mdurousseau

[mdurousseau]

Journal Entry: Reflecting on Leadership, Product Management, and PAM’s Lasting Impact

If you ever get the chance to attend the challenge of you master the best chance to go is th PAM course . Over the past four weeks in the Production and Artist Management (PAM) course, I’ve experienced a powerful convergence of leadership theory, creative execution, and strategic product thinking. Thomas Jenkins' instructional style was direct, flexible, and quietly confident—an excellent reflection of the principles he taught. He allowed space for exploration while holding us accountable to the frameworks that define professional success in today’s entertainment and production landscape.

One of the most impactful themes was “adaptive leadership”—the ability to tailor one’s management style to fit the situation, whether you're dealing with a high-performing team or troubleshooting a failed product launch. This tied directly to our discussion on situational leadership in product management—knowing when to take charge, when to delegate, and when to coach (Northouse, 2022). Jenkins emphasized this in every lecture: know your people, know your product, and lead from where you are.

Another vital principle I took from this course is audience targeting through narrowcasting. We’re no longer broadcasting to the masses. Instead, we’re customizing experiences, curating journeys, and speaking directly to micro-audiences using data, platform behaviours, and psychographic cues (Smith & Telang, 2016). This narrow focus not only informs better product development but fuels engagement and retention.

As a creative entrepreneur launching a media company, the PAM course helped me view my production slate like a product portfolio. Each film or campaign is a unique product that requires development cycles, MVP thinking, market research, and audience alignment. The “sales funnel” model introduced in Week 3 was especially useful in forecasting reach, engagement, and eventual conversion into loyal viewership and brand advocates (Kotler & Keller, 2016).

What I appreciated most was how PAM balanced “old school” boots-on-the-ground hustle with “new school” data-driven precision. That hybrid is exactly where my business needs to live. Thomas Jenkins modelled this fusion—not just through content, but in how he led the class.

This course will echo loudly as I continue building a career that honors creativity, strategy, and strong leadership.

References:

Kotler, P., & Keller, K. L. (2016). Marketing Management (15th ed.). Pearson.

Northouse, P. G. (2022). Leadership: Theory and Practice (9th ed.). SAGE Publications.

Smith, M. D., & Telang, R. (2016). Streaming, Sharing, Stealing: Big Data and the Future of Entertainment. The MIT Press.

[mdurousseau]

Raa Film Productions today in development!

In today’s entertainment business, the shift from broad messaging to narrowcasting has become a foundational best practice. Traditional broadcasting strategies that aimed to reach everyone with a single message have given way to targeted messaging that speaks directly to niche audiences based on interests, behavior, and digital habits (Kerrigan, 2017). For RAA Film Productions, this means crafting content specifically for young, culturally diverse, tech-savvy creatives aged 18–34. Platforms like Instagram, TikTok, and YouTube Shorts become essential tools, not just for distribution, but for building community and brand loyalty through content that feels personal, exclusive, and representative (Statista, 2024).

To support this level of engagement, I apply the sales funnel technique, which maps out the journey from audience awareness to conversion. At the top of the funnel, RAA Film draws attention with short-form and behind-the-scenes content. In the middle, engagement deepens through email lists, contests, and VIP experiences. Finally, the bottom funnel delivers monetized value through ticketed events and branded merchandise. This method allows for realistic forecasting, which also guides inventory planning—ensuring I create just enough content and experiences to meet projected demand without wasting resources (Kotler & Keller, 2016). The same logic applies in my real estate work, where every lead is nurtured through personalized follow-up and strategically timed listings.

Finally, competitive pricing and community building round out my best practices. I use tiered pricing strategies in media and charm pricing in real estate to match audience expectations and perceived value (Nagle et al., 2016). But pricing is only effective when paired with genuine engagement. RAA Film isn’t just a brand—it’s a movement. Through interactive experiences like “Producer for a Day” or AR-enhanced set tours, I turn passive viewers into active participants. The goal is not just to entertain, but to empower. By blending old-school fundamentals like forecasting with new-school tools like social media analytics, I’m building a sustainable business that speaks to the future of entertainment and representation.

References (APA Style)

Kerrigan, F. (2017). Film marketing (2nd ed.). Routledge.

Kotler, P., & Keller, K. L. (2016). Marketing management (15th ed.). Pearson.

Nagle, T. T., Hogan, J., & Zale, J. (2016). The strategy and tactics of pricing: A guide to growing more profitably (5th ed.). Routledge.

Statista. (2024). Preferred content types among U.S. Gen Z and Millennials. https://www.statista.com