The Producer's POV: Courtney Saladino's Advice for Aspiring TV Executives

COURTNEY SALADINO is the SVP of Television at FilmNation Entertainment, and is known for producing Marvel’s HELSTROM and co-producing JESSICA JONES and CLOAK & DAGGER.

What inspired you to work in entertainment?

I graduated from UCLA with a Comparative Literature degree, thinking that I was going to become a professor and get my PhD.

So, I went to the University of Chicago for grad school, and enrolled in their Master of Arts Program in the Humanities (MAPH).

As someone who had always loved film, having grown up in Los Angeles, I chose the Cinema/Media Studies track.

I focused on film theory from silent cinema to 1940s European cinema, and international cinema, which aligned with my interest in cross-cultural studies and examining literature from various countries.

During the program, I realized I wanted to do more than just discuss or write about film. I came back to LA and interned for an independent producer, who introduced me to a variety of entertainment executives.

I was fortunate to land my first job at Bruckheimer Television where I worked for Jonathan Littman, then President of Television. Jonathan and KristieAnne Reed, who now runs the department, taught me important lessons about entertainment, and how important it is as a creative producer to have a strong business acumen.

How did you navigate your early career to become a producer and executive?

While being a fly on the wall at one of the best companies in the world and working with top producers, I decided I wanted to become a producer as well.

I ended up working for Jon Turtletaub, who had directed National Treasure and Sorcerer’s Apprentice with Bruckheimer.

He had deals with Disney and ABC Television, and we worked on developing, finding, and sourcing material for him to direct, and for us to produce.

I did that for a few years before joining Marvel Television, where I produced Jessica Jones and several other shows.

Marvel is a brand, so I got to learn how brands are formed and protected, and how to adapt stories in a way that satisfies creators/writers/directors but also stays true to the original source material.

Eventually, I moved to FilmNation, which was expanding its television division. One of the first shows I developed and sold was Isabel Allende’sThe House of the Spirits, which we adapted as a Spanish language limited series and filmed in Chile!

What advice would you give to your younger self?

I don’t think I ever had a clear plan, like “I’m going to finish school and do this.” It felt like I was wearing a blindfold!

I’d say, always keep your mind open to different possibilities and opportunities. Don’t limit yourself to thinking there’s only one way to achieve your goals.

Especially in entertainment, there isn’t a set path to get to where you want to go.

But it does take a lot of perseverance because there are ups and downs.

As a producer, what key lessons have you learned about leadership and building a strong team?

During the development stage, it’s so important to work towards creative alignment and make sure that your showrunner, director, and everyone involved in the project are all moving in the same direction.

When you get greenlit, it’s important that your team is on the same page and shares the same vision for the project.

But it’s also valuable to have people who think outside the box. For example, when you’re working with a piece of IP, someone who hasn’t read the original material might be able to offer a fresh perspective on the script.

The goal is to bring together a team of people that not only align with a unified vision, but also contribute in ways that might be unique and unexpected.

You brought in R.O. Kwon’s novel, The Incendiaries, to FilmNation. What makes a script or book stand out to you?

Yeah, that one in particular was just a beautiful, beautiful novel. It has incredible characters and is emotionally and thematically compelling.

I found myself unable to not only put it down, but it was a book that haunted me a little bit. I felt like I wanted to investigate more. I wanted to spend more time with these characters.

For me, deciding whether or not to develop an idea or story is about: Do I emotionally connect to the story and the characters? Does it have something to say?

For television, does it have a story engine that can be ongoing? Can there be multiple seasons? Is there something propelling us forward in each episode?

(Story engine = something that generates endless episode ideas and storylines. Think of any procedural like CSI or Law & Order, or high concept dramas like Game of Thrones.)

What advice do you have for young women who want to work in TV?

Always remember that it’s a marathon, not a race. It takes time.

It’s a business of rejection. You might experience everybody saying no, or people not believing in your ideas right away, or you’re going to get passed on. It’s not personal.

It’s important to also find balance in your life, and have a point of view. A point of view is what will help to define you as a creator, producer, or executive.

When you have a real clear idea about what you think, that’s what makes you unique, and what you’re bringing to the table.

What has been your most creatively fulfilling project?

The House of the Spirits!

It was a long journey, not only in developing it, but also in getting it greenlit during a time of rapid contraction within the industry.

We put together an incredible group of talent, both on and off screen. Having the opportunity to work with so many amazing people has been a dream come true.