Long gap since my last post, apologies. But last week I went to the annual MIP-TV market in Cannes which gave me plenty to think (and write) about.
Four days of meetings equated a big batch of ideas – though the word product seems more appropriate in such a marketplace.
Fewer people were wandering the Palais this year – cuts are biting, and there’s less face to face in the business anyway these days. The cost of attending a market like this for producers and distributors is large, and the pressure is on from day one.
With four of us from SBS all doing separate meetings, we covered a lot of companies. Telling distributors and producers what we needed, running through their ‘slates’, working off this MIP 2015 SBS Acquisitions Needs brochure.
My main impressions?
You meet who you know already. There should be a ‘lucky dip’ function on the website to put you together with people you’ve never met before.
30 minutes is not long enough for most meetings, given that I usually got there late and kept getting lost in the Riviera part of the market.
There’s no time to digest all the news and industry insight that floods the market – here are just a few of the magazines I picked up before leaving. In there are lots of programmes that I should be watching.
Caffe Roma, the central cafe for meetings with those who haven’t registered for the market itself – serves terrible tea.
What were the Aussies up to?
The SBS stand was opposite the Screen Australia stand for the Aussie producers, who made merry at a drink on the Tuesday.
It was good to see so many producers making the long trip to Cannes. Here’s a Screen Australia showreel of Australian projects brought to the market
At 22 minutes long, it’s a great way to get a fix of Australian TV. Spoiler alert: Doesn’t include all the terrible reality shows on Australian TV though.
And Blown Away (at 2:21) – a very intriguing part-animated doc on Cyclone Tracy which happened 40 years ago. There’s more about the film, shown in late December on ABC1 and co-produced by Rachel Clements, here
The other clips on the reel:
Deadline Gallipoli (3:17)
Miss Fisher’s Murder Mysteries (4:22) – which I’d love to see bought in the UK
Pitch Battle (5:38) – about the Palestinian football team
Restaurant Australia (7:22)
Sammy J and Randy in Ricketts Lane (9:37)
Status: Vacant (11:15)
Struggle Street (13:05) – coming to SBS in May
Tattoo Tales (14:57)
That Sugar Film (16:36) – a kaleidoscopic look at a key health issue.
Heart and Soul (19:35) – this looks like a good tale of girls making music and growing up
Vice is a brilliantly focussed and sure-footed media company and its ideas demand attention. Some ideas at MIP though seem there to test us. The delegate bag was sponsored by DogTV (TV for dogs, in case you were wondering). The Telegraph in the UK has written about the formats on offer, and it’s not too impressed.
One of the other SBSs around the world, in Korea, has the slogan ‘See The Bright Tomorrow’. Which is a nice thought, even though it doesn’t exactly work as a slogan.
MIP wouldn’t be MIP without a bit of socialising, and nothing beats a beachside party at Cannes. This one on Monday night was from distributor DRG.
If you were at MIP, let me know how you found it. At the Nordic party, I met a gentleman from Finland who reminded me that it’s only 170 shopping days left till MIPCOM…
Channel 4 got a very good audience for the original film – The King in the Car Park – three years ago.
But it’s been a great programming idea to make his reburial into a new TV event. Well done to John Hay, the commissioner of the live event, & Darlow Smithson Productions, who also produced the original doc. For making us realise that the identity of a 500 year old king matters.
History has significance – both for our understanding of what happened then, and for what might happen. And in an election year in the UK, that’s very important.
Channel 4 (them again) did a terrific season of programmes on immigration, including Love Productions’ Immigration Street – reduced to a single documentary after certain parts of the community decided they didn’t want it made – and other programmes. One of them was a doc made by Malcolm Brinkworth of Touch Films about an election in 1964 – which took place on the immigration faultline. Immigration will be one of the key issues of the UK General Election.
History is a big part of SBS programming, but making it relevant and watchable is what matters to the audience. I must say that I haven’t been watching many of the films about the First World War. And in Australia, the Gallipoli drama series on Channel 9 hasn’t been getting the audiences the programme merited. This extended trailer shows that it’s a really sensitive and moving piece of work – well worth 3 minutes of your time.
History, and the lessons of the past, are so crucial to understand today. I for one am really proud of the television that brings it to life for us.
Any comments, questions, responses, ideas – all really welcome
I arrived for my first day of a visit to SBS, based in a nondescript business park in the north of Sydney, at 9:30am on Monday 15th December. I’m working from London as their content consultant.
Half an hour after I got there and started introducing myself to my new colleagues, there was a sense that something was going on – programming changes were being discussed, questions being raised about whether some of our trails were appropriate in the circumstances. What’s happened, I asked?
A gunman had just taken a number of people hostage in the Lindt cafe in Martin Place, central Sydney. The pictures shown by Channel 7 – whose offices and studio were 30m away across the street – showed people with their hands up against the window, holding up a flag with Islamic writing on it. For the rest of the day, a sense of dread hung over the city. Nobody knew what was going to happen – or for most of the day who was behind the attack – but they all knew that it was a story which would have a big impact. It was being talked about as the first ‘terrorist attack’ on Australian soil. There was talk of Islamic State, and of more than one gunman in the cafe.
At SBS, like in all other broadcasters, the news took centre stage. Contingency plans were put in place, the news department did calm coverage – in contrast to some of the media, like the Daily Telegraph (nothing like its sober equivalent in the UK). Overnight, two hostages and the gunman died as the siege came to a bloody end.
Dealing with such events is what public broadcasters are there for – adding context, asking questions, and staying with a story when events move on. A station like SBS even more so, since we’re there to talk about social cohesion and Australia’s immigrant groups. I didn’t see enough of our non-news coverage last week to know how we responded, but It’s critical that we are part of this particular ‘national conversation’.
Community hatred is so easy to foster, and once it takes root can spread very fast. As an antidote, by the early morning of the day after the siege, the hashtag #illridewithyou had started for people to offer support to anyone wearing religious dress (like a headscarf) who might be shunned by their fellow travellers on Sydney public transport. It went viral, as people searched for glimmers of humanity after the tragedy. It also showed a refusal to blame an entire community for the actions of one disturbed individual. (Not everyone agrees it was the right approach – read this considered article on the hashtag).
I went to Martin Place on Friday, four days after the attack, and saw the carpet of flowers, together with notes and a few stuffed toys – especially poignant as one of the two hostages who died was a mother of 3 – outside the cafe.
How Australians respond to this story matters. Beyond the immediate response of Australians to grieve for the hostages who died, and pay their respects, there was a debate about Australia’s strict gun laws and bail laws – thankfully it doesn’t look as if there are any changes to gun laws in prospect. And, whether we like it or not, a debate about Islam and multiculturalism. The gunman used the flag, held up against the cafe window, to lead many to think that this was somehow an ‘Islamic attack’. We now know that this Iranian cleric Man Haron Monis had a history of violent offences and was acting alone.
And I know that SBS has a part to play in the debate which Australia is having about race relations. On January 4th we’re showing the first doc in a series called The Great Australian Race Riot, made by Essential Media, showing that the well-known Cronulla riots of 2005 were not isolated incidents. I’m looking forward to that, and know I need to acquire more programmes that can raise awareness of these issues. I’m very aware of the challenges of bringing them to a television audience, but that’s what SBS is there for, isn’t it?
Last week’s Asia TV Forum was my first visit, and my first visit to Singapore.
Plenty of channels, distributors, funding organisations and producers in an airy exhibition floor in the huge Singapore Convention centre. The event was organised by Reed Midem, with support from the impressive Media Development Authority of Singapore.
It was good to be representing SBS at an Asian market – Australia’s nearest neighbours after all. I had to keep reminding myself that these companies represented a population of 4.4 billion people – in countries where media and television were developing fast.
So should more people have been there? The French were by far the biggest European presence, with 20 companies on two stands – thanks to the support of TVFI, very well run by Mathieu Béjot. Other than that, there were a few representatives from Europe and the US, but not as many as I would have thought. Beyond and Flame joined me in the Australian contingent, though there were also distributors selling to the Aussie market. Maybe the cost is simply beyond an independent producer, and it’s best left to the distributors.
The emphasis was on entertainment, lifestyle and drama – though melodrama or telenovela might be a better description for a lot of the fiction on offer. Acquisition rates may be relatively low in some countries, but there are a lot of territories and they’re hungry for content.
I had good conversations with a few channels, and with the MDA, about working together with SBS. I know it isn’t going to be easy, and the SBS audience isn’t particularly used to Asian programming. We show the Chinese dating show If You Are the One on SBS2, and it’s one of the top-rating shows on the channel. Well, the actual title is Fei Cheng Wu Rao), 非誠勿擾, literal translation: ‘If not sincere, then do not disturb.’
The show was based on Take Me Out, remade as Taken Out on Australian Network Ten in 2008 and axed after just a month, only to have its format re-imagined and successfully exported to 19 countries including China. Just goes to show that ideas can have new lives.
Although Aussies are frequent visitors as holiday makers to Thailand, Indonesia, Vietnam, India, Myanmar and all the rest, it’s hard to find the right way to interest them in content from Asia when they return. I’m pretty convinced that we’ll need young Asian presenting talent to act as a guide to the myriad stories that are clearly waiting to be told. Once I’ve found that it’ll be a question of finding a mainstream audience for them. Anybody know if there’s a blockbuster Indian dating show we could buy?
I’ve now visited Malaysia, China, Singapore, Japan and Korea in the past few months, and know that there are talented and entrepreneurial people to work with. But I also know I’ve only scratched the surface. I think that a lot more ideas need to be generated, and working relationships formed. I’d like to give it a go though.
Back to Copenhagen after a week in London. I spent it catching up with production companies, distributors, and going to a day at the Televisual Factual Festival. Well moderated panels on Specialist Factual, Popular Factual, and how to make docs in danger zones, an interview with Ralph Lee of Channel 4, and a room full of remote cameras to demonstrate using a ‘rig’ set up. Quite a few people that I knew, but even more that I didn’t. Great to be reminded by everybody’s clip reels of what had been on, and working, in the past months. Peter Hamilton’s recently done a good overview of the UK non-fiction market, well worth a read (and I’d recommend subscribing, too).
While there was plenty of discussion of the difficulties of operating in the UK – particularly as a smaller company – the view from the stage was still that there was a big market for a range of UK produced content, particularly factual, that new ideas were sought and would get through, and that producers were well placed to take advantage. The BBC, Channel 4, ITV and Five all seemed to be in the same space for factual. Internationally, British content is doing well too – there were some big winners at the International Emmys last night. I know this is a rosy view and it’s really hard to get commissions – there are so many good ideas out there.
I met some new indies who’d set up in the great indie start-up craze as Televisual called it – amongst them Andrea Miller & Jerry Foulkes of Sunnyside productions, Fenia Vardanis of Melina Media. And companies from Bristol like Testimony, the ever-expanding Icon films, and Tigress who have all carved out a healthy part of the market without having to join the London shark-pool.
And they’re competing in a market with some big players. Discovery & Viacom have bought All3Media and Channel5, Endemol, Shine & Core Media have merged, and Warner has completed a rebrand of the production companies it bought through Shed. On the horizon is the move of BBC in-house production to be a standalone independent company, able to work for other broadcasters as well as the BBC. But if it has to carry BBC overheads and staffing arrangements, I can’t see how it’s going to compete.
All public broadcasters are having to change – mostly by downsizing – and my new colleagues at SBS are facing cuts announced last week – those for the ABC are much larger. But in truth the changes now imposed on the ABC have been happening for many years in the UK sector. It’s not just about saving money, it’s driven by changes in how the creative industry wants to work, and the ways audiences want to watch. The best result would be a more balanced ecosystem of independents and inhouse, and content that people want to watch and use.
Some of that public service ecosystem is on show this week at the IDFA Forum, Festival and DocLab – public service content in all directions, and all of it coming from independent producers working with or without broadcasters. I’m not saying it’s all made for the small screen, a lot of doc films see themselves in opposition to television and see their natural home as the cinema (and good luck to them).
The challenge for Australian broadcasters is to keep a focus on this public service content, rather than chasing ratings or focussing on the now not so new platforms. SBS itself has a real challenge to keep history, arts, social documentary, international themes on the channel. The opposition in Australia has so many battles to fight – about climate change, the environment, immigration policy, cuts to Science R&D funding, that broadcasting and the creative sector maybe don’t get enough attention. But as an outsider to Australia, it needs work.
My London week was rounded off by a Saturday night party for Anne Morrison, who’s left the BBC and is now Chair of BAFTA. She’s managed so much in her 33 years at the BBC, from 18 years running various factual departments, to driving the Nations and Regions strategy (how to move production and commissioning out of London and into the English regions and Scotland, Wales and Northern Ireland, which I worked for Anne on). And most recently the BBC Academy, the BBC’s training organisation. (You should check out the material that’s available for free on their website, particularly the Journalism section).
It was great to see old colleagues, both from the BBC and the independent sector. The quality television programmes produced in that room really captured a lot of my past, and I felt pretty proud to be a part of it. But I couldn’t help feeling we were the lucky ones to have been able to work in such a well-supported organisation.
Thanks for reading till the end, feel free to share, comments welcome below.
There’s a national drive in Korea to make documentaries the next Korean international content success. Korea made a national project out of becoming the world’s biggest music producer through K-Pop. Pretty ambitious project for a country of 50 million people. But they’re now the fastest growing music industry in Asia, with a massive presence in Japan and inroads into China too. Psy’s Gangnam Style with its retro and knowing dance routine (2 billion views and counting for the video) was K-Pop’s breakthrough moment, though not really typical of what Korea generally makes – choreographed pop hits, auto tuned to within an inch of their lives.
Now the government has looked at Documentaries and decided that they are another form of international content that can be given a government boost and conquer the international market. So Docs Port Incheon, which ran at the beginning of November, benefited not only from healthy government funding, but also the industry focus that this provides. I was an advisor, with the lovely Karolina Lidin of Sheffield Doc/fest and Nordisk Film and TV Fund fame, and this was the first proper year of the event after a try-out last year. At the public pitching were representatives of investment funds that normally do movies, alongside public agencies, Korean broadcasters, and international commissioners, distributors and funds – all promising cash to some challenging documentaries. Catherine Olsen from CBC, John Lee from Tribeca, Esther van Messel from First Hand Films, Catherine Le Clef from Cat and Docs, Rudy Buttignol from Knowledge Network, Fiona Lawson-Baker from Al Jazeera English, Claire Aguilar from ITVS and Nihotpal Majumdar from DocEdge all attended.
The event was held in the Paradise hotel in the gritty port city of Incheon – enormous cargo ships full of the cars, TVs, microwaves and all manner of stuff that comes from Korea. The hotel TV showed Japanese baseball every morning (another sort of pitching).
There were many winners amongst the 22 Korean and other Asian projects pitched. The money that companies got in cash prizes, as well as post-production support – $500,000 USD – is a very large sum by any standards. It wouldn’t pay for entire productions but would go a long way. Several of the projects were then going to be pitched at a Korean pitching event at IDFA in Amsterdam next week – all paid for by one of the content promotion agencies.
The challenge for content producers and funders though is that the Asian market is pretty fragmented for factual. There’s China, which is huge but somewhat unfathomable for other Asian countries. Japan, which can be quite introverted and dominated by NHK. And then the rest, where independently produced content is something of an unknown quantity.
I’m hoping to do some consultancy in Korea to help the indie production sector. I was on a panel about independent production and international coproduction, (thanks to Wonjung Bae for organising it and IJ for moderating with aplomb. He made us all have a proper stretch after the first hour and a half).
I also gave a lecture to the pitching teams called Changing the Narrative about why documentaries matter to a country like Korea (download the Changing the Narrative presentation if you like). The UK’s indie story is a good one, and the big numbers that UK indies have generated make sense in government circles. Factual and entertainment formats are the driver in Britain, and could be in Korea – feature length docs don’t have the cash-generating potential they’re looking for.
And I’m sure they can come up with the right ideas to make use of all that lovely public development support – as a country they seem to be able to do a lot when they put their mind to it. UK indies as ever have spotted an opportunity in the country. There are already good links between some companies like OSF – their new BBC/Terra Mater series Wild Weather with Richard Hammond is coproduced with Paan Media Holdings of Korea, and goes out in ten days time in the UK. Amanda Groom of The Bridge, part of Argonon, runs a consultancy which specialises in setting up projects with Korea, and is very active there.
The companies I met at Docs Port are quite filmmaker-led – they could all do with spending more time and money on ideas development I’d say. The money is being spent developing a project, rather than helping them come up with ideas in the first place. The mixed ecology of docs and fact ent of many UK companies would be a good model for them – if they can get the scale in factual. For that, they need broadcasters to invest in indie production rather than their own in-house production, and that looks like a long way away. But with a determined government behind them, who knows?
Plus, there’s a channel called SBS in Korea – there’s got to be an SBS-SBS Korean-Australian coproduction, surely?
Korean producers have been active in factual events like Sheffield Doc Fest, IDFA, and will no doubt be present at the Asian Side of the Doc in Xiamen, China, next March. A couple like Ha Sinhae of Boda Media – who’s just brought back a prize from a festival in Sao Paolo for Here Comes Uncle Joe
– and Gary Kam who produced with Min-Jul Kim and director Seungjun Yi the multi-award winning Planet of Snail, are well travelled on the doc circuit. What they might need to do now is to build scale with something more TV-focussed like a factual series, perhaps for the Asian market in the first instance
Thanks to Seokpil Kang, Wooyoung Choi and Gary Kam for bringing me to Docs Port and introducing me to Korea. They were excellent organisers, so friendly and welcoming, and know how to have a good party without spending a fortune. I’ll be back.
There was a packed auditorium for the main debate at Wildscreen on Wednesday. It covered themes familiar to previous festivals, but no less important for that, according to Wildscreen veterans. How television wildlife films misrepresented the world and its environmental problems. How cute and fluffy animals don’t tell the whole story. How the word ‘Environment’ is a turn-off for commissioners. Questions from the audience came from people identifying themselves as from the ‘‘Save the Rhino’ or ‘Ocean Conservation’ campaigns. They were impassioned about the need to raise public awareness of habitat and species loss, including of the dreadful trade in shark fin soup which kills between 75 and 100 million sharks a year. The reality of climate change and our role in destroying our planet hung over everything.
On the panel, Channel 4 factual boss Ralph Lee presented a clip of the series Fish Fight, sitting alongside Will Anderson of producer Keo Films. The impact of Fish Fight on the policy of supermarkets, and European Union policy, including through social media is thoroughly documented and well worth a read.
But Channel 4 has had to set aside some of its campaigning work to keep its ratings up. I heard Ralph Lee say as he was leaving the venue that he’d been dining out on Fish Fight for three years. Alongside him on the panel, the BBC’s Science and Nature commissioner Tom McDonald squirmed a bit when asked if as a public service broadcaster they could do something like Fish Fight. He used the familiar BBC defence ‘we’re not allowed to do campaigns or be political’ – which seems quite weak to me. There’s nothing party political that I can see about a programme dealing with the food on our plates, or how the supermarkets behave. And Fish Fight wasn’t promoting a campaign group, it was an independently produced examination of the subject which got its message out. If there was a problem with dealing with such issues, shouldn’t the BBC be looking at Watchdog and other consumer journalism? Feel free to browse the BBC’s editorial guidelines to see how you interpret them, and how they apply to series such as Fish Fight.
Ralph Lee had cleverly assembled a reel of C4 clips – from a live show from the Space Race, the drama Utopia, and a Kevin McLoud design series – to demonstrate how environmental questions could be covered in other programme forms, not just documentaries about the natural world. The BBC’s science and natural history commissioner Tom McDonald also reeled out plenty of examples.
But this didn’t satisfy the audience, or me. The state of the planet is too grim, and climate change too grave an issue, for it to be just ‘smuggled into’ programmes. It really needs creative thinking and leadership from the top. Tony Hall of the BBC has brought about a change in the BBC to be an Arts broadcaster, and a Diverse broadcaster. And backed it up with money and resources. How about allocating similar funds and managerial will to making the BBC actively cover climate change and its effects? This BBC Trust report from 2011 on BBC’s Science coverage still seems to stymie debate in the BBC about the coverage of climate change issues – but it can’t be allowed to. TV has a bigger responsibility than that.
Joe Smith and Kim from the Open University, with the filmmaker Jeremy Bristow behind the camera, interviewed me for a research project about the coverage of environmental issues in broadcast media. A great subject, and it made me think hard about the responsibility of people with such powerful tools as cameras, TV channels and other platforms at their disposal – and often with money from the public.
The channel I’m now working for, SBS, has done a series looking at the origin of the seafood Australians eat, called What’s the Catch? – starting on Thursday 30th October. I’d like to see more campaigns and awareness-raising on the channel, and know I’m going to be asking myself with the same questions on the best way to get people to engage. It can’t be beyond us to work it out, can it?
Please comment on this, or email me. Thanks for reading!
Wildscreen is a conference and gathering held in Bristol for nature and wildlife filmmakers, distributors, and broadcasters. It happens once every two years, alternating with the Jackson Hole festival in Wyoming. Everybody clusters around Bristol’s lovely harbourside, like animals around a waterhole, wandering between the Arnolfini Gallery, Bordeaux Quay, and the Watershed centre.
It’s relaxed, chatty, and dressed-down.
Nearly 30% of the world’s wildlife programmes are made by Bristol-based companies or crew. The BBC Natural History Unit was founded here over 50 years ago, and provided a foundation for the sector. Now October every two years is the place to be to watch, discuss and celebrate the genre. It has its Panda Awards, given out on the last night – and you can see the results here. Wildscreen feels very different from the business-driven ‘industry’ events like Realscreen, the Broadcast conferences, or Sunny Side. There are sponsors of course, but it’s all low-key. Like the World Congress of Science Producers, Wildscreen feels run by the community for the community.
After I left for dinner on Wednesday I’d like to think the crowd at Bordeaux Quay would have got down grooving to this little number:
There’s a strong production aspect to Wildscreen – about actually making films as well as financing them. There was much talk about the need to innovate in camera techniques to boost declining audiences. Camera manufacturers and rental companies had their own room to show off their kit, usually with seriously long lenses attached. 4K is now standard for filming wildlife.
Janet Han Vissering of Nat Geo Wild handed out lots of chocolates, and got the members of her panel on coproduction, the first of the day, to wear T-shirts with flags of the countries they were from. Everybody on the panel knew and had worked with each other. Janet’s metaphor for coproduction was a holiday with a friend, and she entertainingly got audience members to talk about the pitfalls of such holidays. All the panellists looked as if they’d be pretty good holiday company.
Partnerships across borders are now essential in factual programmes. Hence the very international feel of the market. I met Germans, French, Austrians, Australians, Irish, Americans, Canadians. Kenny Bae from Korea was there with his hi-tech selfie-taker
Hiromichi Iwasaki of NHK in Japan told us about their very big budget Giant Squid documentary from earlier this year. The production used a boat costing $50,000 a day, for 60 days, to try and catch the first images of the squid. $3 million just for the boat, with the rest of the cost of making the film on top. (Though that $3 million did apparently include the submersibles).
The US producer on this coproduction (on the right in the picture above) told the audience that having invested in the huge cost of the expedition, Discovery said that they wanted a ‘monster‘ film, not an expedition one, as ‘monsters were hot right now’. They needed quite a bit of persuading to keep the expedition aspects in, apparently.
I’ve been making it my business to work in the coproduction area over the past three years. That’s been with the Sunny Side and Asian Side of the Doc markets, helping the international development of Gedeon, and now consulting for SBS in Australia. Wildlife is a very international genre, but because of that – and the fact it often doesn’t date – supply outstrips demand. And the audience is always asking for something newer and different, particularly in Australia where both the ABC and the commercial channels show the cream of natural history filmmaking. I’m realising I need to ‘think different’ and find more partnerships with broadcasters – and not just the usual suspects – to secure the impactful shows that we want to bring the SBS audience. I’d love to hear and talk about ideas along those lines you might have.
Suzanne Harle from distributor Green Planet Films, seeing that I represented SBS, told me of when she was a student in the early days of SBS, where it was associated with programmes about drugs, peace and love. Apparently in those days the student audience watching it was mostly stoned, and SBS stoodnot for Special Broadcasting Service but for the Special Bong Station. I will look that when I go to Sydney in December…
Three and a bit days in Cannes for MIPCOM have just come to an end. The Indian summer gave way to dramatic cloudbursts, making the Croisette look like somebody had gone overboard on the CGI budget.
Drama subplots were everywhere. Warner International’s semi-open stand on the beach got flooded out; All3Media laid on Tuk-Tuks to their lunch for Lion TV’s 17th birthday, only for their drivers to get arrested. Companies that were big were becoming even bigger. Shine International had fine Sunday evening weather for their opening drinks by the pool – likely one of their last markets as a standalone outfit before the Endemol-Core merger. Your correspondent can report that Shine’s Espresso Martinis were excellent. May such creativity not get lost in the merger.
The frequent downpours in elegant if overpriced Cannes seemed to echo the rapid changes in the industry. A global industry crammed together in a small space, sent scurrying for cover by unpredictable events. Digital distribution was once again the talk of the market. Ted Sarandos of Netflix gave a keynote – comin’ atcha, Japan, Australia and New Zealand. HBO announced a streaming service. The stands and posters though were all still about the content – in that sense, little changes at MIPCOM from year to year.
The days were full with half-hour meetings – ‘speed-dating’, as my boss at SBS Peter Andrews called it – and my notebook quickly filled with titles, delivery dates, and conversations to follow up. Being with my new colleagues Peter, Ben Nguyen, Tony Iffland & Andrew Golding as we were pitched by distributors and producers was a great way to learn about SBS, and my version of the SBS editorial pitch is now flowing a bit more naturally. Our acquisitions wishlist and programme catalogue got held up in French customs for a day, but eventually it became a useful prop to head off the ‘what are you looking for?’ question. Let me know if you’d like a pdf emailed to you – though it’ll also be online soon.
Wednesday ended with BBC Worldwide Australia & New Zealand’s drinks and dinner on the roof of a chi-chi hotel. Plenty of new contacts to follow up on when I get to Australia in December.
It was good to be back in the swim of broadcasting, and I’m really looking forward to my new role. Next time I come to Nice airport though, I’m going to remember to pack my helicopter.
As of earlier this week, I’m the International Content Consultant for the channel SBS in Australia. I’m still based in Copenhagen and London, but spending part of my week working to the team in Sydney to scout for programmes to acquire for the channel – factual/documentary, but also other genres too. Really looking forward to getting to grips with a new channel and above all a new audience. The job will take me to markets and events, but I’ll also be connecting with production companies, broadcasters and distributers in person and online. I’m taking over from Jane Roscoe, who’s gone to run the London Film School. Lots to get my head round, but it’s a great opportunity for me.
Peter Hamilton posted a note about it on the Australian page of his excellent Documentarytelevision.com site – scroll down here to find me on the page.
The logo above says SBS stands for Seven Billion Stories, so I guess I have plenty to choose from…