Pitching is a process a writer and or director have to master. There are many ways to do that but stylistically, I think a pitch, like a script, is best designed in a 3 Act Structure for a television series. Understanding how to pitch concisely and provocatively is the emphasis that I focus most on. Understanding a Cold Open, a mid-point turn and a dynamic conclusion and Coda.
I see storytelling as something of a universal, human endeavor. So without being trite or respecting of the question, I'm interested in many things and have the kind of experience that allows me to productively advise on any number of genres and to do so with integrity because of a universal interest in all things human.
Things that someone does because they want to develop an idea because of what they or someone else has suggested the, "market is looking for".
Gerard Bocaccio builds things that last: careers, creative cultures, and projects designed to travel. Over three decades as a studio and network executive, producer, media consultant, and educator, he has operated at the center of film and television's most consequential creative shifts, not as a bystander but as the
person in the room making decisions that matter.
His most recent work at Warner Bros. for The Wolper Organization expanded the company's scripted slate with a deliberate focus on premium series and international co-productions set in Australia, Greece, France, and the UK. His mandate was outward facing by design: to cultivate global creative partnerships, surface distinctive voices and formats, and develop projects built to move
audiences across cultures as well as markets.
Bocaccio began at Warner Bros. Television, where large-scale production and the mechanics of long-running series became second nature early. That foundation led him to Aaron Spelling, where he spent considerable time on MELROSE PLACE, oversaw MODELS INC., and put Spelling into daytime television with
SUNSET BEACH; moves that required both creative judgment and the confidence to execute at volume.
He then joined Sid Sheinberg's Universal-based Bubble Factory, where shepherding a slate of features and independent films deepened his understanding of what studio leadership demands: conviction, calculated risk, and the willingness to defend a vision when the pressure is on.
At FX, as the number two in programming during its formative rise as a creative force, Bocaccio helped build author-driven programming that went on to win Emmys and Golden Globes and permanently reset expectations for what television could be.
His return to Warner Bros. as President of Silver PicturesTelevision put him in charge of an independent label operating inside a major studio, a balancing act that required both entrepreneurial instinct and institutional fluency. The result was MOONLIGHT for CBS, which won the People's Choice Award for Best New Drama.
As President of Television for Level One Entertainment and 3311 Productions, Bocaccio pursued an IndieTV approach that positioned him as a trusted advisor at moments of industry transition.
Then, while based in New York, he guided Jason Blum's initial expansion into television, developing EYE CANDY and SOUTH OF HELL, while also advising Discovery Channel on the Limited Series, KLONDIKE, its first move into scripted programming.
These were not passive consulting engagements, they were partnerships built on trust, pattern recognition, and a track record that speaks for itself.
At Entertainment One, Bocaccio joined one of Canada's most significant independent studios and worked across a premium slate with strong creative identity and international reach. Series like YOU ME HER, ICE, and the Emmy Award winning, SHARP OBJECTS demonstrated, again, his ability to move fluidly between corporate strategy and creative collaboration, integrating long-standing
relationships with artists and executives without losing sight of either.
Across comedy, drama, limited series, feature film, and international co- production, his work reflects a sustained commitment to authorship, tone, and point of view, and a belief that great storytelling requires the courage to confront creative fear rather than engineer it away.
Bocaccio's investment in the next generation is equally serious. He served as a full-time faculty member at NYU's Tisch School of the Arts and has taught and lectured at universities across the country, shaping emerging filmmakers, executives, and creative leaders at the stage when it counts most.
His board service extends beyond entertainment to nonprofit organizations spanning theater companies and homeless advocacy, a reflection of the same relationship depth and civic seriousness that defines his professional work.
Available Sessions With This Exec
