Drew and Jonathan Scott, the siblings better known as HGTV’s “Property Brothers,” have built, rebuilt, renovated, redesigned and reimagined hundreds of spaces since their TV careers took off in 201…
,” have built, rebuilt, renovated, redesigned and reimagined hundreds of spaces since their TV careers took off in 2011.
They’re also adventurous, seizing the Peak TV moment to produce a series about a drag queen renovating a seven-room motel in Palm Springs: Scott Brothers Entertainment delivered “Trixie Motel,” starring “RuPaul’s Drag Race All-Stars” winner Trixie Mattel, to Discovery+ in June. “As a drag queen, I’m used to having to explain a great opportunity to people because it’s a little wacky,” Mattel says. “The brothers loved ‘Trixie Motel’ from the first pitch.
“At some point in the future, some aspects of our business will be partnering with the right people to help things continue to grow. But it’s been exciting for us to be able to be the ones to hold the control, to be able to make the decisions, because at the end of the day, I trust Jonathan through and through. He’s not some stranger that I brought in with money to do something or vice versa. We know we have the same values.
As they settle into their second decade as TV stars, the brothers are focused on growing Scott Brothers Global with fresh content and ventures such as mobile games. In conversation, the two are as excited and competitive about their new product line with Lowe’s as they are about spreading their wings as TV producers for other talent.
Matt Horowitz, the Scotts’ longtime representative at CAA, has also been instrumental in guiding their career for more than a decade. Drew is more closely involved with the development and production of TV series; Jonathan is more into product development and design. “We divide and conquer everything in the company,” Jonathan says. He also describes their efforts as consciously “data driven.” Feedback from fans and customers is a valuable loop if you know how to use it.
Once they took charge, “Property Brothers” and other shows shifted to a block-shooting model in which producers collect material for various episodes at one time rather than finishing off one episode at a time. That makes it trickier to piece together in post-production but has benefits for the final product. “It doesn’t make any sense to shoot each episode in sequence; maybe it makes it a little easier for production, but it makes it 10 times harder for construction,” Jonathan says.
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