TOP 100 PRODUCTION 100
SURVEY
Raw TV
(All3Media) chief creative officer, founder Dimitri Doganis co founder Bart Layton chief commercial officer Piers Vellacott CEO Joely Fether COO Fiona Clarke EVP US factual Sam Maynard CD Factual Liesel Evans fd Jane Gant turnover £80.9m shows The Tinder Swindler (Netflix), Stanley Tucci: Searching for Italy (CNN), Rich & Shameless (TNT), Paddy & Christine McGuinness: Our Family and Autism (ITV), Encounter (Amazon Prime)
Raw moves up the Production 100 list from seventh last time to
second this year. The company picks out its film, The Tinder Swindler, as a highlight with the doc becoming Netflix’s most watched documentary of all time with 170million views. Raw says it is focused on “driving diversity through our company and we are proud to say that at least 50% of those working at Raw are women, and we are committed now to ensuring that 50% of the directors we work with are female.” Alongside this, there is a “wider commitment to up the numbers of people working with us who are from groups currently under- represented in TV, and have set targets which we are measuring ourselves
Studio Lambert OO7 Pulse Films
(All3Media) ceo Stephen Lambert creative director Tim Harcourt head of drama Sue Hogg turnover £57.2m shows The Circle (Netflix), Lovestruck High (Amazon Prime), Gogglebox (C4), Race Across the World (BBC)
Studio Lambert, says that “managing the resumption and completion of a number of large COVID delayed programmes, whilst simulatenously securing new first series commissions,” was a big highlight for the company but says that the “recruitment of top quality staff in a highly competitive market” is one of the major challenges to face. “Demand for great shows is high and everyone seems to be busy which presents the challenge of recruitment.” It also points out that C4 privatisation plans “make no sense and will reduce the number of suppliers in the sector.”
OO2 The Tinder Swindler
against.” All new projects are using the Albert calculator, and are budgeting for carbon offsetting with ‘green planning’ time in pre-production schedules. Raw says that US and SVOD buyers
are becoming more cautious as subscriber competition heightens and predicts the “appetite for lower cost programming / lower volumes will grow.”
OO8 Love Productions OO9 Hartswood Films OIO
(Vice Media) President (Commercials & Entertainment) Davud Karbassioun Global Creative Director of Non- Fiction Diene Petterle COO (Scripted) Jamie Hall turnover £55.9m shows Harry Potter: 20th Anniversary Return to Hogwarts (HBO Max) + Sky; Dead Asleep (Hulu + Sky)
Pulse says it is on track for “it’s biggest year ever” with six commissions secured in six months and seven Primetime Emmy nominations. The second series of its hit drama Gangs of London was also completed with a TX slated for October. Pulse says that despite the “unprecedented changes and challenges” of recent times “the market remains strong and the industry has proved resilient.” It says its “multiple global revenue streams” (Pulse works across, film, TV and commercials) have been the key to its success.
(Sky Studios) ceo Richard McKerrow md Letty Kavanagh creative dirs Kieran Smith, Sara Ramsden turnover £55.4m shows The Great British Bake Off (C4), Junior Bake Off (C4), The Great British Sewing Bee (BBC), The Great British Pottery Throw Down (C4)
Love Productions says its key achievement over the last year “was being able to continue to maintain the successful production” of its UK output and “meet transmission schedules through the continuing challenges of Covid.” As well as the established returning hit series, Love also went into production on two brand new series, The Big Blow Out (8x60) for E4 and The Piano (5 x 60) for Channel 4. In the US, Love agreed a back catalogue deal with Roku and bagged an order for a new series of The Great American Baking Show, made by Love Productions USA.
ceo Sue Vertue creative director Steven Moffat director operations Debbie Vertue md Dan Cheesbrough turnover £53m shows The Time Traveller’s Wife (HBO), The Devil’s Hour (Prime Video), Inside Man (BBC/ Netflix), The Control Room (BBC)
It’s been quite a year for Hartswood, one which has seen it “produce major shows for the BBC, Netflix, Amazon, HBO and Sky. We’ve shot 6 series, 31 episodes and 28 hours of high-end drama and comedy for UK and global audiences, many of which are planned to return.” It says the outlook is “strong” for UK production. “There are some doom mongers out there and conditions are definitely hardening” but “if you have a great script and a great team around it – the potential to set that show up in the UK, at the highest levels – continues to be better than it ever has been.”
Gogglebox
Dead Asleep Autumn 2022 P38
The Great British Bake Off
televisual.com
The Time Traveller’s Wife
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156
