ambition with budgets. We’ve got to stand out from the crowd, so any ideas that the team come up with have got to have some level of innovation, some difference to make us attractive to streamers and broadcasters. But trying to bring the level of ambition, diversity and all things that really matter comes at a cost. Our ambition sometimes doesn’t match the budget from broadcasters. There is a fallacy that streamers will give you triple what a UK broadcaster will give you, but for unscripted we still have those same pinch points.
HOW IMPORTANT IS SKILLS DEVELOPMENT?
GENERATIONS THROUGH, BECAUSE WE’RE WAY BEHIND
A FEW SCHEMES FOR A YEAR OR SO IS NOT ENOUGH, YOU’VE GOT TO HAVE AN ONGOING COMMITMENT TO BRING NEXT
DD It’s really important. You can’t fast track it…A few schemes for a year or so is not enough, you’ve got to have an ongoing commitment to bring the next generation through, because we’re way behind.
SM TV is
getting more sophisticated and therefore more
CL The hardest thing to do is to keep the quality up, to guarantee that whatever your budget is you can keep within it. With budgets tighter, things get tougher. The biggest challenge is to lose the blame management, to work cohesively, to try to lose fear and to do that means managing broadcasters’ expectations.
challenging to make, with tighter deadlines and higher expectations, which needs more highly skilled and trained people, in both editorial and production management. The workshop movement of the 1990s which took young people from under- represented backgrounds and taught them how to make TV - funded by the broadcasters and by government - could be an inspiration here.
EH Thankfully for smaller indies and freelancers, there are a number of organisations out there running courses and mentor
schemes. Ongoing training and skills development seem to be a bit hazier in the industry and this needs prioritizing. Ironically it seems there’s more of that individual training available to the freelance community than within many big indies.
TM It’s vital and we need to be doing way more of it. When I was a researcher /ap I had the chance to work on projects for their whole duration – including through the edit. So I learnt partly by osmosis and partly by the generosity of the directors, sps and execs who I worked with. And that’s before we get onto the technical training that I had. So we need to ensure that emerging talent isn’t just thrown in at the deep end, but gets the chance to learn and to grow.
of the West of England - UWE Bristol) and many other skills and training organisations that provide talent.
FS It’s so important, it can’t be an afterthought...We’ve got to look for the next generation of leaders. Not just senior leaderships, but where are the show-runners for the next generation of The Rap Game or The Apprentice?…I need to look around and see who is the next person stepping into my shoes. That way you are creating different voices, who bring something new and fresh to the table.
THE MARKET IS BECOMING INCREASINGLY HYPER GLOBAL, AND YET
THERE’S ALSO GROWING OPPORTUNITY IN THE HYPER LOCAL
WD It’s essential in specialist areas of factual such as nature film making. We’re fortunate in Bristol to have two excellent universities (University of Bristol and University
CL It gets tougher to train people formally on the job. It is happening less and less. So we have to set up mentoring schemes, while making sure there’s formal as well as informal learning. It’s
essential to keep the industry thriving…The future is skills development.
HOW IMPORTANT IS A GLOBAL VISION?
TM I’d say that television is doing two things at the same time, which sound contradictory but they are actually complementary. The market is becoming increasingly hyper global, and yet there’s also growing opportunity in the hyper local – ideas and programming which speaks to the audience of a single country and region. That feels exciting because there’s a chance to deliver global ideas, but also a chance to keep what’s distinctive about our British talent, approach, ideas and humour. The opportunity to win commissions for a particular region, or territory is going to keep growing. Ultimately, you need to think about both and deliver a different pipeline of ideas to both.
Blitz Spirit with Lucy Worsley CL For Curve, it’s important thinking See the Televisual Factual Films at
televisual.com 31
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
