FACTUAL
GENRE REPORT
“I'M KEEN TO HEAR
MORE IDEAS
ABOUT MORE DIVERSE STORIES”
POPPY DIXON, SKY
crime services in the US. Anastasi has found that demand for the
indie’s core genres of history and true crime seem solid, both in the UK and internationally. “Because of people’s openness to do video calls, I’m having conversations with a lot more US and international broadcasters.” The message from most is that tariffs are staying the same, although the number of hours may dwindle.
LESS IS MORE That message is echoed in the UK. Tim Davie’s opening speech as BBC director general at the start of September, talked about making 80% of current hours while maintaining investment, to focus on “unique, high-impact work that is loved.” For factual, this points in part towards those big, noisy primetime formats. With such a big emphasis on the sort of
22
televisual.com Autumn 2020
reassuring content that contains resolution and pleasure, there’s an increasing need to find ways into more challenging subjects in order to make them audience-friendly. As Woods at True Vision says “for companies like us it means we might have to adapt, do lighter stuff…more left field and less heavy sounding.” And where the story is in fact inspiring and joyful, to make sure that shows get the right title and marketing message.
A BIGGER MIX Theme and tone aside, the biggest feedback from broadcasters is the call for diversity, both on and off screen. BBC Chief Content Officer Charlotte Moore has said she wants to see diversity “hard- wired” into the Corporation. At BBC2, controller Patrick Holland has recently sent one at least one indie back to review its crew line-up and make significant changes. Other broadcasters are taking
a similarly tough line. Sky’s new director of Documentaries and
Factual Commissioning Poppy Dixon, recently announced five factual specials. “I’m keen to hear more ideas about more diverse stories,” she said. “That doesn’t mean they necessarily have to be about race or racial injustice but stories that happen to have a diverse group of people in them - race, gender, disability, everything.” Presenter- led films, or closed-ended episodic series are not on her wish list. “Be bold and pitch amazing feature-length or multi-part series.” With bigger audiences than ever, and a
diminished pipeline of programming, there’s certainly a need for content, but going into 2021 there are multiple challenges and those in the factual production industry, in common with people the world over, will be praying for that vaccine.
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
