Nina Tassler
Nina Tassler
Nina Tassler is an American television executive, a graduate of Boston University, and has held the position of President of CBS Entertainment since September 2004. In February 2014, she was promoted to Chairman of CBS Entertainment, signing an agreement through the year 2017...
creators hear inclined outrageous trying
Once creators hear that you're trying something like that, they're more inclined to come to you with even more outrageous ideas.
anybody audiences available content habits hit imperative knows watch
I don't think anybody really knows where we're headed. But it is imperative that we make our content available to audiences where they are and when they want to watch it. Their habits are changing, and we have to be there when they want to see our hit shows.
real character player
Rob Doherty has been a real superstar for us The Mentalist for years. He is an extremely talented writer, and he just tapped into the DNA of this character in a way that we'd not heard before. So, from the moment it walked in the door, and then we read the script, it was a definite player for us.
real thinking stories
So many of the great detectives that we see on television now owe their origins to Sherlock Holmes. What was very exciting about Rob's pitch and script was that he is a real Holmes-ian expert. He knew all of the mythology. He was very well-versed in the genesis of Holmes and the stories. And the twist with Watson is something we jumped at immediately. It's a very forward-thinking way of doing the show.
character film-and-television actors
We're big fans of the show on BBC, and some of the greatest actors in film and television have done this character, from Basil Rathbone to Nicol Williamson to Michael Caine. (Executive producer) Rob Doherty came in with the pitch last season, it was immediately a show that we gravitated towards.
opportunity detectives literature
Well, when you have an opportunity to build a show around one of the greatest detectives in all of literature, you're going to jump at that opportunity.
falling-in-love air creative
And ultimately, it's good for all of us to have more original programming on the air. Business doesn't drive the creative. So, in identifying a project like Dovekeepers, looking at something like Extant and looking at Under the Dome, it was about falling in love with a piece of material, getting excited by the creative direction, hearing a vision, and getting excited about the potential for those projects and building the business model around it. And they're not all modeled the same way. Every one is different.
audiences bottle commitment continue desperate develop nice sort truth
The truth is, you can't sort of bottle and prepackage a show like Desperate Housewives. But I think the nice thing is, we know that audiences are making a commitment to serialized drama. And absolutely, we're going to continue to develop in that genre.
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This is all emerging so quickly. My husband just learned how to e-mail, and yet my son has been communicating on his cell phone for the past two years. So I don't think anybody really knows where we're headed. But it is imperative that we make our content available to audiences where they are and when they want to watch it.
comedy heading julia priority reinforce star vehicles
Comedy was really our first priority heading into development season, and we wanted to reinforce Monday. And with Julia Louis-Dreyfus and Jenna Elfman, we have two big star vehicles for mid-season.
culture hyperbole latin
I?m part Latin, so everything in the Latin culture is ? there?s a lot of hyperbole and there?s a lot of melodrama. I think we?re going to modify it for our audiences.
form nice
You've got close-ended stories, serialized storytelling. It should be a nice surprise. The form will be tweaked.