Opinion
Creativity,
Indie focus
risk-taking and
experimentation
are taking a
back seat as
broadcasters
increasingly
Is TV playing it too safe?
play it safe in
tough times
The TV industry is well known for its herd like instinct, a phenomenon
easily proved by a glance at schedules full of talent shows, cookery
formats and costume dramas.
Understandably, broadcasters feel they are on safe ground if they
commission shows that closely resemble proven hits. To take just one
example, it’s what ITV famously did with genealogy show You Don’t Know
You’re Born, a 2007 series that was eerily similar in name and format (celebs
exploring their family tree) to BBC1 hit Who Do You Think You Are? TIM DAMS
As is often the way with these kinds of commissions, it never quite lived Editor, Televisual
up to its trail blazing forerunner – even though it was made by the same Tim Dams is editor
indie that produces Who Do You Think You Are? (pictured left), Wall to Wall. of Televisual, and
Creative risk taking rather than copycat commissioning lies behind was previously
the success of the UK’s very best television shows, from Strictly Come assistant editor of
Dancing (greenlit when ballroom dancing was regarded as old fashioned) film title Screen
through to Life on Mars (time travelling detectives anyone?). It’s often said International. He’s
that the UK industry’s appetite for risk is what allows it to enjoy such also written
prestige – and high levels of exports – around the world. extensively for The
However, there are growing fears among indie producers that risk Guardian, Broadcast
taking is being abandoned by broadcasters. Speaking to many producers, and Media Week.
one gets the distinct sense that the recession is stifling creativity and that
commissioners are increasingly turning to ‘safe’ ideas to see them through
the downturn.
In particular, broadcasters are pulling their dwindling pots of money
out of the margins of the schedules – daytime, early evening and late
night – which have been the traditional grounds for trying out new talent
and testing new ideas. Instead, the major broadcasters are concentrating
their fire power on primetime. They want big hit shows that deliver
dependable audiences. And they want volume deals that deliver longer
runs at lower prices.
As a result, many indies say they have shifted the emphasis of their
development departments to focus more resolutely on 9pm and on high
volume, returnable formats.
This is good news for the few producers, in all likelihood from one of
the big superindies, who manage to sell in such formats. But it’s not so good
for the hundreds of other indies that make up the production sector who
are finding it harder to win commissions for one offs and short run series.
Little wonder, say producers, that it’s a bad market for
experimentation, and that drama, comedy and quality factual are
suffering as commissions become ever harder to find and to fund.
So much so that one award winning documentary maker argued to
to me last month that, with funding in such short supply, the genre is in
danger of becoming a rich man’s game, like film, where only those who
are independently wealthy can take part. in my view
Autumn 2009 theproducer 9
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