Francis Ford Coppola's
American Zoetrope
Producing Partner to Francis Ford Coppola
I didn't just develop stories.
I got them made.
I joined Francis Ford Coppola's company as a development exec. My first project? A script that became an Emmy-nominated miniseries. A few months later, Francis promoted me to be his Producing Partner–and asked me to run his entire television division.
I sold a sci-fi series with a record-breaking 66-episode order. Rebuilt scripts from the ground up. Closed network and studio deals. Oversaw casting, financing, and production in both the U.S. and Canada. Some projects came through agents. Some through Francis's literary magazine. Others? I chased down–or built from scratch.
I collaborated with Oscar and Emmy winners. Helped shape pitches with A-listers like Sofia Coppola and John Ridley. And mentored first-time writers. I ran point with talent agency ICM. Led packaging and partnerships. And negotiated overall deals with both Alliance Atlantis and Sony.
Ideas are everywhere.
Selling them? Making them happen?
That was my lane.
I'm pictured here with Francis Ford Coppola and George Lucas (on left) at Francis's birthday party–not long after I became Francis's Producing Partner.
Moby Dick
An epic adaptation. A career-defining first.
I came on board as Director of Development and helped shape the script for this four-hour adaptation starring Patrick Stewart and Gregory Peck. Moby Dick earned multiple Emmy nominations, including Outstanding Miniseries, and won Gregory Peck a Golden Globe for what would be his final screen role.
It was my first project with Francis.
And it set the tone for everything that followed.
Official poster for Moby Dick.
Click the image to watch the trailer.
(As originally aired in standard definition).
Gregory Peck's performance in the miniseries earned him a Golden Globe–the final screen role of his legendary career.
Featured Projects
Francis Ford Coppola / American Zoetrope
The series that sold for a record-breaking order on pitch alone.
Click the poster to watch the trailer.
(As originally aired in standard definition).
First Wave
66 episodes. One pitch.
I collaborated on the pitch to what was then the Sci-Fi Channel (now SyFy), helping assemble the showrunner, secure financing partners, and representing Francis in the negotiation room. The result? A record-breaking 66-episode order–sold without a single page written.
I stayed on through development, hiring, and production–guiding the series from pitch to screen. Filmed in Vancouver. Aired internationally.
It remains one of cable television's most ambitious single-pitch sales.
Another Day
From first-time writers to a cable original.
The script came to me through a friend–an unrepresented piece from two first-time writers. Most screenplays like this never make it off the pile. But I saw the potential, optioned the material, and worked closely with the writers to shape it into a sale-ready project.
I sold it to USA Network, brought on the director and cast, secured financing through Alliance Atlantis, and oversaw production in Winnipeg.
The result? An original cable movie starring Shannen Doherty (Beverly Hills, 90210), Julian McMahon (Nip/Tuck), and Max Martini (13 Hours), directed by Jeffrey Reiner (Friday Night Lights).
What made it even better?
Discovering the writers–two new voices deserved to be heard–and getting their first project on the air.
From an unrepresented script to a cable premiere.
Click the poster to watch the trailer.
(As originally aired in standard-definition).
Duality explored. Darkness revealed.
Click the poster to watch the origin scene.
(As originally aired in standard-definition).
Dr. Jekyll & Mr. Hyde
Classic horror, reimagined.
I worked on script development as producer alongside Peter Lenkov–later the force behind the reboots of Hawaii Five-O, MacGyver, and Magnum P.I., and an Emmy nominee for 24–to reimagine this iconic tale for a new audience.
We set out to retell the story's core tension: the split between who we are and what we hide.
Directed by Colin Budds, the film starred Adam Baldwin (Full Metal Jacket), Steve Bastoni (On the Beach), and a global cast that brought sharp edges to a timeless duality.
Guiding that transformation–from classic to contemporary–was a challenge worth every rewrite.
And one I won't forget.
Creative Development & Collaborations
When Zoetrope called, creatives answered.
At Zoetrope, scripts didn't just come from agents. They came from everywhere: a short story in Zoetrope: All-Story, an offhanded comment at a dinner that struck a chord, even 3 a.m. wake-up calls from Francis himself–when inspiration hit and he needed a pitch reshaped by me before a 10 a.m. meeting with a network president.
I created original scripts, developed in-house concepts, and collaborated with both first-time writers and seasoned pros. A-listers I worked with included John Eskow (The Mask of Zorro), Chris Brancato (Narcos), Peter Lenkov (Hawaii Five-O reboot), Joe Cacaci (The Trials of Rosie O'Neill), John Ridley (12 Years a Slave), and Sofia Coppola (Lost in Translation).
Some stories came in strong but needed shaping. Others were raw ideas I chased, built out, and turned into scripts.
No matter where the story started, the job was always the same:
Make the pitch irresistible.
Make the story airtight.
And get it on screen.
Business Negotiations & Packaging Leadership
From concept to contract
At Zoetrope, I didn't just lead the creative. I made sure the business kept pace. I negotiated production budgets, packaged talent, and went head-to-head with some of the biggest names in the industry to get deals done.
I reviewed every contract that came through our television division and worked closely with outside counsel. I also served as liaison to powerhouse agency ICM–aligning agents, writers, and producers to keep momentum moving. I led studio negotiations with Alliance Atlantis and Sony. And while the $100 million United Artists financing deal was primarily handled by the feature team, Francis often asked for my input when he wanted a second opinion he trusted.
Behind every greenlight was a stack of paperwork–and a string of high-stakes conversations.
I was the one behind both. Making sure the vision held. And the deal closed.
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Great stories don't write themselves. Let's talk.
Tara McCann