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Cornwall Media Focus

Commissioners meet Cornish talent

Read about our recent workshop with BBC, UKTV and Top TV Academy.

A Guide to Factual Commissioning
21 May 2007, Hall for Cornwall, Truro
Presented by Creative Skills, Cornwall Film and Cornwall Media Focus

• Chantal Rutherford Browne, Commissioning Exec for Lifestyle, UKTV
• Liz Mills, Top TV Academy
• Mike Cunliffe, Seven Stones Media
• Tabitha Jackson, Deputy Commissioning Editor Specialist Factual, Channel 4

Channel 4’s motto is “do it first, make trouble and inspire change” and all ideas are assessed against these criteria. C4 is like a cheeky younger sibling to the more grown-up BBC. They look for a strong narrative and a good story, but as importantly a new ‘way in’ to an idea or theme. This could be looking at it from an unexpected perspective (e.g. Trafalgar Battle surgeon) or finding a piece of hidden history (e.g female gladiators) or finding the essence of an idea (e.g the crucial week in the reign of Queen Victoria). C4 tends not to do ‘the definitive history of…’ They have approximately £640M to spend on commissions per annum, of which at least 30% (£120M) must be spent in the nations and regions.

For Science, C4 are NOT looking for schools programmes for grown-ups. Instead they look for views that go against the grain like The Great Global Warming Swindle, controversial polemic like Richard Dawkins’ Root of all Evil, and/or stunning imagery as seen in Human Footprint. They are interested in ‘factual theatre’ – alternative formats and packaging as seen in Going Cold Turkey. It’s all about smuggling in intelligent content in a way that will attract an audience – i.e. Bodyshock. Secret Millionaire is a great examples of format where worthy activities are presented to an audience in a way that engages them.

For History, so many channels provide more traditional material aka fuhrers and pharaohs that C4 has to do something different. Even big beasts like Simon Schama and David Starkey no longer draw the audiences that they used to. The world of ‘living history’ was a useful innovation (i.e. Frontier House, That’ll Teach ‘Em etc.) and C4are now looking for the next innovation. Time Team and Scrapheap Challenge are simple formats that are still going strong. C4 want to do more with archaeology and natural history, and are also looking for an idea that will make use of presenter Robert Llewellyn – inventions and engineering.

A new director of programming, Julian Bellamy, has just joined Channel 4, so they are currently waiting to see what his impact will be on commissioning but repeatable series and formats are definitely on the wishlist.

It’s very hard to get single films commissioned as it’s difficult to get an audience’s attention. If you have a history idea, think about where this might sit in a ‘season’ (i.e. a collection of 3 similarly themed films) or series like Power to the People. This allows C4 to make a noise about them. For example, the recent Edwardian Season on BBC4 .(Liz mentioned Love Productions as an example of a production company who have successfully packaged up 3 films together to make a season).

More traditional single films that have been commissioned tend to be made by very established film-makers like Molly Dineen or Nick Broomfield; or to have scale and an epic sense like Touching the Void or the forthcoming drama on the liberation of Belsen. They tend to be longer, and sometimes collaborations with Film 4, allowing them to have a greater scope, making them distinctive to C4.

NB Since the event, the History, Science, Religion and Arts department at C4 has been renamed Specialist Factual to reflect a less rigid compartmentalisation. The focus is now more in intelligent factual including travel/business etc.

Practical info: Under Ofcom regs, C4 are obliged to respond to submissions within 6 weeks and have a strict proposal tracking system. (Chantal noted that at UKTV they try to acknowledge receipt within a week. If it takes longer than 8 weeks, production companies should hassle - although remember that Chantal gets about 1000 proposals a year and is also Execing shows all the time.

For C4, you need to be attached to a production company in order to submit an idea. This helps to protect an idea. If you don’t have a production company in mind, research other similar programmes or ring the commissioning assistants and ask them which companies they work with most – then research what they each do and see if it would be their kind of project. (Mike highlighted that Seven Stones regularly work with other talent, sharing rights and profits fairly – they are always keen to find new ideas).

Working with a larger production company can be a useful way in – as they have more contacts, a track record, the commissioners’ respect, and can sometimes help save time and money by getting a quick initial response to an idea (i.e. finding out that they are already doing something in this area). However, sometimes you can have more power if you can approach the commissioner directly and get their interest.

C4 has a good online resource at www.channel4.com/4producers with info about what commissioners are looking for; as well as contact information.

www.channel4.com/fourdocs is a useful first step for showcasing short projects and getting a commissioners’ attention as they regularly look at these. These sometimes get picked up for 3 Minute Wonders. This is a showcase, a ‘modern business card’, and chance to see what an audience thinks of your work, not necessarily a route to income.

UKTV is 50% owned by the BBC and 50% by Virgin Media. There are 10 channels, and 19 streamed. They screen existing BBC productions and commission some low budget shows with BBC sensibilities. Low budgets mean they can be creative. Publicity is very important as they have to shout in a noisy environment.

UKTV need to enhance and add texture to blocks of programming that are brought in from the BBC. They have unique access to old BBC material (able to redo the Clothes Show format for example) although they do have to pay for it. They’ve recently brought back Jim’ll Fix It; and are producing a new chatshow with Wogan that uses the old Wogan archive. While budgets are generally low, they can find money for big talent. Secondary markets are also a good source of income – they like programmes to sell on round the world (i.e. Return to Tuscany).

The Head of Commissioning has just left, but there are 3 Execs – Andy Whitman (Factual), Chantal (Lifestyle) and Dan Howie (Entertainment). It’s a very small team.
The Channel heads set themes, and the commissioners go hunting for programmes to fit ht briefs. They can also be approached with ideas.

When assessing ideas they look at the available slots and audiences, the PR potential, alignment with both the BBC and UKTV brand values, advertiser funding potential, formats and co-production potential, and compliance.

UKTV History are looking for 360 degree ideas - with web elements, PR opportunities, and ways to reconfigure material into more than one programme. The channel audience tends to be ABC1 men, 25 – 54+. It is the most viewed specialist factual TV in the UK. More than just war programmes. It goes for big bold annual themes, multi-platform ideas, softer formats.

They are creative with budgets – Britain’s Best uses established BBC face Alan Titchmarsh to top and tail the programmes, and uses his voiceover throughout the programme rather than budgeting to include him in location. Thus, they can make it for 80K per hour plus web/PR budget. Budgets are generally 40K to 80K per hour, with a minimum commission of 5.

Britain’s Best also formats the same material twice – firstly, into programmes looking at individual types like castles, churches etc., and secondly, into programmes that look at the South West, North West etc. Britain’s Best also engages with an audience who like to feel involved. It allows audiences to vote – including at sites, thus increasing the PR reach and ‘noise’.

UKTV Documentary is the David Attenborough, Michael Palin, Ray Mears, Fred Dibnah channel… The Reinventors is a good example of a programme that complimented BBC output, featuring Dick Strawbridge. While reshowing It’s Not Easy Being Green, UKTV also featured Dick in a new format - reinventing old inventions. ULTV Doc are now looking for ‘green’ ideas – imaginative, practical and entertaining (i.e. something that combined reinventions with a green theme would be good). They can invest 50K per hour, and commission a minimum of 5. They never buy one offs.

UKTV Food – 50% of content is commissioned. Their biggest commission across the network is Market Kitchen which films at Borough Markets over a year, and is a five day a week commission. They invest up to 30K per hour in runs of 10. The audience is mainly female focused (ABC1 25 – 54) but don’t forget men. They only work with established cooking names like Gary Rhodes or Anthony Worral Thompson, unless it’s on the daily show where they sometimes try out new talent.

UKTV Style used to be the Ground Force/Changing Rooms channel, making 18 series per year. It now goes for fewer bigger better series – commissioning 8 series a year at 50K per hour; and moving into ‘well being’. The Spa of Embarassing Illnesses has been very successful, as has Boutique Hotel. Boutique Hotel was funded on the basis of a taster tape from a regional cameraman who was not attached to a company at the time – but had captured excellent characters. This was a co-production with ITV Anglia.

The Farm of Fussy Eaters is another good example of good programming at a low budget. They set all the activity in one place for two weeks, making it possible on 50K per hour. The new Clothes Show is an example of how to breathe new life into old formats. As fashion is ever changing and UKTV have to stay on the channel for at least two years (getting 9 plays) in order to justify the expenditure, this has to be screened much faster than normal.

UKTV Gold is aimed at ‘established parents’ and is a retro channel. For example, they’re reinventing the Generation Game. For UKTV Gold, think about old BBC brands and archive that can be reformatted. In 08, they don’t want any more ‘now and then’ ideas. Budgets depend on talent. They commission a minimum of 6 episode runs, mostly hour longs.

G2 is the younger hipper channel – Buzzcocks, Little Britain etc. They are mostly looking for quizcom commissions, aimed at 16 – 34 men. Original quizcom panels, different to Buzzcocks. They don’t like stand up but they do like formats and improvisation, and smashing up cars! They invest £50K per hour.

UKTV People will just be funding 1 project this year – an observational doc. They have yet to decide the territory. Contact them asap if you are interested in obdocs to find out when they are ready to commission.

UKTV have seen a shift from house to ‘home’, less interest in get quick rich schemes – and are looking for projects in this area.

All proposals go to the Proposals Co-ordinator, melisa.newbury@uktv.co.uk. Don’t send full proposals, just a paragraph. They are friendly and will buy you a coffee if you travel all the way from Cornwall to meet them!

Liz gave some tips from BBC Daytime: While C4 daytime is pretty full, BBC1 has opportunities for returnable series. Missing (BBC1 9.15) has been really successful. They are looking for material like this – access driven documentaries for an older audience. BBC1 Daytime invests £25K per half hour and are looking for high volume returnable series. No more antiques; but new territory and approaches; and still an interest in property formats.

Daytime talent should be not too intimidating, showy or beautiful – but instead real and practical. From 9.15 – 10, they are looking to experiment and pilot new shows - stories and human emotion. From 6 -7, they are looking for programmes with potential to cross over into the mainstream like Masterchef. For high profile programmes they can invest 45K per half hour. The BBC are also looking for more traditional docu-soaps - ½ hour returning docs.

Combined commissioning tips from the panel:

• Linear TV is generally not enough any more. Think about the 360 degree experience – how can your programme idea also have a web presence, DVD spin-offs, freebies and tie-ins, telephone revenues, books (be careful with timing but if you can synchronise publishing and broadcast it can be very useful)? How can you get wide publicity for the programme?

• Pitch films (i.e. formats, particular perspectives and vision) not general subject areas.

• Explore contemporary themes – i.e. China, Green ideas were hot six months ago, what will the next area be? Homes?

• People’s ideas don’t get stolen as often as people think. Share ideas, particularly if you are new. It is very rare to get a format stolen – subject areas tend to be general and therefore others may be thinking of them anyway.

• Don’t hold on to your ideas for too long. Boutique Hotel illustrates the importance of taking a project to a channel at the right time for them to put their own stamp on it.

• Taster tapes – there were mixed views on this – it does help, particularly if you are pitching a presenter led programme and new talent, and can help focus an idea. However, they can be expensive and it might be a better idea to ring the commissioner or their assistant with an idea at an early stage to find out who best to pitch it too, so that you don’t waste time and money.

• While UKTV don’t expect you to be shooting on digibeta as budgets may not allow it, do be careful how you present a taster tape that isn’t shot professionally – is it just capturing the characters or is it an illustration of your production values and how you would make the final film?

• Build on your strengths – i.e. if you have proven you can deal with difficult access, look for other ideas that utilise your ability to get access. Know your specialisms and exploit them.

• Work contacts and build relationships. Befriend local production companies and key suppliers.

• Research the slots available. Get specific info on what has been commissioned and screened already. Use the web, and talk to local companies who are in contact with commissioners. It’s not necessarily impossible to do something in the same area, as long as you have a different spin on it. Reference what has inspired you.

• Research the commissioner’s background. Use the right channel name and avoid typos and grammatical errors!

• The way that ideas are pitched is crucial, particularly for C4 - Human Footprint would not have got made had it been pitched as a dull documentary about statistics. The producers said we’re going to put 75,000 cups of tea in Trafalgar Square and that set it up as a project with a distinctive vision that would attract attention.

• Build links with talent. They need to have expertise and passion - and be big bold characters – a big moustache or funny voice that polarises the audience is good – this will get you PR! Sister Wendy was a good example of talent with a passion and individual profile; so is Lloyd Grossman.

• Think left of field about established talent you could bring in.

• You need to have the right individual in place in order to pull off a format (The Choir wouldn’t have worked without the right choirmaster in place).

• Try to get unique access. We have talent and locations on our doorstep in Cornwall. The flipside of being a long way from London is that London is actually quite interested in what is going on in Cornwall.

• Don’t just develop Cornish ideas – you can make films anywhere.

• Think about your title – only the beginning will appear on the EPG and it needs to grab an audience i.e the fattest, thinnest, dirtiest…!

• Look for ‘pegs’ – anniversaries etc. For how your idea could fit into a season or series.

• Explore sources of match funding – co-production partners or sponsors – as this can also be appealing to a commissioner.

• Be responsible. C4 has no taboos in terms of subject area, but ethics are important. Subjects such as the man in Virgin School or Big Brother contestants all have to undergo psych tests to ensure they are safe to take part. Is this exploitation or not?

• Keep an eye on Channel 5 as they will be re-visioning themselves, which may create opportunities for producers.