TOP 100 PRODUCTION 100
SURVEY
58 BLINK FILMS (Tin Roof Media) co founders Dan Chambers, Justine Kershaw Ops Ulla Streib FD Matt Fleming turnover £8.2m shows Diana: The Truth Behind the Interview (C4), Extraordinary Twins (ITV), Meet the Chimps (Disney+,Nat Geo), Saved by a Stranger (BBC2)
59 DRAGONFLY (Banijay) CD Richard Bond head of production Alison Seymour turnover £7.6m shows Ambulance (BBC1), Leigh-Anne: Race, Pop and Power (BBC1), Diagnosis Detectives (BBC2), Surgeons: At the Edge of Life (BBC2)
Meet the Chimps
Dragonfly says the outlook is “promising - because there are so many more buyers in the market” but tough too with lower UK budgets and streamer deals with no rights meaning staying profitable involves “running faster to stand still.”
60 TERN TV (Zinc Media) md Harry Bell head of Belfast Brendan Hughes pop fact David Marshall turnover £7.6m shows Emergency Helicopter Medics (C4), 50 Years of Mr Men with Matt Lucas (C4), Britain’s Lost Masterpieces (BBC4), Inside the Zoo (BBC2)
61 ROLLEM md Kay Mellor head of development Sian Palfrey executive assistant Rosie Perry turnover £7.4m shows The Syndicate Series 4 (BBC1)
Mr Men with Matt Lucas
Rollem says it was proud to keep The Syndicate rolling through the pandemic but picks out “a severe lack of crew, especially diverse crew in Yorkshire” as an ongoing problem as the county attracts more production. “There just isn’t enough talent coming through and working their way up.”
62 MAGIC LIGHT mds Martin Pope, Michael Rose marketing Mark Ollington brand dir Daryl Shute FD Clare Swain distribution Muriel Thomas turnover £7.3m shows Zog and The Flying Doctors (BBC1), Pip and Posy (C5/Milkshake, Sky Kids)
‘Specials’ specialist Magic Light had success with its longer runner Pip and Posy and thinks it can “build it into a successful pre-school IP/brand and open up a second ancillary revenue stream to our existing Gruffalo business.”
63 IWC MEDIA (Banijay) CD Mark Downie dir of prod Jonathan Warne turnover £7.3m shows Susan Calman’s Grand Week by the Sea (C5), Scotland’s Home of the Year (BBC), Boswell and Johnson’s Scottish Road Trip (Sky Arts), Location Location Location (C4)
64 TWO BROTHERS (All3Media) mds Harry Williams, Jack Williams coo Claire Evans head of drama Chris Aird head of production Emma Pike turnover £7.2m shows Back to Life, Baptiste, The Tourist, Fleabag, Dinosaur, Angela Black
Location, Location, Location
The outlook is positive, says Two Brothers, as “the delay in commissions in 2020 has led to an increase in commissions in 2021, so the year ahead for the UK Production Sector should be strong.”
66 OFF THE FENCE (ZDF Enterprises) chief creative officer Allison Bean creative dir Andrew Zikking head of prod Karen Meehan turnover £6.5m shows My Octopus Teacher (Netflix), America’s Deadliest Volcano Disaster (Nat Geo), Ancient Engineering (Curiosity Stream), Our Connection to Water (Nat Geo)
67 ICON FILMS ceo, co founder Laura Marshall chairman, co founder Harry Marshall commercial directors Lucy Middelboe, Belnda Cherrington director of production Andie Clare turnover £6.2M shows Mysteries of the Deep (Discovery), Secrets of the Mega Landfill (C5), Primal Survivor Season 5 (Nat Geo)
My Octopus Teacher
Icon says, “the demand for content from UK production is in no way reduced, the future is looking very busy” but talent availability, particularly for production managers, EPs, series producers and diverse staff in general continues to be an issue.
Autumn 2021 P28 68=
LIKE A SHOT (Argonon)
md Henry Scott director of production Steve Gillham production management Debbie Akinbola head of development Danny O’Brien turnover £6m shows Henry’s Men (Smithsonian), WW2 From Above (UKTV Yesterday)
Like A Shot says that as “we were already employing non-
televisual.com
65 VOLTAGE TV ceo Sanjay Singhal md Steve Nam head of production Amanda Hibbitts turnover £6.8m shows DNA Journey (ITV), Inside the Factory S5/6 (BBC2), What Are We Feeding Our Kids (BBC1), The Great Plague (C5)
Inside the Factory
UK crews to shoot in distant parts of the world, Covid was an opportunity to increase this. As such, Like A Shot had its best year ever in 2020.” Its usual travel costs were reduced and “increased demand where other productions had been postponed” meant an increase in “production and sales.”
WW2 From Above
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