LOS ANGELES -- (SPW) --

We had the opportunity to learn more about the intriguing and unique career journey of Deanna Markoff, a multi-talented Producer/Writer/Editor. Deanna most recently showcased her skill in her craft on the Netflix hit, Buying Beverly Hills which highlights both the drama and the details of the lives of the Umansky family. 

Following her transition from Editor to Director, Deanna took it upon herself to constantly take on new projects and roles, expanding her artistry by acquiring new skill sets that aid her work and bring to life her individual style. Deanna discussed her unique road into the field, how she approaches a new project, and how her experience in reality television gives her an edge when it comes to other spaces in the industry. We also touched on her future goals and how to keep up with her most recent work!

As someone who has ventured into multiple roles including producer, writer, and editor, I’m interested to know more about your journey into the industry. 

My road into this business has been an unusual journey for sure. While in college at SUNY Oswego, I entered the Key Art Awards trailer competition and became a semi-finalist. Of the 11 finalists, most were from prestigious film schools in Los Angeles, and I was from a State school in upstate New York. That was the moment I realized not only did I love editing, but I was pretty good at it.

After that, my amazing husband encouraged me to follow my dreams, so we returned many of our wedding gifts to afford the big move to New York City. Quickly I landed a few internships and began to make connections. That’s when I met Brent Montgomery, who was the owner of Leftfield Pictures then, and he gave me my first chance as an editor. At the time, Leftfield was a very new company, and I was able to grow with them, eventually becoming the go-to editor for development reels and first-run seasons.

After nine years of editing at Leftfield/ITV, I decided I wanted to make the very difficult transition from editor to producer. Thankfully, my brilliant friend and mentor, Michael Meinecke, gave me my first chance as the Supervising Producer on a Bravo show he was running in London called Tour Group. So, I relocated to the UK for four months and took on my first official producer role. Thanks to that experience, Lucilla D’Agostino and Amy Kohn, who were at Sirens Media then, really invested in me and my growth. With their support, I was able to climb the ladder and become the Executive Producer of The Real Housewives of New Jersey.

Then in 2019, I decided to make the big move to Los Angeles to branch more into Scripted, which has always been my passion. Thanks to my very talented friend Kevin Duncan, I reconnected with my first boss Brent Montgomery, who had started a company called Wheelhouse. It was so amazing to be reunited with my old work family and now I am the Senior Vice President of Creative Development!

Your most recent project, Buying Beverly Hills, was a Netflix sensation. How did your role as Executive Producer lend itself to the raw feel and high stakes of the series?

Working on docuseries is always challenging because they are a giant puzzle that can be put together in a hundred different ways. So you have to figure out what makes your show unique while remaining true to your characters. 

With Buying Beverly Hills, the big thing that stood out to me was how authentic our cast was and how genuine the Umansky family bond is. I knew immediately that the show's drama would not come from superficial or caddy situations. When you're dealing with issues like nepotism, jealousy, and cultural/generational differences, it carries a weight that I think the audience becomes invested in. So, we really focused on how these family and friend bonds were tested in a cutthroat industry. 

Every music cue, b-roll shot, and story line was put through the lens of the Umansky Dynasty. So, when people call the show Succession meets Selling Sunset meets The Real Housewives, that is not by accident. That is exactly what we were going for.

You have worked on a number of high profile reality television shows including The Real Housewives of New Jersey, Hype House, and Designing Miami. How has your experience within the reality space given you an edge when it comes to other projects?

Working on a docuseries, especially as an editor, you are literally writing a story in your timeline. You take months of footage and figure out an arc for each person that will have a satisfying beginning, middle, and end. So after years of slogging through footage, I have developed incredibly strong storytelling skills, which have helped me in my Scripted projects. Especially in my scriptwriting. You naturally understand act structure, where your story points have to hit, how to set up and then pay off crucial moments, what’s really important to the story, and how to show that your characters have evolved.

My experience has also forced me to find creative solutions. It’s no surprise that you need to manipulate footage much more in reality TV than in scripted. One time I was working on a scripted short when the director wanted to reshoot an entire scene because it had some major shot issues. I offered to try to recut the scene before wasting money on a reshoot. To everyone’s relief, I was able to make the scene work thanks to my reality tv bag of tricks.

I’m intrigued by the TV adaptation of ‘Splintered’ that you have in the works. What drew you to that novel series, and how do you envision that project coming to life?

As a die-hard Buffy the Vampire Slayer fan, I’ve always wanted to find a project that encapsulates everything I love about that series. For me, the book ‘Splintered’ by A.G. Howard was it. There is a strong female lead who tackles the supernatural like a badass. A supporting cast that is thoughtful and complicated. And even though you're on an epic adventure in Wonderland, the series still dives into important family and mental health issues. 

Also, I've always loved Wonderland, and Splintered takes what you thought you knew about Wonderland and turns it on its head. So, it's like discovering the world all over again but in a more dark and twisted way. Not to mention it takes place in modern day and has an epic love triangle, which I have yet to see done in the Wonderland universe. 

And after the success of Wednesday on Netflix I believe it is the perfect time for Splintered because it has the same nostalgia and mythology that has drawn so many viewers. Currently, I’m pitching the project as a TV series with a well-known showrunner attached. Wish me luck!

Some of your prior credits include iconic shows such as Pawn Stars and Ice Holes. What is something you’ve taken from your time working on projects such as these that you would like to share with young creatives looking to work in this field?

The best advice I can give to people coming into the industry is to make yourself as valuable as possible. Learn everything you can. I got my foot in the door with graphic design and crossed over to editing. I truly believe I am where I am today because I have such a versatile skill set. 

While working on Pawn Stars, I edited and produced, created some of the original graphics, and did the online color. In my current position, I write and design treatments, edit sizzle reels, ideate concepts, produce shows, and even create motion graphics.    

This industry often expects people to wear many hats, so the more diverse your skills, the more valuable you become. It's not "jack of all trades master of none." The goal is to be a master of one role and have many useful supporting skills that make you the biggest asset in the room.

I would love to know what future projects you have coming up. Anything in particular you’re looking forward to audiences seeing?

I’m most excited by our new show Secret Chef coming out on Hulu soon. It was a project I helped develop at Wheelhouse by cutting the sizzle reel. The showrunner Patrick J. Doody had an amazing vision for the project, so I think the audience will love the show's playfulness. 

And hopefully, I will have some great news about Splintered in the new year, and I'll be able to bring that one to life!

Finally, where can we find out more about you and your career and keep up with your most recent work?

You can follow me at @deannamarkoff on Twitter and Instagram! If you would like to keep up with Deanna’s work, or learn more about her career, check out her IMDb page!

MySHOOT Profiles