FACTUAL TV
HIGH-END DOCUMENTARY
over seven hours it allows you to understand the story in a completely different way than a one- hour piece, when you bounce along the top of the story. It becomes much more sophisticated, more layered.” Raphael describes some of the detail in 72
Films approach that helps to make its work distinctive. Referencing Rise of the Nazis he describes it as “plotted forensically”. In the case of this BBC three-parter, the contributors were interviewed and then extensive drama elements were shot to enhance the story. “There’s no dialogue, we don’t want you to think - is that what Hitler would actually say, or is it a good impression. It’s about letting the story unfold naturally.” At Zinc, Edwards is open to hiring scripted
production talent, bringing documentary closer to scripted norms. Documentaries are now using pace in a different way, sometimes playing with time frames. “What I’ve made is considered premium, but moving forward, people are saying that they were really good, but you need to go to another level.” Edwards is interested in sound. “I think that’s
one element that’s leaping forward and I’m hoping to learn about how you do sound in filmic way that we haven’t done for documentaries. She’s been watching the documentary series Cheer on Netflix and thinking about how they are gathering sound without placing radio mics. “The sound has to feel seamless.” At Red Bull Studios, McDaid says that
one project might “play with the audience perception…breaking the fourth wall.” All this experimentation, reaching a higher
bar, needs paying for. Working with well-funded SVODS normally entails a deal that hands overs all rights. “All producers are looking for a different model,” says Pearlman, “to find some kind of a
Televisual recently caught up with factual commissioning editors from across the main UK platforms for a series of filmed interviews. You can see all 12 Televisual Factual films for free at
https://www.televisual.com/news/televisu- al-factual-films-what-commissioners-want/
WARM AUDIENCE ALREADY.
“SPORT HAS A
THEY DON’T HAVE TO WORK SO
THERE’S ALREADY ONE OUT THERE”
HARD TO GET AN AUDIENCE, AS
COMMISSIONERS AND BUYERS REALISE THAT
hybrid between the old model relying entirely on upside and new one that has no element of it at all.”
At Noah Media, they are applying science
to development, with NoahX, which aims to take a data-driven approach to the potential distribution of a project and thus its viability. McKenna describes the approach: “We’ll analyse on audience, track record of comparable films - territory by territory, budget level, where they’ve performed well around the world, lots of data points.” It’s a tool that could also be used by third parties. But he concedes that there are always going to be outliers. “Who knew that a documentary about an octopus would win an Oscar?” There’s a confidence among premium factual
producers that demand will remain strong for the predictable future. “The quality is only going to get better and better,” says McKenna. “The production values are fantastic now….I can’t see the appetite for this type of content waning.”
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58
televisual.com Spring 2022
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