‘American Idol’ talks of working with ‘Empire’

20 Jan 2015 | Author: | No comments yet »

‘American Idol’ Team Explains Abbreviated Live Shows, Why Last Season Fell Short.

“American Idol” producers are banking on fewer hours and stronger contestants to boost the franchise’s 14th edition after suffering a precipitous ratings drop last year. “We’re pleased to be down to one show a week,” Trish Kinane, executive producer and an exec at FremantleMedia North America, said Saturday at the Television Critics Assn. press tour in Pasadena. “We have all the drama of an elimination and all the performances.“Empire’s” early renewal was like the winning moment on “American Idol” for “Empire” showrunner Ilene Chaiken. “It was a nice way to start the day,” she said.American Idol exec producer Trish Kinane said they’d love to do something with Fox’s new drama series from Lee Daniels and Danny Strong and Imagine’s Brian Grazer, in which Terrence Howard plays the head of a music industry empire.PASADENA — Significantly less will be a lot more on Fox’s aging “American Idol” this season, executive producer Trish Kahane assured Tv writers here.

There’s a lot to do in that one show.” The show had aired twice a week — often with two-hour episodes — since it exploded as a hit for Fox a decade ago. After last season’s ratings tumble, producers made a number of changes, including enlisting music mogul Scott Borchetta as a mentor to work with the 24 finalists from the beginning. He’s been replaced by Scott Borchetta, the musical guru to Taylor Swift, who told writers he also wants to connect to the contestants early in the procedure to see exactly what they have and what they have to have. Every season has to be different, has to be better, has to be consistent and continue to tell the stories of these characters who I think are already beloved, but also has to be completely new and unexpected.”

But Borchetta drew most of the questions as reporters pressed him on how his Big Machine label group exploded with Taylor Swift and other stars in under 10 years’ time. Urban noted that Borchetta’s involvement is vital because the landscape for “Idol” winners and the music biz in general has changed so much since the show bowed in the U.S. in 2002.

Connick observed that during the audition process he noticed the influence of technology and the global connectedness that music buffs can achieve through social media and other online platforms. And more than most years, producers, executives and talent have been candid about why they think the show took such a tumble over the course of the 2014 season. “Why didn’t it connect? He sees a downside to the focus of youth on creating music with the aid of technology when he was watching the open-call auditions held in New Orleans. “People were coming in from New Orleans and surrounding areas, but there was nothing indigenous about the music,” Connick said, noting that nowadays people can be influenced “by anyone, anything at anytime.” “We went to Bourbon Street in my world. I think that the show is successful because the sum of all parts,” said Ryan Seacrest. “We had some great contestants, but they could have done more in certain aspects to connect more with the audience — and we could have done better.” One way they’ve tried to convey a renewed effort at showcasing the best personalities in the audition broadcasts has been by teasing out the singers who’ve already earned a ticket to Hollywood for the live shows. “We really think we’ve got great talent, so we really wanted to say up front, ‘Listen, America, these are great singers,'” said Kinane. “We didn’t want to spoil the additions, so we decided to show the silhouettes and let people hear them singing. It was sad that nobody came in really representing New Orleans,” he said. “There’s blessings to accessibility, but one of the great drawbacks is that everything has become melted down.

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