Joe Hipps is SVP, Television at Endeavor Content. He spoke with JHRTS member Ben Cohen about development, production, “House of Cards” and Damien Chazelle. An edited transcript of the conversation follows.
Can you tell us about your background and what made you want to work in entertainment?
I grew up in the Bay Area obsessed with sports and movies. When I realized I was a terrible athlete I set my sights on the entertainment business.
What is your favorite memory from your career so far?
When Modi Wiczyk and Asif Satchu called me right after we closed the “House of Cards” deal with Netflix, I remember Modi saying to me “if this works, it changes everything.” He was right.
You’ve worked for years in development and production, most recently at MRC. How has the adjustment been moving to a content label connected to an agency? How is your role similar, and how has it changed?
In some ways my current role is very similar to MRC, with regards to being talent friendly and in looking to partner and build around great creators. My role has changed mostly in the number of different ways that I am now able engage in projects, as Endeavor Content has many different approaches designed around talent, creators’ and producers’ needs — whether that be a full service or just handling sales, co-financing or advisory.
While at MRC you oversaw “House of Cards,” a milestone in luring movie creatives to streaming television. Today, splashy television packages boasting A-list film talent seem to crop up every week. Now that the secret’s out and it’s cool for auteurs and megastars alike to do a show, how does a new one break through the noise and stand out?
It’s hard. From a packaging stand point every additional attachment has to add value. But at the end of the day the script needs to be the highlight of that executive’s weekend read (no matter who is attached to direct or star). That seems obvious but I think a lot of people forget that. Truly original ideas or new takes on a subject are crucial. This can be particularly impactful when combined with great talent or auteur directors. Endeavor Content’s slate really focuses on that whether it be Damien Chazelle’s “The Eddy,” the recently announced Steve Knight show “See” for Apple or “The Night Manager,” “The Young Pope,” “Top of the Lake,” etc.
What is one big change you see coming in the television business over the next five years?
It’s not a new thing to talk about, but the shift to VOD and to global programming will continue to have effects. We see great opportunities in more international programming as well as high-end premium global shows — the trend will continue for stars and auteurs to play in the TV space in a big way.
With undisclosed streaming statistics, ever-growing ancillary and international revenue streams, and more niche darlings than ever, what defines “success” to you in this age of Peak TV?
Buzz and critical reception can be a good measure. I’ve been lucky enough to be a part of a couple of shows that people told me to watch not knowing I had anything to do with them.
What show that you haven’t had a chance to catch yet are you most excited to check out?
I want to watch “Godless.” I want to be left alone so I can sit and watch “Godless” without interruption.
Ben Cohen is a current JHRTS member and former board member. In the little time he isn’t watching or talking about movies and TV, you can find him making absurdly long playlists, laughing at his own bad jokes, and trying to pet every dog he sees. He is reachable at benjaminjcohen1@gmail.com.