How the Particle Fever Team Made a Physics Thriller Theory Via Stunning Animations

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A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. COMMUNICATIONS BRUNICO OF PUBLICATION A GIJIKJK; | CRAFTING GLOBAL CONTENT GLOBAL CRAFTING | SQUARE THE INSIDE

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team made a physics physics a made team

Particle Fever Fever Particle the How IN FOCUS IN

SCIENCE

RODEO GIRLS™ DANCE MOMS® DUCK DYNASTY® ALWAYS ENTERTAINING The most original entertainment lives on our networks.

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RRS.23977.AE.inddS.23977.AE.indd 1 008/11/138/11/13 2:282:28 PMPM contents november / december 13

BBC Worldwide’s Million Dollar Intern is moving 13 internationally.

BIZ 19 Brands, producers and networks converge on BCON Expo; exec shufﬂ es at NBCU cable nets ...... 9 Director Jehane Noujaim’s doc The Square, recently acquired by Netﬂ ix, enjoyed two world premieres. AUDIENCE & STRATEGY Crafting global content for international network groups ...... 13

“A lot of programs these IDEAS AND EXECUTION Behind the scenes of The Square ...... 19 days are about celebs going on a ‘life journey,’ SPECIAL REPORT cryin’ at the end of it… SCIENCE FOCUS An exploration of four scintillating science-based projects ...... 24 This is not that sort of FORMAT FOCUS program.” 30 Syfy going live with Opposite Worlds ...... 28

AND ONE MORE THING NOVEMBERNOVEMBER / DECEMBER 1133 on the cover F***in’ hell, it’s Karl Pilkington! ...... 30 Design ﬁ rm MK12 collaborated with SCIENCE the ﬁ lmmakers of the feature doc IN FOCUS Particle Fever to help explain particle How the Particle Fever team made a physics thriller theory via stunning animations.

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L%J%GFJK8><G8@; 8LKF ALSO: INSIDE THE SQUARE | CRAFTING GLOBAL CONTENT GIJIKJK; A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. Ebeling Group) Realscreen Cover.indd 3 06/11/13 12:18 PM

003

CContents.inddontents.indd 003003 008/11/138/11/13 2:232:23 PMPM November + December 13 Volume 17, Issue 2

My science Realscreen is published 5 times a year by Brunico Communications Ltd., 100- 366 Adelaide Street West, Toronto, Ontario, Canada M5V 1R9 shame Tel. 416-408-2300 Fax 416-408-0870 www.realscreen.com

VP & Publisher Claire Macdonald [email protected] Editor and Content Director Barry Walsh [email protected] have a confession to make, and it’s not something I’m proud of. But Associate Editor Adam Benzine [email protected] given that this issue of realscreen is headed to the World Congress of Staff Writer Kelly Anderson [email protected] I Science and Factual Producers in beautiful Montreal, I feel the timing Contributors Chris Palmer, Kevin Ritchie, John Smithson is appropriate to get this 1,000-pound weight off of my sagging shoulders. Associate Publisher Melissa Giddens [email protected] Deep breath… here goes. Account Manager Lisa Faktor [email protected] Marketing & Publishing Coordinator Aimee Ross [email protected] As a high school student, I lasted one day – one measly 45-minute period – in Creative Manager Andrew Glowala [email protected] my Grade 11 physics class. Art Director Mark Lacoursiere [email protected] This is something that has haunted me to various degrees for all the years Production/Distribution Coordinator Robert Lines [email protected] since, but even more so since I’ve come on board at realscreen and watched scores of science documentaries and series, lovingly produced by individuals webmaster Farhan Quadri audience services who, I can only assume, stuck it out and went the distance in physics class. Director of Audience & Production Services Jennifer Colvin Sure, I did take chemistry and biology, and did rather well with both [email protected] subjects – bar the time in biology class when I accidentally sent a frog Manager, Audience Services Christine McNalley [email protected] carcass fl ying across the lab while attempting to dissect it, and into the lap corporate of another student. Marita, if by any chance you’re reading this, I do hope I President & CEO Russell Goldstein [email protected] VP & Editorial Director Mary Maddever [email protected] haven’t scarred you for life. VP & Publisher, Kidscreen Jocelyn Christie [email protected] And yes, I did try to make up for my physics failings by reading popular VP Administration and Finance Linda Lovegrove [email protected] science books making the rounds amongst the smart folks – Goethe, Escher, VP and Chief Information Offi cer Omri Tintpulver [email protected] Bach and Six Easy Pieces among them. But still, I carried the fear of potentially being seen as physics-phobic. All letters sent to realscreen or its editors are assumed intended for publication. Realscreen invites editorial comment, but accepts no That’s why I’m so excited to see Particle Fever (featured on page 24), a responsibility for its loss or destruction, howsoever arising, while in its offi ce fi lm that the New York Times has called a “mind-blower” – a sentiment or in transit. All material to be returned must be accompanied by a stamped, echoed by those I know that have seen it. It’s also why I’m keen to see more self-addressed envelope. Nothing may be reproduced in whole or in part programming on the cable spectrum that deftly marries the smart stuff with without the written permission of the publisher. the fun stuff – I can point to National Geographic Channel’s Brain Games ISSN number 1480-1434 © Brunico Communications Ltd. 2013 or Discovery’s The Big Brain Theory as just two examples. Sure, science

programmers and producers have been crafting entertaining and educational U.S. Postmaster: Send address changes or corrections to realscreen, PO Box science content for years. But, especially in an era when tech mavens are the 1103, Niagara Falls, NY, 14304 | Canadian Postmaster: Send undeliverables new rock stars (or, closer to the truth in terms of popularity and inﬂ uence, and address changes to realscreen, PO Box 369, Beeton, ON, L0G 1A0. the new hip hop stars), there’s a golden opportunity for content creators to Canada Post Publication Agreement No. 40050265 Printed in Canada captivate growing audiences with inspiring and mind-expanding programming To subscribe, visit www.realscreen.com/subscribe, email – and to have fun with it too. [email protected], call 416-408-2448, or fax 416- So while I can’t turn back the clock and walk back into that Grade 11 class, 408-0249. Subscription rates for one year: in the US, US$59.00; in Canada, or pin down that frog more securely, I can, and will, greedily consume clever, CDN$79.00; outside the US and Canada, US$99.00. creative and challenging science content. And so will many, many others. ™ Realscreen is a trademark of Brunico Communications Ltd. Please keep it coming.

Cheers, Barry Walsh Editor and Content Director realscreen

004 November / December ‘13

EEditor.inddditor.indd 004004 007/11/137/11/13 4:184:18 PMPM HGTV: John Colaneri & Anthony Carrino Travel Channel: Andrew Zimmern

Great American Country: Cooking Channel: Travel Channel: Farm Kings Mo Rocca Anthony Melchiorri

WE WANT TO START SOME CONVERSATIONS.

This year, we’ll produce over 2,000 hours of top-rated lifestyle programming.

We need the best production partners Realscreen has to off er.

Let’s talk.

DIY Network: Vanilla Ice

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Great American Country: Travel Channel: Kimberly Schlapman Don Wildman HGTV: Drew & Jonathan Scott © Scripps Networks, LLC

RRS.24019.Scripps.inddS.24019.Scripps.indd 5 113-11-073-11-07 2:172:17 PMPM That’s a wrap

he crowd at our BCON Expo NY in late October was treated to UPCOMING ADVERTISING high-level and insightful panels featuring experts from all facets & SPONSORSHIP OPPORTUNITIES T of the global branded content community. Presented by realscreen and STREAM, the day featured speakers from the likes of Google/YouTube, JANUARY/FEBRUARY Intel, The Chernin Group, Universal Music Enterprises and Vice Media, and examined brand-funded content models across platforms that have This issue will feature a special report stood out in the past year, and the mechanics behind their success. on stock footage, as well as a history Sincere thanks to all of the speakers for sharing both their knowledge genre focus, a celebration of our 2013 and their predictions for what’s next in the space and to our advisory Trailblazers, and a report on casting. board for its unwavering determination to set forth an agenda that truly inspired and educated. Bonus distribution Our team here is now pulling out all the stops to make the upcoming Realscreen Summit, NATPE, Impact Media edition of the Realscreen Summit the best ever. Now in its 16th year, Summit and Sundance Film Festival the Summit is undeniably the most important non-ﬁ ction market and conference on the international circuit and is poised to attract well over Booking deadline 2,500 delegates from around the globe. The advisory board, helmed by Jonathan Murray, chairman, Bunim/Murray Productions and Eileen December 5 O’Neill, group president, Discovery, TLC and Discovery Fit & Health Networks, is committed to covering new ground and tackling the most For information on any of these relevant issues and trends in today’s unscripted and non-ﬁ ction landscape. opportunities or to discuss something The board is rounded out by Julian Bellamy, creative director, head of custom that we can do for you, call production and development, Discovery Networks International; Michael realscreen sales at 1 416 408 2300 and Davies, president, Embassy Row; Nick Fraser, commissioning editor, BBC ask for Melissa Giddens at x228 or Lisa ‘Storyville’; Eden Gaha, president, Shine America; Carl Hall, managing Faktor at x477. director, Sky Vision; Beth Hoppe, chief programming executive and general manager, general audience programming, PBS; Lauren Lexton, co-founder and executive producer, Authentic Entertainment; Greg Lipstone, partner, ICM; David Lyle, CEO, National Geographic Channels; David McKillop, EVP & GM, A&E Network and Andy Singer, GM, Travel Channel. The content agenda is quickly taking shape and can be reviewed online at summit.realscreen.com. We look forward to welcoming you to the new home of the Summit, the Washington Hilton, January 26-29, 2014. This is the last note from me before the holidays, so I’ll take this opportunity to wish you, your colleagues and families a safe and festive season.

‘til next time, go well Claire Macdonald VP & Publisher, realscreen

006 November / December ‘13

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RRS.24060.Smithsonian.inddS.24060.Smithsonian.indd 1 007/11/137/11/13 2:362:36 PMPM BIZ BRANDS, NETS AND PRODUCERS TALK BIZ AT BCON EXPO BY ADAM BENZINE

elegates from across the branded based on the fact that we see young people entertainment and television experiencing food in a new way.” Dlandscape converged on New York One of the more popular sessions of in late October, to discuss trends and the day proved to be “What’s Next: trade tips at the BCON Expo, presented by Beyond the Webisode.” The panel saw realscreen and sister brand STREAM. OgilvyEntertainment president Doug Scott, With speakers from fi rms such as Grip Limited creative partner Randy Stein Google, PepsiCo, NBC Entertainment, and The Chernin Group’s EVP of digital OgilvyEntertainment, Intel, Awesomeness production and programming Billy Parks TV, Discovery Networks International and offering case studies of work that has Universal Music Enterprises in attendance, reframed the defi nition of what branded the day-long event – formerly known as content could be, and discussing how the realscreen’s Branded Entertainment Forum – ventures came to be. offered a broad array of content. Parks highlighted @SummerBreak, a year- During his keynote conversation with long collaboration between BBDO, AT&T Bungalow Media + Entertainment and Chernin that resulted in a daily reality CEO Robert Friedman, Vice Media web series, which delved into the lives of chief strategic offi cer Spencer Baim high school seniors as they spent their fi nal told delegates that the Brooklyn-based summer together before college. multimedia company is looking to open Stein, meanwhile, presented his agency’s more offi ces abroad following its US$70 work on a feature fi lm funded by Canadian million deal with 21st Century Fox. beer brand Kokanee and produced by Discussing August’s deal, which saw Alliance Films, The Movie Out Here; while Fox acquiring a 5% stake in Vice – and Scott discussed the creation and distribution subsequently valuing the company at of an interactive graphic novel for soft drink US$1.4 billion – Baim said “the main brand Fanta. priority now is global expansion.” Other sessions through the day included Vice recently opened its fi rst offi ce in an interview with Xavier Kochhar, CEO of China and is now targeting India and Russia analytics fi rm Structured Data Intelligence; for its next outposts, he added. a session comparing and contrasting When asked why Fox would acquire a stake the opportunities for branded content in Vice Media, Baim said: “There isn’t another programming via online platforms and on media company around the world that is as television featuring executives from such attractive to the young media demographic companies as Google, Awesomeness TV that brands care about the most.” and Discovery Networks International; and Vice is now starting to think about scripted a presentation discussing Intel’s Cannes entertainment, and in particular comedy, Lions-winning series of “social fi lms.” as it branches out. “We’re looking for The day wrapped on a musical note, other ways to build the Vice brand,” Baim with a session exploring opportunities offered. Another area that Vice sees a lot of for branded content in the music space, potential in is food. The company currently featuring execs from Universal Music has a show called Munchies, and Baim said: Enterprises, Viacom, Live Nation, global “We’re going to launch a food channel, agency JWT and Roc Nation.

From top to bottom: Vice Media’s Spencer Baim chats with Bungalow Media + Entertainment’s Bob Friedman; The Chernin Group’s Billy Parks; OgilvyEntertainment’s Doug Scott; Awesomeness TV’s Russ Axelrod; Discovery Networks International’s Deena Edwards. (Photos: Dwayne Hill)

009

BBIZ.inddIZ.indd 000909 007/11/137/11/13 2:022:02 PMPM BIZ Greenlit &Gone A look at what’s POINTED ARROW: on the way from A Producer’s Perspective BY JOHN SMITHSON

assorted networks, herever independent producers are of the top 20 UK indies had been sold. Was this and what’s on the huddled in conversation, gossip the end of the sector, with the big guys getting all Winevitably turns to one thing – who’s the work and everyone else feeding on scraps? way out. buying production companies, and who’s selling. People started to discuss that there were no One number is tracked in obsessive detail; the more “good” indies to buy and that the whole APB with Troy Dunn (w/t) multiple. It’s the magic number that normally independent sector would never be the same Produced by: Shed Media U.S. dictates the sale terms. Your potential suitor again. What happened to diversity of supply? Network: TNT multiples your proﬁ t by this number, normally Also, there were now some very big beasts somewhere between six and 10, to come up with rampaging through the indie jungle. Every Street United an offer price. In the UK, there is concern that most of these Produced by: Consolidation has been the dominant trend in beasts are not native, with half the total UK indie Mandalay Sports Media the UK indie sector for at least the last decade, business of £2.8 billion (or just under US$4.5 Platform: Xbox Entertainment with a direct commercial and creative impact. billion) now in foreign ownership. Studios It’s been a similar story in other key territories, Big names such as Fox, NBC Universal and especially in the U.S. where many of the hot Warner Bros. each have a collection of top indies

GREENLIT Exo-Planets (w/t, one-off) companies have been snapped up. in the trophy cabinet. But I prefer to think the Produced by: For those lucky enough to be acquired, life has glass is half full. There are opportunities aplenty Pioneer Productions not been too bad. Who can blame the owner of an for smart indies. Two of the biggest hit shows Network: Science Channel indie, who has fought to grow their company in around, the BBC’s Great British Bake Off and an increasingly tough environment, for cashing in Discovery’s Gold Rush, are made by indies that their chips when the buying company makes an have yet to sell. Britain’s Next Top Model offer that is life changing? In virtually all the deals We work in a totally international business, Produced by: you see, you think it’s a good move for the indie roaming the world to sell our work. So what does Thumbs Up Productions concerned, and is well deserved. it matter if ownership is also global? New talent Network: Sky Living Plenty of people have made millions out of other and new companies are constantly emerging. sectors of the media, so why shouldn’t the people That’s what TV is all about – the next hot talent, that actually come up with the ideas and make the next great idea. the shows get their rightful slice of the pie? It might be smart execs leaving broadcasters, Although it is a culture shock, most indies have old hands leaving their large indie to set up on been relatively happy being part of a bigger their own, or showrunners wanting to own rather entity. Most of the buyers in the market have been than run. My two colleagues and I would not savvy about handling their new acquisitions, each have left the comfort of our old company (which coming with their own proud culture and talent was acquired twice) to set up Arrow if we did not GONE Hoarders pool. The brands have survived, creativity thrives believe there was opportunity out there. Produced by: and life continues as normal. Broadcasters have So I think the mixed indie economy of global Screaming Flea Productions learned to adapt to the new reality. It’s still the superindies and hungry, smart and nimble new Network: A&E best ideas and the best talent that brings in the indies is both healthy and exciting for all. work, not the name on the door. What Would Ryan Lochte Do? So is the constant cycle of consolidation a good John Smithson is creative director of Arrow Media, Produced by: thing? Isn’t restless regeneration fundamental to an indie he co-founded in 2011. Previously he was Intuitive Entertainment any creative business? Or is there also a downside? chief executive of Darlow Smithson Productions. Network: E! There was a time a couple of years ago when 16

010 November / December ‘13

BBIZ.inddIZ.indd 001010 007/11/137/11/13 2:032:03 PMPM BEST PRACTICES: KEEPING YOUR MIND SHARP FOR WORK

BY CHRIS PALMER AND JAZMIN GARCIA

Is your mind sharp, alert, and focused throughout the entire work day? If you’re anything like me, the answer’s no. You get sleepy, your brain feels sluggish, and occasionally you feel off your game for the whole day. Fortunately, there are some actions you can take to keep your mind focused and creative for work, and it all starts at home: SLEEP: Make sure you log enough hours of sleep every night. The amount one requires varies from person to person and can range from six to 10 hours a night. 1Find out how much sleep is best for you because without suffi cient sleep, you’ll fi nd it harder to focus, make decisions, and even get along with colleagues. McGoldrick EXERCISE: Exercise can help boost creativity and lift you out of bad moods. If you experience drowsiness after lunch, try walking briskly for a few minutes and 2 stretching. This small burst of exercise can shake off that sleepiness and get you Exec shuffl e at back on track for the rest of the work day. EXERCISE YOUR BRAIN: Sometimes we think only our heart and muscles need Syfy, USA activity, but our brain is a powerful organ that needs to be kept stimulated, too. 3Try memorizing a few phone numbers instead of immediately reaching for your BCUniversal cable networks Syfy and phone’s contact list. Mentally add up your purchases at the store, challenge yourself USA Network have shuffl ed their with a crossword puzzle, or make it a point to recall the names of everyone you’ve met Nexecutive teams, with Bill McGoldrick throughout the day. There are also plenty of online games to challenge your mind. (pictured) named the exec VP of original content BE A LIFELONG LEARNER: We might not all have time to learn a new language for Syfy, replacing Mark Stern. or instrument, but try a new recipe. Pick up chess, listen to a radio station in a McGoldrick, most recently the exec VP of 4 different language, or learn new words – put another way, venture outside your original scripted programming for USA, will take comfort zone. The brain craves information, and the more you challenge it, the more it on his new role immediately, and report to Syfy will gain strength and power. My father learned Spanish in his spare time in his 60s. president Dave Howe. In his new role, McGoldrick will oversee the CREATE A TO-DO LIST: If you fi nd yourself forgetting what you must development and production of Syfy’s unscripted accomplish for the day or neglecting your top priority task, write a to-do list (see and scripted original programming, as well as 5 my column in the previous issue of realscreen). It will de-clutter your mind and international coproductions. He will also be leave “head-room” for more important tasks. responsible for Syfy Films’ theatrical department. LIMIT DISTRACTIONS: Once at work, leave whatever distractions you can at Stern, who headed up Syfy’s programming for the the door. Don’t be afraid to close off your social websites, especially when you past 11 years, with credits including Face Off and 6 have an approaching deadline. If staying off social media proves diffi cult, use it Warehouse 13, will become the executive producer as a reward – “I’ve fi nished four items from my to-do list, so I’ll allow myself fi ve minutes for an upcoming Syfy series, the network said. on Facebook.” Many of us use social websites for work, so if you can’t sign out, turn off In related news, Jackie de Crinis has been named notifi cations, and make yourself “unavailable.” It’s a lot more diffi cult to complete a task exec VP of original programming for USA Network. when there are many other things fi ghting for your attention. She will report to USA president Chris McCumber. EAT AND DRINK HEALTHILY: In the newly created role, she will oversee all Drink plenty of water and don’t forget to eat! Many production and development of USA’s original times, I have rushed from one meeting to the next ignoring my stomach. Before I programming, including scripted and unscripted. 7 knew better, I would grab a chocolate chip cookie or another unhealthy snack to She was promoted from her role as senior program hold me over. Let’s face it – it’s hard to focus with a growling stomach. For hectic days, executive for the network. Previously she held keep healthy snacks like nuts, carrots, and raisins at the offi ce. positions at ABC, 20th Century Fox and TriStar. Keep your mind sharp, and it will benefi t your career and enrich your life. “Bill and Jackie both have uncanny instincts about Professor Chris Palmer is the director of American University’s Center for Environmental Filmmaking quality content that resonates with audiences, and and author of the Sierra Club book Shooting in the Wild: An Insider’s Account of Making Movies in are incredibly brand savvy,” said Bonnie Hammer, the Animal Kingdom. Jazmin Garcia is a fi lmmaker and MA candidate at American University.• chairman of NBCUniversal Cable Entertainment. Kelly Anderson

011

BBIZ.inddIZ.indd 001111 008/11/138/11/13 2:242:24 PMPM THE MONA LISA MYSTERY

THE SECRET STORY OF THE WORLD’S MOST FAMOUS PAINTING

www.terramater.com

RRS.23791.TerraMater.Ad.inddS.23791.TerraMater.Ad.indd 1 22013-11-07013-11-07 2:052:05 PMPM AUDIENCE & STRATEGY GLOBETROTTING TV

BY KEVIN RITCHIE Increasingly, broadcasters and cable giants are ramping up their international portfolios to drive new revenues. For commissioners, that means ﬁ nding the right mix of content with global appeal and niche local programming. Realscreen talked to execs from various network groups to ﬁ nd out what’s working for their international BBC WORLDWIDE

content strategies. GLOBAL TITLES: Million Dollar Intern, Factomania, palpable passion that’s not a cerebral passion, but Best In Town a visceral one” with an ability to drive their own Outline Productions’ THE STRATEGY: In October, BBC Worldwide PR – “people that are smart [and] with heart that Million Dollar Intern (BBCWW) announced plans to ramp up factual bounce off the screen,” she adds. travels well for BBC content in the areas of natural history, science and HOT MARKETS: South Africa, Poland, Brazil, Worldwide. history, which will allow the company to work with Latin America a wider range of coproduction partners. The move LOCAL COMMISSIONS: Market-specifi c concerns is part of a larger commitment to grow content often drive the local commissioning strategy. For investment by £30 million (US$48.2 million) to example, BBCWW aims to expand viewership £200 million annually, resulting in more fi rst-look among South Africa’s growing black middle class, deals as well as fully-funded commissions for while in Latin America, the company is looking to its channels. Next year, BBCWW will launch the work with more local prodcos . premium factual channel BBC Earth, the drama PARTNERSHIPS: “In the future, we will channel BBC First and an as-yet-untitled, male- defi nitely look for more coproduction partners to skewing factual channel. increase budgets, scale and ambition,” Forsyth WHAT TRAVELS WELL FOR BBCWW? Simple, says. “We’re trying to make channel-defi ning compelling premises that are instantly identifi able commissions so the challenge will always be in the title, and subject matter relevant to multiple fi nding external coproduction partners that are markets. Talent-driven programs are key and, aligned editorially. That is something I will be unsurprisingly, a lot of BBCWW’s on-air voices looking to do more in the next 18 months.” tend to speak with British accents. Tracy Forsyth, vice president of commissioning for BBCWW, looks for “credible experts with a real

013

AAudience.inddudience.indd 013013 007/11/137/11/13 5:095:09 PMPM AUDIENCE & STRATEGY

NATIONAL GEOGRAPHIC CHANNELS INTERNATIONAL

THE STRATEGY: The bulk of NGCI’s commissioning takes place out of the company’s headquarters in Washington, DC, with the international channels taking a large portion of shows originating from the U.S. market. The remaining 30% is content speciﬁ cally commissioned for the international channels. The company also commissions local programming in local languages to complement globally facing content. Although international commissions go to a wide base of producers, most are awarded to UK companies. “That’s just an indication of the real health of the factual production sector in the UK at the moment,” says Hamish Mykura, EVP and head of international content for NGCI. “As we look to the future I would deﬁ nitely welcome a period where it’s just as easy to commission a Leftfield Pictures’ History hit Pawn Stars is the “gift that keeps on giving” for A+E Networks internationally. quality show from Singapore or Colombia as it is from LA, New York or London. That is rapidly approaching.” WHAT TRAVELS WELL FOR NGCI? Universal appeal is the M.O. A+E NETWORKS at NGCI. Shows with big emotional pay-offs, such as automotive refurbishing series Car S.O.S., the network’s number one show THE STRATEGY: A+E’s portfolio of channels – including History, A&E, Lifetime, in Japan, or man-against-nature docuseries such as Wicked Tuna, Bio, H2, Crime & Investigation (CI) and Military History – is spreading across resonate. Big science programming such as Seth McFarlane’s the globe via myriad joint venture partnerships and licensing agreements, upcoming 13-part take on Cosmos or U.S.-centric history with activity in early November including a UK launch for Lifetime, launches programming that can double as a primer for global audiences, in the Philippines for Lifetime and H2, and channel launches in France via a such as the JFK doc Seven Days that Made a President, also works partnership with Canal+. According to Christian Murphy, senior vice president well abroad. of international programming and marketing for the group, its combination of “A hit is a hit is a hit, and if you’ve got a show that’s really working successful character-based franchise series and tentpole event programming in one territory, it’s more than likely that show will travel well to most has propelled strong growth for the international channels, currently seen in other territories,” he says. (Continued on next page) more than 150 countries in 37 languages. “We spend quite a lot of time, energy and money around identifying key tentpole events for our brands, mostly in the history space but it can be elsewhere,” he says, citing Mankind: the Story of Us as a mini-series that performed well internationally, and Big History, a series narrated by Breaking Bad star Bryan Cranston that recently premiered in the U.S. on H2, as a newer example. WHAT TRAVELS WELL FOR A+E? Murphy calls the History smash Pawn Stars, several seasons deep, “the gift that keeps on giving,” due to what he calls its “universal appeal.” While the American version of the show is, as he puts it, “’top of the pops’ in most markets it’s in,” a UK version also airs on History in the region, and another local version is currently casting. Storage Wars is also strong internationally as are other “artefactual” series such as American Pickers and American Restoration. Interestingly, the top-rated unscripted series on American cable television, Duck Dynasty, is a little bit slower out of the gate in terms of garnering big international audiences. “It hasn’t yet been universally embraced,” says Murphy. “It takes a little bit of time for viewers to warm up to it but once they get into it, it grows pretty quickly.” HOT MARKETS: Latin America, India, Asia. “South Africa, we feel, has huge potential,” Murphy adds. PARTNERSHIPS: Murphy says the international channels “still have a real need for blue-chip, event-style programming. So we’re looking to come Shows with emotional pay-offs, such as Car S.O.S. from Renegade together as a global network and do copros with our channel partners.” BW Pictures, work well for NGCI’s content pipeline.

014 November / December ‘13

RS.24004.EYEFilm.Ad.indd 1 2013-11-07 2:06 PM AAudience.inddudience.indd 014014 008/11/138/11/13 2:242:24 PMPM HOT MARKETS: Asia, Southeast Asia, Latin America LOCAL COMMISSIONS: Local commissions are often Jonathan Phang’s undertaken with an eye to formatting them in similar Gourmet Express, markets. The In Focus Asia-produced paranormal produced by series I Wouldn’t Go In There follows urban explorers Transparent investigating haunted sites in cities across Asia and Television, will air on Travel Channel has either aired or been remade for multiple markets and Food Network across the continent. “You can really build a brand out in various markets. of a success in a region,” he says. PARTNERSHIPS: When NGCI’s American SCRIPPS NETWORKS INTERACTIVE counterpart does not come on board as a partner, the company regularly turns to PBS, the Smithsonian GLOBAL TITLES: Diners, Drive-Ins and Dives; acquisitions and 5-10% falls under either Channel, the Weather Channel or MSNBC in the Great Train Rides; Jenny Powell’s Luxury Uncovered original commissions or pre-sales. U.S. In Europe, Channel 4, BBC, ZDF and France THE STRATEGY: Four years ago, Scripps WHAT TRAVELS WELL FOR SCRIPPS? Télévisions have partnered with NGCI. Mykura does launched its brands Food Network, Travel Initially, Scripps’ SVP of content and not mind losing a territory or two if it means funding Channel and Fine Living internationally. marketing for EMEA, Nick Thorogood, a big, expensive project. The channels are built on the 2,000 annual thought Food Network would have to go “We’re more fl exible about coproductions than some programming hours the cable giant extremely local in appeal. Instead he has producers realize,” he says. “We’ll window with the commissions each year, with targeted found viewers open to programming about terrestrial broadcaster and we’ll take the rest of the commissions adding local fl avor. Roughly international cuisine or American food. international rights. That model is really important for 80% of the programming comes from “People love different food. It’s fi nding the us in terms of the way we fund our output overall.” the Scripps catalog, 10-15% comes from things people can relate to,” he says, adding 015

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that a particular recipe, however unfamiliar, can be made relatable through familiar ingredients. “Your food memories of those fl avors are good enough that you can have the vicarious experience,” he adds. “That works so well for food and yet we’re really trying to make it work for wine. For a lot of people if they see a glass of red wine, they can’t imagine anything other than one generic taste for red wine.” In terms of travel programming, a recognizable international brand is a good hook. He points to Great Train Rides, which Naked and Afraid, is produced in partnership with the Orient from Renegade 83, Express group and stars a vintage train. is a global traveler for DNI. HOT MARKETS: United Kingdom, Sub- Saharan Africa, South Africa, Eastern Europe LOCAL COMMISSIONS: In South Africa, Thorogood has found several companies that DISCOVERY NETWORKS INTERNATIONAL produce high-quality programming in line with brand values that complement its library of GLOBAL TITLES: Naked and Afraid, Breaking there. I certainly wouldn’t be surprised if the American programs. Magic, Unexplained Files Brazilian market overtook the British market in However, familiarizing international THE STRATEGY: Under Julian Bellamy, terms of the ratings and the money that is driven audiences with certain genres can require a DNI’s London-based creative director and through that market.” broader strategy. For example, shows about head of production and development, the Davies is increasingly seeing the robust UK street food are popular in the U.S. but the company produced 1,200 hours of content indie market branching out into international genre is not well represented on TV in the UK. in 2012, including regional and international territories through local commissions in To introduce it, the network brought on Andy commissions, and will have upped that number territories such as Brazil where homegrown Bates, a presenter known for British street by year’s end for 2013. prodcos can’t keep up with demand for hours. food, and created short-form content to air as The company aims to commission shows in “If the British indies can build bridges now and interstitials around U.S. programming. its core genres to air across as many markets get to know not just us, but the other channels, I The network then greenlit a 15 x 30-minute as possible and then share that content with think Latin America is a really clever place to be.” series focusing on street food across the UK sister networks in the U.S., such as the RAW TV- LOCAL COMMISSIONS: These are primarily and then Andy Bates’ American Street Feasts, in produced Unexplained Files which is a hit for DNI driven by lifestyle programming. However, if which the titular host traverses the U.S. in Latin America and Science Channel in the U.S. a particular factual program proves popular PARTNERSHIPS: Scripps has partnered on “You can’t just provide local content to every in a specifi c market, a local version will be mixed-funding projects with international single market because it’s incredibly expensive commissioned. That happened with the survival partners, such as Recipes That Rock, which to do that,” says Sarah Davies, vice president of series Dual Survival in Brazil. originated in Australia, or with traditional factual development for DNI. “And it’s actually PARTNERSHIPS: Davies also looks for series broadcasters if the show will air on a multi- more risky because if it doesn’t work, you’ve put a and docs airing locally that can be reversioned channel platform home to a Scripps brand. huge amount of eggs in one basket.” to air internationally or in the United States. For example, the South African program WHAT TRAVELS WELL FOR DNI? Popular For example, the Magnolia-produced Shopping Charly’s Cake Angels airs fi rst on terrestrial science series that are educational with a lower- Night started as an Italian show on DNI’s Real broadcaster SABC and Scripps has the case ‘e,’ series that mix science with magic, and Time channel. It was such a hit that DNI turned secondary rights. survival are big genres for Discovery overseas, as it into Shopaholic Showdown and Desafi o “We have to come up with clever models they are at home in the United States. Fashionista to air globally. • in which we all share the risk and the benefi t Paranormal series tend to go over well in Latin and I think people are far more open to it than America. “You can’t rely on purely zeitgeist or they were three or four years ago,” he says. character-driven shows,” says Davies. “You have to understand what it is your audience is coming to those shows for.” HOT MARKETS: Latin America and Brazil. Says Davies: “If I could speak Portuguese, I’d move

016 November / December ‘13

AAudience.inddudience.indd 016016 007/11/137/11/13 5:115:11 PMPM IN DOC WE TRUST

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RRS.22904.Terranoa.inddS.22904.Terranoa.indd 1717 113-11-073-11-07 2:232:23 PMPM RRS.23851.Sundance.inddS.23851.Sundance.indd 1818 113-11-073-11-07 2:252:25 PMPM IDEAS & EXECUTION

BY ADAM BENZINE

In taking an unfl inching look or most documentary fi lmmakers, to focus on the protests that have taken having a world premiere at place in Cairo’s Tahrir Square: Jon Alpert at the Egyptian revolution F Sundance and winning one of and Matthew O’Neill’s In Tahrir Square was the festival’s top awards would mark a shortlisted for an Oscar in 2011, and in the through her fi lm The Square, rewarding climax for several years of same year festivals in Toronto and Venice director Jehane Noujaim hard work. Now is the time to kick back, hosted Tahrir 2011: The Good, The Bad and and bask in the acclaim. the Politician; while Montreal and New York couldn’t foresee the twists But for director Jehane Noujaim and screened Tahrir: Liberation Square. the team behind her Egyptian revolution Those quick-turnaround fi lms, however, and turns that the uprising – documentary The Square, picking up focused largely on the 18-day revolution and her fi lm – would take. the Audience Award for World Cinema that took place in Egypt from January 25 to Documentary in Park City this past February 11 two years ago, while Noujaim’s After The Square’s January only served as an indicator that fi lm offers a broader look at an array of win at Sundance, the they were on the right track. characters – including Magdy Ashour, situation in Egypt The Sundance win was followed by a Ahmed Hassan, and the British-Egyptian continued to change, further seven months of fi lming, right actor Khalid Abdalla – campaigning on the culminating in the ousting of President through to August 2013, during which frontlines of Cairo’s street protests. Mohamed Morsi and time the fi lm was radically reworked and For Noujaim, whose past fi lms include the suspension of remixed, with the entire third act changing. Rafea: Solar Mama, Control Room and Egypt’s constitution. This culminated, bizarrely, in a second Startup.com, the documentary marked a world premiere for the fi lm at the Toronto return to shooting in Egypt, where she International Film Festival (TIFF) in had previously made 2007’s Egypt: We Are September. And there too, the fi lm won the Watching You. As signs of discontent started audience prize, taking home the People’s to fl are in early 2011, she reconnected with Choice Documentary Award. On the heels some of the women featured in that fi lm, of this win, on-demand platform Netfl ix who advised her that Cairo “was reaching a acquired the fi lm in a headline-grabbing breaking point.” deal in early November. “I had many friends saying, ‘I don’t know The Square is not the fi rst documentary whether you should fl y in there, the whole

019

IIE.inddE.indd 001919 006/11/136/11/13 3:033:03 PMPM IDEAS & EXECUTION

Karim Amer (left), Jehane Noujaim (center) and Dina Amer (right) in Toronto, shortly after The Square won TIFF’s audience award. (Photo: Adam Benzine)

“There was country is upside down, I don’t know if we could Over the next two years, her team – which help you if you got arrested,’ et cetera,” Noujaim included fi ve main camera operators – would always this tells realscreen, talking in Toronto several hours go on to shoot a colossal 1,500 hours worth of after her fi lm’s big win at TIFF. footage. “The entire journey of the past two looming threat Despite the risks, she decided to travel to years has been a struggle of fi guring out what Egypt, where she was promptly arrested within the story of this fi lm is, because it’s not an of whether they hours of arriving. “Our car was stopped, they obvious story,” Noujaim offers. found fi ve DVDs of the previous fi lm I’d made Karim Amer adds that at a certain point, the might burst into three years before, and because of that, were team’s offi ce – located fi ve minutes from the the offi ce and take suspicious and took me in for about eight Square – “became a citizen journalism hub. hours of questioning,” she says. “We were just fi lming everything, because the footage.” “I was then released and went directly to our footage is also a record of history,” he [Tahrir] Square where, over the following two says. “You don’t even know if it’s going to be weeks, I basically met my entire crew and the useful, you just feel like something important subjects of the fi lm as well.” is happening and it should be documented.” It was in the Square that Noujaim fi rst met While the collaborative approach helped Karim Amer, who would go on to produce secure some of the fi lm’s key footage, it made the fi lm, and his sister Dina, who serves as for a long and diffi cult editing process, which the fi lm’s interview producer. Karim, who at burned out fi ve different editors. “You can the time was designing one of Egypt’s biggest crowdsource a shoot, but you can’t crowdsource hospitals, originally caught Noujaim’s eye as an edit,” Karim notes dryly. a potential subject for the fi lm, she recalls And while being so close to the center of with a laugh. Egypt’s protests put the team on the frontlines, “This fi lm had to be birthed in the Square,” it also brought risks. Noujaim offers that she says. “It had to be Egyptians making it; almost everyone who worked on the fi lm was there was no way I could bring in my Puerto “either chased by the police or the army, or Rican producer from Control Room [Rosadel shot at, or wounded, or arrested.” Varela], who I dearly love, to produce this. It Dina Amer adds: “There was always this needed to be Karim.” looming threat of whether they might burst

020 November / December ‘13

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REGISTER NOW BEFORE IT’S TOO LATE!

MAKING WAVES WITH LIVE MODERATING: Spectacular event programming can prove to be an incredible draw, and live content can be even bigger and more compelling. From Red Bull’s amazing Stratos project to Discovery’s Skywire with Nik Wallenda and NBC’s groundbreaking Million Second Quiz, audacious live event and strip programming is making waves on networks in North America JOHN SMITHSON HOWARD T. OWENS HOWARD SWARTZ and abroad. Here, you’ll hear from producers and ELI HOLZMAN GREG JACOBS network executives who have “gone live” and lived to Creative Director President Head of Distribution President VP Production & tell the tale - learn about the challenges in pulling off Arrow Media All3Media America Red Bull Media House National Geographic Development live TV, and the potential payoff. North America Channel Discovery Channel

REELING IN THE EYEBALLS MODERATING: While some scripted hits certainly make big waves and get big numbers to boot (Breaking Bad, anyone?) networks and producers dealing in factual and unscripted programming are also creating trending TV in myriad ways. Whether it’s examining true stories through factual drama, applying documentary techniques to ﬁ ctionalized stories that tackle a subject, MARY LISIO STEPHEN DAVID CHARLIE FOLEY ELAINE FRONTAIN BRYANT marrying cinematic approaches to factual content SVP, Non-Fiction and Executive Vice President, SVP, Programming and or lining up top-notch doc talent to tackle an issue in President Branded Entertainment Original Content Group Development special series, this session will look at how to craft “can’t Stephen David Scott Free Productions Discovery Communications History miss” television in the unscripted and non-ﬁ ction space. Entertainment

MARQUEE SPONSOR DIAMOND SPONSOR PLATINUM SPONSORS

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RRS.24044.RSS.inddS.24044.RSS.indd 1 007/11/137/11/13 5:085:08 PMPM IDEAS & EXECUTION

In addition to winning audience awards at Sundance and TIFF, The Square also received the Tim Hetherington Award at Sheffield Doc/Fest in the UK.

into the offi ce and take the footage. And That said, Karim offers that “the access “The audience award we won at it was diffi cult to concentrate, because we got was very much based on our ability Sundance was a gigantic boost to there were constantly new developments to say, ‘We’re independent; we’re not with everybody on the fi lm,” says Noujaim. “I happening outside our window.” Al Jazeera, we’re not with CNN, we’re the don’t know if we would have been able In part, The Square feels contemporary same guys you’ve seen here every day over to last another year, fi lming and editing, because, two years on from the initial two and a half years, and we’re unfunded.’” without that boost.” protests, fi lmmakers in Egypt still face risks. Filming and editing continued, and by The new version of the fi lm – which On August 16, Canadian documentarian June 2012, Muslim Brotherhood candidate played at TIFF, opened the Montreal John Greyson was arrested in Cairo, along Mohamed Morsi had replaced Hosni International Documentary Festival (RIDM) with doctor Tarek Loubani, and incarcerated Mubarak as Egypt’s president, drawing to a on November 13, and will play in Berlin without charge for 51 days. Their detainment close 30 years of authoritarian rule. next year – is markedly different from the led to vocal support from an array of The Square got accepted into Sundance, original Sundance opus. And watching both fi lmmakers, including Alex Gibney and “but as we were on our way, two weeks titles side-by-side raises the question: when Sarah Polley, whose profi les helped to draw before we left Cairo, Morsi declared fi lming a current affairs topic, when is a attention and likely aided their release. dictatorial powers, and everybody was back fi lm ever truly done? Back in 2011, another complication facing in the streets again,” Noujaim explains. “When I feel it’s done is when you have Noujaim and her team was the fact that “It was a betrayal. So for us to feel gone through the emotional journey and the director was having to work on her comfortable releasing a fi lm which ends arc of your characters,” Noujaim refl ects, BBC doc, Rafea: Solar Mama, at the same with a joyful celebration of the election of “which I now feel we have.” time, which meant “going back and forth Morsi was impossible.” Still, she notes the irony of the double between a remote village in India and a huge “We were going to cancel Sundance,” adds world premiere. revolutionary eruption in Tahrir Square.” In Karim. In the end, a decision was made “Do I ever feel that I will have multiple addition, the Cairo team had little in the way to continue with the Utah premiere but world premieres of a fi lm again? No,” she of funding and was basically “running on reclassify the fi lm as a work-in-progress. says. “But it was crucial for this fi lm for the fumes,” as she puts it. The move proved to be a crucial one. story to continue.” •

022 November / December ‘13

IIE.inddE.indd 002222 006/11/136/11/13 3:043:04 PMPM Buyers and sellers connect through videos of some of the most exciting early development projects and biggest content libraries in the industry

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RRS.xxxxx.Screening.FULL.inddS.xxxxx.Screening.FULL.indd 2 008/11/138/11/13 2:292:29 PMPM SCIENCE FOCUS BRAVE NEW WORLDS From a physics thriller to a microscopic examination of the human body, and projects that blend documentary, science and ﬁ ction to examine past events, realscreen looks at four new science-based projects designed to inspire, educate and entertain.

PARTICLE FEVER Theatrical release: March 2014 Produced by Anthos Media; directed by Mark Levinson

The origin of all matter is a question that has captivated scientists for centuries, and four years ago, physicists came closer to answering it through the biggest and most expensive science experiment in history. Less expensive and time consuming is a question often facing science documentarians: how to make complex scientifi c theories palatable for mainstream audiences? In 2008, director Mark Levinson set out to do exactly that, by profi ling a group of scientists using the Large Hadron Collider (LHC) to smash sub-atomic particles together in order to fi nd answers for unsolved questions of physics. The LHC took 20 years to build, with 10,000 scientists from more than 100 countries working dramatic potential to be the real thing.” The Globe of Science and Innovation, housed in collaboration at the European Organization for He began working on the doc full-time in at the European Organization for Nuclear Research, or CERN, in Geneva. Nuclear Research (CERN). Located roughly 574 2008 until the discovery of the Higgs boson feet beneath the Franco-Swiss border near Geneva, in 2012. A year later, Particle Fever began its the machine went live in 2008 and four years later festival run at Sheffi eld Doc/Fest. It has since Levinson integrated himself into the physicist discovered the elusive particle that confers mass to screened in New York and Moscow, screens community in Geneva. “Some people actually all other particles, the Higgs boson. at the World Congress of Science and Factual thought I worked there,” he says. “It got to the Levinson knows the topic well. He earned a doctoral Producers in Montreal in December and point where people would ask me what I’d degree in particle physics from the University of opens theatrically in March. heard about when the beam was going to be up California at Berkeley, but then landed in Hollywood, Essential to turning the story into a again and what the energy was going to be.” specializing in post-production writing and recording character-driven fi lm were the scientists at Although his physics background meant he of dialogue – or ADR – for fi lmmakers such as Anthony the center of the action. Levinson ended up understood what was going on, when and if a Minghella and Milos Forman. focusing on six – a mix of theoretical and discovery would happen were the big questions. In 2007, he was shopping a narrative feature idea experimental physicists – at varying stages Nine days after the LHC became to angel investors when he heard that David Kaplan, of their careers, including young American operational in 2008, a short circuit between a professor of physics at Johns Hopkins University, post-doctorate Monica Dunford and Stanford superconducting magnets caused tons of wanted to make a documentary about the LHC. University professor Savas Dimopoulos, liquid helium to hemorrhage and explode. “I have not seen many narrative fi lms that have whose 30 years of research would be tested Consequently, the machine was shut down for treated science in a realistic way,” explains Levinson. by the particle collider. a year and a half. “When this story came up it struck me as having the With the support of CERN’s press offi ce, The accident ratcheted up the drama and gave

024 November / December ‘13

SScience.inddcience.indd 024024 006/11/136/11/13 4:244:24 PMPM Levinson and DP Claudia Raschke-Robinson a chance to fi lm the LHC’s fi ve-story particle detectors, which are inaccessible when running. To sift through 500 hours of material, Levinson recruited long-time collaborator Walter Murch, an Oscar-winning fi lm editor and sound designer whose credits include Apocalypse Now and The English Patient. Murch has a deep interest in particle physics that allowed him to get a handle on the “I haven’t seen material. Although he has edited short docs and many narrative documentary sections in narrative features, Particle Fever is his fi rst feature doc. fi lms that have “For 15 months, it was the two of us in a room in New York pounding away at this material,” he recalls. treated science in a “So I had to gear up my assistant chops to allow me Levinson to do the work that I need to do.” realistic way. When To build momentum, Murch had to “visceralize” action that occurred off camera and at a minute, and vocabulary to use consistently throughout this story came unobservable level. Take the accident that the fi lm. Levinson opens the fi lm with Kaplan shut down the particle collider: it happened giving a lecture breaking down the main up it struck me as underground and out of sight – save for blinking theories that would be put to the test, the having the dramatic monitors in the control room. divisions between theoretical and experimental To lead up to the explosion, they used macro shots physicists and why undertaking such a massively potential to be the of the LHC, added sounds that might indicate protons expensive project with no immediate fi nancial traveling at the speed of light and interspersed benefi t is necessary. real thing.” images of people going about life on the surface Levinson frequently fi lmed the physicists unbeknownst to the brewing trouble below. talking video diary-style into the camera, a A shot of the superconducting magnets goes out of technique that relayed the theories in a personal focus as the sound gets louder and cuts off. Cut to an way without disrupting the dramatic fl ow. If an eerily quiet scene of dead sunfl owers with the CERN explanation was too complicated or unclear, dome in the background. There’s a low frequency Levinson wrote and re-recorded voiceovers and thud, and the audience is now in the control room integrated them into the video diary scenes. where the monitors fl ash from green to red. “The physicists are all very good and have “In essence, none of that ‘really happened’ – a lot of presence but it was a process to get meaning, when the machine was operating nobody it down to the most concise, clear and useful could photograph it,” Murch explains. “When the explanations,” he says. explosion happened it didn’t make a sound anyone Particle Fever concludes with footage from could hear because it was so far underground, and Werner Herzog’s Cave of Forgotten Dreams yet we bent the rules to say, ‘No, there could be a depicting the ancient paintings in the Chauvet sound to indicate this moment.’ So there’s a musical caves of southern France, which serves to truth to what’s going on that serves the larger story. connect early representations of nature and the “That’s always the trail that you’re walking down: complex equations physicists use to explain this border between what actually happened and particle theories. what you need to put together to convey the essence “As Savas says in the fi lm, ‘Why do we do of what happened,” he continues. “In documentary, art and why do we do science?” says Murch. you’re clearly obligated to not bend things too much. “These things are not obvious in how they help On the other hand, to not bend things at all would us through the day of eating and breathing make a fi lm like this impossible because the physical and surviving. And yet the presence of art and representation of this world is so small.” knowledge – because science ultimately just Levinson’s ADR background came in handy when it means ‘knowledge’ – is arguably the thing that came time to craft clear and simple explanations of defi nes us as human beings.” the particle theories. Kevin Ritchie Early on, the fi lmmaking team decided on lingo

025

SScience.inddcience.indd 025025 006/11/136/11/13 4:244:24 PMPM SCIENCE FOCUS

William Hurt portrays Nobel Prize-winning physicist Richard Feynman in The Challenger Disaster.

executive producer on the drama and doc. “The secret of his success and the fame he achieved as a scientist was his ability to make incredibly complicated physics seem simple without simplifying it.” Featuring archival interviews shot by the BBC just prior to Feynman’s death in 1988, the half-hour doc is a biographical portrait of the charming and prolifi c scientist. Its archival research team also worked on the drama, becoming a go-to resource for historical accuracy on both projects. Explaining complex physics within the projects was the biggest challenge for Collins. Keeping in mind what Collins calls Feynman’s “true genius” – his ability to make complex theories understandable to the lay person – producers allowed the theoretical physicist to speak for himself whenever possible. THE CHALLENGER DISASTER/ Britain’s Open University also collaborated on the fi lms, providing scientifi c advisors to ensure FEYNMAN: THE CHALLENGER producers conveyed the scientifi c theories correctly. “This was run out of the science department at BBC Airing: Science Channel and Discovery Channel, November 16 and – it wasn’t BBC Drama – which is rare. So there was a November 18, respectively commitment to historical and scientifi c accuracy as Coproduced by Science Channel and the BBC part of the DNA of the drama,” adds Collins. Integrating scientifi c background into the scripted feature without detracting from the human story and the magnitude of the Challenger explosion proved In January 1986, NASA’s Space Shuttle actor William Hurt in the lead role. trickier. Wherever possible, the fi lmmakers slipped Challenger exploded upon take-off, killing “If it is successful we’re going to look to do background information into dialogue exchanges, the seven astronauts aboard. Nobel Prize- one to two scripted dramas a year,” Science’s such as those between Feynman and fellow Rogers winning physicist Richard Feynman joined general manager and executive vice president Commission panelist General Donald Kutyna, for the presidential commission looking into the Debbie Myers told realscreen at Discovery example, “so the audience didn’t feel like they’re causes of the disaster and soon found himself Communications’ 2013-2014 upfront getting a science lesson when in fact they might’ve at odds with the chair over his maverick presentation. “Factual programming is our bread been,” Collins explains. investigative methods. and butter but if a drama can bring people to That approach to the script impressed Hurt, a pilot During a televised hearing, Feynman Science to see all the non-fi ction stuff that we’ve who has studied NASA’s shuttle series. famously dropped a piece of rubber in a glass done, that’s the strategy we’re going to take.” “It was beautifully written,” he told realscreen at the of ice water to show how the shuttle’s O-ring For each scripted project, Science Channel Discovery upfront. “It wasn’t about show and tell. It gaskets could not withstand cold weather, will also air a companion doc to give viewers wasn’t about gimmicks. It wasn’t about attracting and later pointed a finger at NASA officials a primer on the drama. Thus, Science and the attention. It was about paying attention to the topic. in the Rogers Commission Report. “For a BBC produced the doc Feynman: The Challenger I loved that and it was so intricate about that. I really successful technology, reality must take in tandem with The Challenger Disaster to delve thought, ‘Oh God! I can fi nally play a character that’s precedence over public relations, for nature into Feynman’s accomplishments prior to the actually doing something.’” KR cannot be fooled,” he wrote. Challenger investigation. In addition to his role in Feynman’s approach to investigating the the drama, Hurt also narrates the documentary. tragedy form the basis of Science Channel’s fi rst “I’m very proud of the way the documentary scripted factual drama, The Challenger Disaster, makes some very complex science very a coproduction with BBC Science based on accessible, which is the true genius of Richard Feynman’s memoir and starring Oscar-winning Feynman,” says Rocky Collins, who served as an

026 November / December ‘13

SScience.inddcience.indd 026026 006/11/136/11/13 4:254:25 PMPM LIFE ON US Airing: ARTE, spring 2014 Coproduced by Mona Lisa Productions, ARTE, Smith & Nasht/ SBS in Australia; with the participation of Discovery Europe, RTBF, TV5 Canada, and INSERM, l’Oréal R&D, CNC, Procirep

Lyon-based Mona Lisa Productions, which specializes in science docs, is training its microscope on the terrain of the human body in the one-off Life On Us. Directed by Pierre-Francois Gaudry, Life On Us uses Mona Lisa’s patented shooting technology which incorporates the Philips ESEM (Environmental Scanning Electron Microscope), and treats the human body as if it were a landscape, complete with its own eco-system and inhabitants. “The subject seems quite compelling to me for a example, strands of hair on the body, upon being magnifi ed Body hair or bamboo forest? large audience: embarking for a microscopic safari 4,000 times in electron microscopy, can resemble palm trees or The Philips Environmental Scanning Electron Microscope on the human body approached as a living planet,” a bamboo forest. magnifies much in Life On Us. says Gaudry. “[We are] considering ‘Planet Us’ as “It is clear that ESEM footage is still very attractive to a natural world, with a balance that has been built broadcasters, almost 20 years after Mona Lisa fi rst revealed over million years of evolution, and showing the footage of living ‘cannibal mites’ and other species,” says Eric importance of the biodiversity on our body.” Vernière, who handles international pre-sales at Mona Lisa. The feat of pulling it off didn’t come without Much like human beings, Life On Us, in addition to its challenges, says Gaudry, especially considering the 90-minute format, comes in many shapes and sizes. Mona richness of the subject. Lisa is producing a hosted main format for ARTE, but it is also “When you start to explore how the human body available in a 2 x 43-minute format, a 2 x 60-minute, un-hosted is organized, colonized by all these creatures, the version from Smith and Nasht for SBS, and a 52-minute version complexity of the interactions of our body with all to be adapted to the time slots of European terrestrials. In these organisms, and the impact of such organisms addition, there’s the Life On Us interactive adventure produced on us, it’s simply endless and vertiginous,” he says. for the web, iPads and Androids, from partner Kids Up Hill and “There are still so many things to be discovered and Mona Lisa for ARTE Web. so much research going on, trying to uncover the Bringing science to primetime is something Catherine secrets of our body.” Alvaresse, deputy director of knowledge and discovery for the The technical challenges in capturing certain factual programming unit of ARTE France, believes strongly images, in particular the collection of samples in, but the content needs to be compelling. of diverse organisms, required the collaboration “Science on primetime needs to be spectacular, engaging, of specialists in biology and scientifi c imaging. unique, and with very strong storytelling,” she says. “Sometimes we were lucky, sometimes not,” Gaudry “Furthermore our primetime [programming slots] are 90 admits. “It was, each time, a kind of experiment.” minutes and therefore the narration needs to be built as a real The microscopic techniques included a big focus adventure thriller to last 90 minutes. Life On Us defi nitively on ESEM use, which allowed the team to work contains all of that.” with living organisms, and binocular techniques to “Life On Us talks about us in a very intimate way but with a recreate atmospheres of the biological world. For spectacular approach,” she adds. Kelly Anderson •

027

SScience.inddcience.indd 027027 006/11/136/11/13 4:264:26 PMPM FORMAT FOCUS

Syfy’s upcoming live game show Opposite Worlds puts contestants into two radically different environments: a poverty- stricken “past” and a space-age “future.”

The series will be Syfy’s fi rst entry into the live SYFY HEADING TO entertainment space, with the network slotting two episodes weekly – the fi rst to feature what went on in the prior week and the second, featuring the elimination “OPPOSITE WORLDS” element of the series, to be live. Syfy president Dave Howe tells realscreen that the net was keen to enter the live BY BARRY WALSH NBCUniversal cable net Syfy has greenlit Opposite arena and the Chilean format offered a perfect opportunity. Worlds, a live competition series to be produced by “Live is the holy grail of urgent viewing,” he says. “From Eyeworks USA, and will premiere it on January 21. a social media perspective that’s what you want in terms The series, based on the Chilean hit format Mundos of generating conversation around what’s going on in Opuestos, splits 14 contestants into two teams, with the show and from an ad sales perspective, advertisers each residing in a house divided into two “opposite rightly recognize that with anything that’s live, there’s worlds” – one representing the past, and the other, no excuse to time-shift or DVR it so you’re more likely to the future. Each division will come with its own sets of stick around during the ad breaks. advantages and disadvantages, and the two teams, who “What we truly want to achieve is that appointment- will be taking part in assorted challenges, will be able to to-view event,” he adds. “Once you’re involved in it, you see each other via a glass wall separating them. really do need to be coming back and fi nding out what An interactive element will also play a role in the the next chapter of the story is as it unfolds.” gameplay, as viewers will be able to participate in real Another element built into the format to engage time via social media and help determine the unfolding audiences is the interactive component, which, outside of events on screen. of standard viewer voting, varies across territories, Syfy acquired exclusive U.S. format rights for the series according to Burkhardt. from Banijay International and Canal 13 in 2012. “Some audiences are sophisticated and demanding Burkhardt Thus far, the format has aired in Chile and Colombia, when it comes to interactivity, while others prefer a more and according to Sebastian Burkhardt, head of sales for passive experience,” he says. Banijay International, a Mexican adaptation is lined up “Traditionally, interactivity is pretty unsophisticated and for TV Azteca early in 2014, while ATV’s Turkish version usually involves some element of voting or quizzes,” says and a version to air in Croatia on Nova will also premiere Howe. “We really want to allow viewers to infl uence the next year. The format is also being sold across the stories in the show.” Middle East, where Banijay International is planning for And what made the format the right fi t for Syfy? a pan-regional production. “Fundamentally, its premise is science-fi ction – past “Opposite Worlds is a big production and requires a versus the future, the stone age versus the space age,” large scheduling commitment, so we have found that says Howe. “It’s a social media experiment, and I think for all of our licensees so far, there has been a long something about that taps into something far beyond development period [for] pre-production and then traditional reality series game play.” sometimes a wait until there is suffi cient space in the Howe schedule to do the program justice,” explains Burkhardt.

028 November / December ‘13

FFORMAT.inddORMAT.indd 002828 006/11/136/11/13 4:514:51 PMPM SLOW TV COMING TO THE U.S. LA-based indie LMNO Productions in a statement. “LMNO is constantly has acquired the U.S. remake rights looking for very loud, distinctive to Norwegian public broadcaster formats and characters, and we NRK’s Slow TV format, from believe we have found just that with distributor DRG. the Slow TV concept.” The format, which debuted on “Slow TV is a thoroughly NRK in 2011, uses fi xed cameras to audacious TV format; it goes continuously fi lm and air a single against the grain,” added Andrea event, such as a seven-hour train Jackson, DRG’s managing director ride, 18 hours of salmon fi shing, of acquisitions and formats. “This Swedish pop star Eric Saade (left) and How To Be host Björn Kjellman will switch roles in a variation on the and a 134-hour cruise along the is for a broadcaster that wants to typical celebrity interview show format. Norwegian coast, in real time. do something totally different in a On November 1, 1.3 million headline-grabbing way.” people tuned in to watch NRK’s NRK recently renewed its fi rst-look National Knitting Evening, a 12-hour deal – originally signed in March TV3 TAKES live event featuring people knitting 2011 – with DRG. The company’s and talking about knitting. unscripted formats include Never HOW TO BE “In a world where everything Ever Do This At Home, My Celebrity moves so fast, it was refreshing to Boyfriend and Teenage Boss. Swedish channel TV3 has tapped Mastiff to fi nd something so captivating that LMNO’s credits include I Get That produce eight episodes of Armoza Formats’ you did not want to look away from A Lot for CBS and The Little Couple celebrity interview show format How To Be, it,” said Lori Rothschild Ansaldi, for TLC. Kevin Ritchie hosted by local actor Björn Kjellman. The Swedish version of the primetime series LMNO’s senior VP of development, premiered in late October, with guests set to include opera singer Marlena Ernman, chef Leif Norwegian public broadcaster NRK has pioneered the Slow TV format by airing such things as a Mannerstrom, and pop star Eric Saade. 134-hour cruise along the Norway coast in real time. How To Be was developed by Artza Productions in collaboration with Armoza Formats. In the show, the host and celebrity switch roles, with the celebrity asking personal questions that they likely wouldn’t have answered in a regular interview. “We are very pleased with the outcome of the show – both in terms of quality and uniqueness, and we’re very excited to fi nally be able to launch the show here in Sweden,” said Martin Akander, acting head of programming at Viasat’s MTG TV Scandinavia, in a statement. Avi Armoza, CEO of Armoza Formats, added: “The format gives audiences a clear view in to the psyche of the people who fascinate us most – actors, athletes, politicians and public fi gures – and allows them to tell all, making some compelling TV in the process.” Kelly Anderson •

029

FFORMAT.inddORMAT.indd 002929 007/11/137/11/13 10:2710:27 AMAM AND ONE MORE THING The world according to Karl BY KEVIN RITCHIE

arl Pilkington traversed the globe into my routine and it goes to the over three seasons as the star of An back of my mind. There’s no life- K Idiot Abroad, a travel series created changing moment for me in any of and produced by comedians Ricky Gervais this. They’re all experiences that I won’t and Stephen Merchant. In the series, forget, but I’m set in me ways a bit. the 41-year-old is styled as an obstinate A lot of programs these days are about everyman who reluctantly leaves his cushy celebs going on a ‘life journey’ and they’re life to endure an often cruelly comedic cryin’ at the end of it. People need to know bucket list of globetrotting scenarios dreamt this is not that sort of program. It’s not like up by his famous friends. Who Do You Think You Are?, where people The show has given Pilkington – who rose are crying over a great-great- great-great- to prominence on Gervais’s satellite radio granddad they never met. Things like that show, podcast and animated HBO series – annoy me. If you’re crying about a great- celeb status in the UK and cult status in the great- great-great-granddad then you’d U.S. For his fourth series, the ﬁ ve-episode have to cry about everyone. The Moaning of Life (produced by Me & You Productions and RoundED Productions for But what about giving in to the emotion So people don’t change as dramatically as TV would Sky1 and distributed internationally by BBC of a particular moment? have us believe. Worldwide), Pilkington took the reins from I haven’t got that in me. Swearing is a thing I had no plans on changing. What I was planning on Gervais and Merchant and conceived a travel I do and it annoys me because I swear too doing was seeing if any of these topics would make me series in which he ventures forth to learn much, but that’s my release. I go, “F***in’ understand a bit more – like the marriage episode. I’ve how other cultures handle life’s big subjects hell,” but I don’t get that emotion bit. It can been with me girlfriend for about 20 years but we’re not – birth, marriage, happiness, vocation, death. be a problem. Some people are so used to married. I don’t see the point. seeing that on the telly so when I just go What perspective has traveling given “F***in’ hell,” they ﬁ nd it odd. That’s when Do you have goals you’ve always wanted to achieve you on your life back home in the UK? they say it’s a made-up program or “Karl’s that you can now that you’re successful? It’s really weird because I can be in a mad acting,” or something. We’re not all like the No, I’ve never had a plan. I think it’s about disappointment. situation in the middle of nowhere with people you normally see on the telly. Like, don’t aim too high because it might not happen. some tribe or something and three Whereas I just sort of plod along, see what doors open, stick days later I’m back at home my head in and go, “Is this any good? Oh, I don’t fancy that.” and me girlfriend’s I did An Idiot Abroad and said, “Never again.” After a time going “We haven’t you go, “Actually it was quite good. I’ll do another one.” got any milk in.” So People keep saying at the end of interviews, even though all “Are you doing another one?” Well, this mad s***’s f***in’ hell! I haven’t even unpacked been going yet! Give us a chance. • on, a few days later I’m back Karl Pilkington, fresh from traveling the world in An Idiot Abroad, tackles the big questions in The Moaning of Life.

030 November / December ‘13

BBackpage.inddackpage.indd 030030 006/11/136/11/13 12:1912:19 PMPM awards

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RRS.24053.Award.2s.inddS.24053.Award.2s.indd 1 008/11/138/11/13 2:222:22 PMPM WHOOPI GOLDBERG PRESENTS MOMS MABLEY THE ORIGINAL QUEEN OF COMEDY Featuring Harry Belafonte Bill Cosby Kathy Griffin Prof. Bambi Haggins Arsenio Hall Quincy Jones Anne Meara Billy Mitchell Eddie Murphy Sidney Poitier Joan Rivers George Schlatter Jerry Stiller

USA 2013, 54 / 72 min By Whoopi Goldberg Produced by Whoopi Goldberg and Tom Leonardis with HBO Executive Producers: Whoopi Goldberg, Tom Leonardis and George Schlatter World Sales: First Hand Films

RRS.23985.FirstHand.Ad.inddS.23985.FirstHand.Ad.indd 1 22013-11-07013-11-07 2:082:08 PMPM