verbal, with abilities to paint the “big picture” while attending to the smallest of details. I instinctually preferred order to chaos and became adept at bringing chaos to order. The question was, who gets paid to do that?  Definitely “the producer.”

What Was Your Big Break? Every break feels big… And I’ve been fortunate to have numerous. My earliest came from Michael Jackson. I had co-founded Magic Casting, Hollywood’s first computerized casting agency. My partner and I had bought a “dating agency” computer database program and had it modified it to cross reference 130 search fields related to casting.

We were contracted on the world’s most expensive music video and first ever shot in 3D, “Captain EO and the Space Knights.” They needed an exact fit body double for Michael Jackson. I got to observe George Lucas producing and Francis Coppola directing. It was a huge credit and helped propel my first business to some success.

My most recent break was when Criss Angel did not get along with his network approved showrunners and chose me to run “Mindfreak” for the first three seasons instead.

Career path:  My career has not been a linear path. If my career were painted, it would be more Jackson Pollack or Miro than Mondrian.  From producing jumbo LED screen productions at live events and concerts for Regency, Bon Jovi and HBO to line producing the Ruiz-Holyfield fight in Beijing, China with Don King to producing comedy and sports specials at the launch of Barry Diller’s WAMI in Miami, I’ve seen my job history develop into a collage of amazing and diverse professional experiences.

Eureka moment (when you realized you did or did not want to do something or that you should do something differently, etc.): I was hired by India-based UTV Intl. to live/work/produce and build studios in Singapore, Kuala Lumpur and Jakarta. For almost three years, I learned a whole other “Eastern” approach to production, project hiring and scheduling, multi-cultural small group dynamics and stress management. Producing in English in the US can be hard.  Producing in Tamil, Bhasa and Mandarin in Asia, is beyond hard. Twelve original series and 2 TV Asia Awards later, it was one of the most invaluable experiences I’ve had. (Remembering David Levy’s sign also helped!)

Describe a typical workday in your current position: There is no typical workday other than that they start and finish by checking emails, texts, faxes, and voicemails and responding to them in multiple time zones. However, there are distinct periods in the monthly work life cycle, such as pre-production, production, post production, and hiatus.

Worst job (or day) in entertainment industry:  When people I am working with lie, cheat, steal, don’t pay their bills, abuse their positions, their co-workers, their vendors. And also days dealing with those who spread negative karma or gossip.

Best job (or day) in entertainment industry: Every day is a good day when you are healthy and working at something you love to do.

Best thing about your current job: Personal, professional and creative freedom! Independence!  And never bored!

Worst thing about your current job: Working three times for the same check: 1. To get the job. 2. To do the job.  3. To get paid for the job. And the fact that 1 and 3 are often harder and take longer than 2!

Brush with greatness (can be a celebrity encounter or just being exposed to someone being brilliant at what they do): I have gotten to work with some legendary artists who are driven and complicated and difficult but still their talents are inspiring and cannot be denied. I’ve especially enjoyed the musicians I’ve gotten to meet, from the Stones to Sinatra.

Secret of your success/advice to the newbie: Follow your passions. Trust your gut instincts. Play to your strengths. And always remember, There are few problems that some combination of time, talent, money and/or luck can’t resolve.

Next move:The TV business is morphing into the branded “content” business. Programming is being delivered in multiple formats on a variety of media platforms that are also shifting rapidly. Computers becoming smart phones. Phones becoming TV’s. The barrier of entry to producing new content has been made globally democratic. Teens in high school are selling TV pilots off of FLIP phones and college students have access to full production studios. The world has access to global distribution via You Tube.  The competition is getting harder and the number of self generated products over-crowded. One trip to a MAC store and anyone can become an “instant Spielberg.” Still, at the end of the day, there will be still be great stories to be told. True talent and performances will stand out. Content will still be King.

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