“I don’t think there’s any pressure going into it. But Williams said the support from his colleagues at CBS and their tournament broadcasting partners at Warner Bros. And that’s maybe especially true when producing it for the first time. Producing “ One Shining Moment” might seem like a lot of pressure from the outside given the intense focus on it. All of those layers of being and existence are equally important in understanding how sports influences our world.” I continue to push the envelope on what we believe to be a story and how we tell those stories, from a myriad of different entry points, from diversity to inclusion to equity dynamics. “My time at CBS has always been about making us better, getting to the next steps of storytelling. He said he wants to focus on making the stories the company tells even stronger, and bringing in angles that might have been missed before. Going into a broadcast landscape, I was really able to open up storytelling, to get into finding things that were relevant to our actual broadcast, and to making the broadcast better.” The goal was to get eyes and grow a viral audience and reach people. I came from a digital landscape, I started at Turner Sports with Bleacher Report, and that process of working in a digital landscape gave me an opportunity to tell stories that maybe traditionally weren’t told, or were unique. He said that’s also taught him about shifting from a digital focus to a broadcast and cable one. Williams said his five years at CBS (which included a selection to Sports Business Journal‘s “30 under 30” listing in 2020) so far have been a great run. I think it’s about a balance of the laughs, the joy, the pain, the triumphs, and the failures, that really brings them all together and tells the big story of what it means, particularly in these crazy three weeks of sports broadcasting.” And some of it’s not just ‘What did you see,’ it’s what everybody saw. You want your shooting star to be a really dynamic player, you want the other sound-up moments from Luther’s lyrics to really coincide with examples that are visible during the tournament. “You’re looking for the music to enhance the actual images of the tournament. He said it also involves a lot of thinking about what images match what parts of the song. It’s just great to see the representation of so many people coming together for one dynamic thing.” For me, the crate-digging was sifting through highlights with Austin Smith, my BA, and Pat Ball, a phenomenal editor who’s on this project, and a number of other people, from our features unit to our tape ADs, people who want to push this in the same direction to make a really dynamic project. “I don’t know if you’re interested in music, but crate-digging is such a unique experience when you’re doing it in a contemporary framework. Williams compared picking clips for “One Shining Moment” to record heads’ practice of crate-digging. It became a really great project about the find.” It was easy for me to take this research component and watch games, watch the broadcasts, go back into our own library databases and find angles to really tell the story. And that level of research has been such a foundational tool that has influenced so many other elements of my storytelling guide. My mentor Pete Radovich, Pete had us prepare bibles for games and some of the feature work that we had done. …And I was able to come in with my own unique entry point. I had a lot of people who made themselves available to me, because it’s my first time doing it.
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