Facts in Focus Funding Facts in Focus Copyright/Editorial Integrity More Is Merrier for Hard-Pressed Film-Makers Time to Rethink Our Approach to Piracy?

12a the “tip of the iceberg”. Foriceberg”. the of majority “tip the the hits. Croall calls documentary cinema cinematic hits big few a of successes profile high- the beyond goes maker mentary didn’t have one doc in a multiplex.” we and years 10 Story.back it Take Love A Capitalism: Moore’s Michael film, new and Issue September The including mas cine- the in well doing docs six or five year 16th this week, its says: “There are currently celebrating is which Doc/Fest, undreamed of methods of funding. previously to access and campaigns ing market viral far-reaching for potential window to global audiences, offering the a up opened has internet the and ming programlookingfor channels TV more certainly are there shrunk, have taries the groups of people they want to target. with resonate that messages in involved be to eager groups interest and brands individual donations made online to large up the wallets of new investors, from small, travelogues. er’s through to the war in Afghanistan and on bothdifficult topicssuchasAlzheim- documentaries fronting Kemp Ross and screen with Paul Merton, Terry Pratchett small the on happened has trend same their films becoming hugely popular.with The documentary, worthy the on face Spurlock and Al Gore have put a different Morgan Moore, Michael internet. the on audiences new tap to film-makers ing Facts infocus T embrace tomaintainthegenre’s digitaltechnologies upward trajectory. By Kate Bulkley filmshaveDocumentary never beensopopular, meanfilm-makers buttoughtimes must What’s up, doc? Raw energy: Taqwacore, Majeed’s documentary about the Muslim punk scene, is among the many projects spawned at Sheffield Doc/Fest’s pitching market 02.11.09 Media GuardianTheway forward film-making anddigitalcontent indocumentary  But thekey to being asuccessfuldocu - Sheffield of director Croall, Heather While budgets for television documen- The rising popularity of docs has opened making filmsandallow of costs the lowering is technology digital but doing well in the cinema documentaries dozen a half there are only Not year. good a having is film documentary he Documentary film-makerDocumentary MollyDineen,page6 have viewers toyou respond viatheweb there –it’s anincrediblyexciting optionto tobuildupanaudience and itisimportant There areplentyof goodfilmsonline short - - - of France award. tition to win the coveted Meilleur Ouvrier chronicles a hopeful pastry chef in compe- by DA Pennebaker and Chris Hegedus that London’s of Square Mile and world Kings of Pastry dog-eat-dog the in life of cost rentcrisis exploringhuman the financial directed by Marc Isaacs and set in the cur- Islam directed Punk by Omarof Majeed, Men Birth of the The City, – Tarqwacore will be screened at the festival, including this year as completed documentaries and prior MeetMarkets are coming to Sheffield sparked at the annual get together alone. since 2008 some £9m of funding has been that estimating Croall with fruit bourne has forum The financing. and projects discuss to meet who commissioners and that now attracts about 1,500 film-makers MeetMarket called market pitching a up set festival the ago years Four business. audiences as well as those who work in the Sheffield Doc/Fest is both open to general New funding all looking for the next big doc idea. executivesglobe the media around from new and filmmakers producers, sioners, commis- film and TV attracts now that a British documentary film festival to one simply being of roots its beyond moved ful documentary maker,” says Croall. budgets that is the key to being a success- to tap into international TV co-production increasingly now it is understanding how money, and their make makers mentary ers can get paid for their work. are also issues of piracy and how film-mak promotional power and global reach, there commissions. And while the internet TV from comes still documentaries their offers of doc film-makers the money for making “What I love about Sheffield Doc/Fest is in sparked projects several Indeed, has Doc/Fest Sheffield end that To is still the core “TV place where docu- - piracy and payment there are also issues of and globalreach,but promotional power The internet offers creating involved in people different the help to try “We content. cross-platform training a create producers helps that organisation Labs, Crossover of director post-production phase,” says Frank Boyd,the until media new about thinking not are broadcasters and producers “Most lessly with the documentary programme. cross-platform content that works seam- attractive making of issue the is funds been running for several months. and the Film Council called Take 12Science, Technologythat and the Arts (Nesta) has tion funded by the National exploring the Endowmentpotential of digital distribu- for the recession has hit them somewhat.” although work to starting all are models ernmental organisations for funds. These ing and looking to charities and non-gov funding, branded content, direct market advertiser at looking We are online. and sales DVD self-distribution, by replaced being is “It Films. Mosaic of director ing the Holy Grail,” says Andy Glynne, manag beyond TV. “I believe that TV is no longer needed are that sources also money new TV four believe its film-makers most But channels. across docs for hours 200 some has it documentaries; its of many mentaries at BBC Knowledge. docu- for editorcommissioning Moore, documentary community,” says Charlotte it puts me in touch with the international Beyond looking for new sources of of sources new for looking Beyond project a in participating is Mosaic fully-funds still BBC the says Moore  - - - taqwacore.com Taqwacore – The Birth of Punk: Sheffield Doc/Fest: sheffdocfest.com Nesta: nesta.org.uk/film Moving To Mars: movingtomarsfilm.com Crossover Labs: crossoverlabs.org Weblinks articulate some kind of antidote.” to need you that there out rhetoric tion “That said, there is so much anti-immigra- unstuck if you do that,” says Whitecross. particular message because you can come Sheffield. “We weren’ttrying to convey a appeal because the families were settled in cost about £150,000 to make and the has local in 1970s) and Argentina the result is a from moving film that exiles political won(Whitecross’s through parents were project the for had Katz Karen producer to them.” doc said ‘let’s do it’ the day we pitched it a potential mass market appeal but Brit it’s subtitled, it’s niche and it doesn’t have going to be tricky to get financed because cross. “The advice we had was this film is mentary film-making. new talent and new approaches to docu underwrites that foundation a Britdoc, 4/ Channel by financed was it and field Burmawhomovefamilies from to Shef- the festival. The film follows two refugee open and premiere will that Whitecross Mat director UK by documentary length Burma,afeature-– AMillionMilesfrom Mars to Moving is these Among entries. 2,000 some of out year this Festival the first time. the for Doc/Fest Sheffield at held being to understand each other.” content that works on different platforms The passion that Whitecross and his his and Whitecross that passion The “Britdocwerefantastic,”Whitesays at screened be will films 120 About is Summit Crossover a end, that To Kim Badawi/Redux

- - - techniques distribution new how productions, a look at the growth of global co- includes coverage our So funding. media, much alive and well but, like all some steps initial and what income market, where market, Fest’s specialised pitching MeetMarket, Sheffield Doc/ sources. to tap Sheffield on 4-8 place takes which Doc/Fest, documentary in the week of the biggest UK its future in the digital world about is supplement special This A digitaltomorrow Introduction looking non-governmental organisations and charities groups, interest This is where funding comes from documentary”. “campaigning the commissioners to funding for case their make guardian.co.uk/supp-guidelines For information onsupplementsvisit: DavidContact Clayton on020-3353 2286 commissioned by theGuardian Crossover Labs.All editorial content Paid for by SheffieldDoc/Fest and and Crossover Labs to abriefagreed withSheffieldDoc/Fest division ofGuardianNewsandMedia, Guardian Professional,acommercial Produced by GuardianCreative for Editorial 0203-353 3934/4189 Commissioning editorKate Bulkley to stay –what dotheexpertsthink? The celebrity-driven ishere documentary 06 Celebrity/Personal views andonline produced for cinema,TV Interaction isgrowing ascontentis 05 Multiplatform content makers tolearnfromweb pirates? andfilm- forIs therealesson directors 03 Copyright/Editorial integrity are seeking creative funding solutions In atougheconomicclimate, producers 02 Funding Inside controversial that is audience-grabbing but a practice documentaries, fronted look at the trend of celebrity- We age. digital the in evolve to also are Some Kate Bulkley how might it evolve? from the genre going forward and want they will what audiences: film documentary of future the on views generation. Finally, we get some Facebook the to interesting content developers and film-makers working with games promote to Doc/Fest Sheffield at the apace and we look at efforts like multiplatform trend The also compensate film-makers. to encourage creativity and yet as the evolution of copyright law well as film documentary in piracy film-makers. Documentary film is very is very film Documentary We explore the issue of the Another area tackled is digital considered controversial but world. first-ever Crossover Summit

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2 The Guardian | Monday 2 November 2009 The Guardian | Monday 2 November 2009 3 Facts in focus Funding Facts in focus Copyright/Editorial integrity More is merrier for hard-pressed film-makers Time to rethink our approach to piracy?

In the current economic Model format MeetMarket sessions prove invaluable Internet piracy may be a climate, documentary makers problem, but it is one from are adopting a piecemeal Now in its fourth year, the MeetMarket After 14 meetings in just two days which film-makers can learn approach to funding pitching sessions at Sheffield Doc/Fest at last year’s MeetMarket, Ward had some useful lessons have attracted a record number of 612 significant funding from Danish TV Tim Adler film-makers, all looking for the chance network DRTV and strong indications Kate Bulkley of one-on-one meetings and potential from al Jazeera and – ironically – Channel funding for their next big doc idea. 4 that they will buy it for their next A decade ago TV broadcasters would fund In fact, only 61 survived the festival’s year’s schedules. “MeetMarket is a bit For the 21st-century world of film-making, the documentaries they wanted on air. Now selection process but those lucky enough like speed dating, but it works,” says the internet is a double-edged sword. The coming up with just a quarter of the budget to win a place will meet with a range of Ward.“ The DRTV money allowed us to web is a marketing bonanza where film- is often the best they can do. Audience frag- commissioning editors, distributors and finish the film and the other contacts we makers can generate a community of inter- mentation and the recession have put pres- other funding partners. made should mean more funds once it est before a film is made. It allows them to sure on TV budgets across all programme The MeetMarket selection and premieres at this year’s festival.” circumvent traditional distribution meth- genres, but documentaries are especially pitching format is now being copied by Freelance TV director Jason Massot ods; some even use the internet to raise under threat. They are neither broadly other festivals, supplanting the more had exactly zero funding before funding. popular like reality shows nor strictly part traditional “beauty parade” where MeetMarket last year for his film called However, as the music industry has of a broadcaster’s public service obliga- pitches are made in front of a large Switching Lanes, which chronicles the clearly shown, the downside of the internet tions, says Peter Bazalgette, ex-creative audience, which can be very intimidating. travails of an American family of seven is the ease of piracy. Major media compa- director of the Endemol Group, creator of “Most film-makers don’t like the idea of who move from Alaska to Las Vegas to nies are understandably concerned about Big Brother, and currently an advisor to playing to a crowd,” says MeetMarket find a new life. He had gambled on the massive revenue losses caused by pirates. Sony Pictures UK. head Charlie Phillips. “They want to talk film’s eventual success by spending three High-profile lawsuits, such as Viacom’s Piecing together budgets from different in detail to one person at a time.” years and £35,000 of his own money. battle with YouTube, are being fought funding sources, or finding co-producers, The sifting of the original applicants “Whenever I had some spare cash from to preserve copyright. But even as some has become the norm for many documen- acts as a “filtering agent”, he adds, so my work on UK TV shows, I was off to of the biggest media beasts pursue their tary producers but it is time-consuming. UK that “each meeting is set up with the the States to film,” recalls Massot. “I legal rights, other trends are emerging. broadcasters often don’t want to co-produce highest chance of success.” got enough for a three-minute trailer Companies like NBC Universal, Fox and because they want to retain control of the For producer Sharron Ward, the which I took to the MeetMarket and that Disney are also creating alternative, legal look and feel of the programme. “England MeetMarket worked well for her film, transformed the project.” websites like Hulu.com to distribute their and the UK don’t embrace co-production in Addicted in Afghanistan. Ward had After seeing his MeetMarket pitch, products, while other voices are calling for the same way as continental broadcasters,” secured a couple of small grants to More 4 provided enough money for a complete re-think of copyright law. says Andy Glynne, MD of Mosaic Films. “UK develop the project early on, but not Massot to finish filming and complete But some documentary film-makers say broadcasters want control.” enough to complete it. “Cold calling post-production. The film-maker’s relief there are things to learn from the pirates But co-production can work. Simon to commissioning editors was very was palpable. “This is my second personal both in terms of relating to audiences and Chinn, producer of this year’s Academy tough and we did the usual rounds of project. My first doc sank like a stone in adding to their creative arsenal. Award-winning documentary Man On Channel 4, More4 and BBC but they terms of people viewing it; there was only Wire, made up his film’s £1.2m budget from weren’t interested,” says Ward. “The £10,000 to fund it, so I knew this one ‘Copy-wrong’ Forward-thinking: Pete Postlethwaite in The Age of Stupid, a film that benefited from substantial online supportKaren Robinson three sources: the BBC, Discovery Films whole online submission thing is also needed support.” Switching Lanes will air Witness The Age of Stupid, where direc- in the US and the UK Film Council, each not perfect while getting grants from on More 4’s True Stories strand next year. tor Franny Armstrong used the web to culture be if we could not emulate the outright piracy should not be confused and Wintonick are optimistic, both citing of which took on a third of the cost. John foundations can take forever.” Ross Biddiscombe “crowd-fund” her drama-documentary- ‘Copyright is out of work of others? Where would the Bible be with re-purposing content, which is iTunes as a good online-selling model. Smithson, chief creative director of Darlow animation film, raising £450,000 from control. It is being if monks didn’t copy out the manuscripts allowed in many circumstances under “fair With several colleagues Wintonick has Smithson, says that the trick with financ- 223 individuals and groups who bought by hand?” use” rules. set up Docagora.org, which he describes as ing is to find projects with international shares. The film stars Pete Postlethwaite manipulated for profit The web-distributed documentary film, a “kind of public service and honest bro- appeal. Smithson produced Touching the as an archivist from the future who looks RIP: A Remix Manifesto, uses both the pop- Revolutionary days ker” to provide a set of free, open tools, Void, which became the most successful UK back and wonders why we didn’t stop cli- at everyone’s expense. ularity of Girl Talk, a musician who uses “Whether we like it or not, we will continue data and information for documentary documentary ever because it tapped into a mate change when we had the chance. The digital sampling and mashup techniques, to live with copyright. The policy is not bro- makers. “These are revolutionary days global audience. Lifeline: co-production made Simon Chinn’s Man On Wire a reality J-L Blondeau/Polaris funding model helped the film both gain This is a global issue’ and an interview with leading law pro- ken enough for the major stakeholders to really, we are living in the fifth cinematic traction with a global audience and keep fessor Lawrence Lessig, who has created junk it. Therefore we need to understand revolution,” he says. its editorial integrity. a new copyright regime called Creative what are all of our rights under copyright,” Peter Wintonick, a Canadian-based Commons, to show how US copyright law says Aufderheide. “Creative Commons Weblinks documedia producer, film-maker and is stifling creativity. The film’s maker, Brett allows people who want to give away their critic with Necessary Illusions and Eye Gaylor, says: “Copyright is out of control. work to do so. [But] most creators still like Centre for Social Media: SteelFilm, thinks that focusing on holding It is being manipulated for profit at every- to hold on to some rights in their work. centerforsocialmedia.org/fairuse on to copyright is the wrong approach. “Of one’s expense. This is a global issue.” That desire will only increase among the Creative Commons: creativecommons.org course there are international conventions However, Pat Aufderheide, professor vast number of people who can now create Docagora: docagora.org on copyright, but they are generally ‘copy- and director of the Center for Social Media, material digitally.” Lawrence Lessig: lessig.org/blog ‘ wrong’,” says Wintonick in an email inter- School of Communication at American Developing business models that work RIP: A Remix Manifesto: ripremix.com view from South Korea. “Where would University in Washington DC, says that online is the big question. But Aufderheide The Age of Stupid: ageofstupid.net Funding struggles: Sharron Ward’s Addicted in Afghanistan Walking a tightrope between funding and propaganda

Documentary makers who there could be more danger of interfer- Culture clash ence. “I have reservations about docu- Self-releasing Why film-makers are increasingly meeting their own marketing costs accept the backing of funding mentary makers being encouraged to find groups run the risk of having money from charities and other groups As viewing habits change and mental structural challenges that must be who have massive PR machines and who Before he got to spend £122m ($200m) overcome, notably the fact that in the TV their editorial independence are campaigning for change themselves,” of Warner Bros’ money making his latest digital media expands, will TV world, success is all about overnight rat- she says. blockbuster, it’s worth remembering ings,” says Frank Boyd, director of Cross- called into question James Erskine, executive producer on that Batman director Christopher Nolan producers, broadcasters and over Labs, which helps producers develop Vanishing Of The Bees, says the Co-op fund- ended up having to market and distribute digital content creators see content and services for digital media. “It’s Ross Biddiscombe ing came via his distribution company after his first US film, Memento, pretty much hard for a broadcaster to measure success production was already in progress. “We by himself. eye to eye on the future ? when creating for other (non-broadcast had no direct relationship with the Co-op; Self-releasing a film, which means TV) platforms because reach and share – There are few issues more sensitive for we mentioned them in the film as a news paying for distribution and marketing Kate Bulkley the traditional measures they use – are very documentary makers than audiences story because they were one of the compa- yourself, is normally seen as a last resort. difficult to gather on web projects.” questioning their editorial integrity, mak- nies in the world banning products using But the traditional wisdom is breaking Boyd says that the “power and the ing the recent funding trend of matching pesticides. If I was a journalist, I could see down and in particular for documentary Up to now the general approach with many money” still sit with the TV programme up organisations like NGOs, charities and how a comment about the sponsor might films, says New York-based distribution documentaries has been to use the web as commissioners. “The BBC and Channel4 private foundations with film-makers one be interpreted because it’s a fine line for expert Marian Koltai-Levine. “The an enhancement of the TV programme. But say they want multiplatform pitches, but of the industry’s hottest debates. campaigning docs. But no one had edito- stigma of self-distribution doesn’t exist as viewing habits for TV change, using the without compelling TV elements an idea Will the funding group try to influence rial control except the film-makers.” anymore.” She says that film-makers have web as simply an afterthought is beginning is unlikely to get commissioned at present. the direction or the message of the film? With competition for commissioning to take control of their own destiny out to be seen as short-sighted. There are some other broadcasters, mean- Will the film lose its credibility with the cash so intense, there is certainly a need of necessity and that releasing in cinemas “Most broadcasters look to the web while, who still hope all this multiplatform audience? Will taking funding from groups for other funding sources, but the BBC cur- helps boost a film’s profile before it airs ‘Do film as an extension of broadcasting today,” stuff will go away,” says Boyd. with a point of view like Greenpeace mean rently blocks documentaries funded by on television. says Tom Koch, vice-president of distri- The dominance of the TV programme is the resulting film is more propaganda piece special interest groups, although even the However, self-release is not cheap. In makers bution for PBS in the US. “They see it as starting to shift but it will take time, says than passionate story? corporation’s rules are in a state of flux. Britain, the average marketing campaign really online catch-up, or as a place for tune-in Bruno Felix, co-founder of Submarine, A Sunday Times review of the recently- For example, The Cove, a £3m ($5m) for a film costs £100,000. For a US advertisements or progamme promotion an independent producer specialising in released Vanishing Of The Bees summed up campaigning doc about the slaughter of release, the cost will be around a million want to and that’s all.” Over the last several years cross-platform content in the Netherlands. the dilemma. The reviewer liked the movie dolphins in Japan, was originally thought dollars. Josh Newman, founder of Cyan send PBS has changed how it structures its pro- “The generation in power at the broadcast- but said it was “let down by … a blatant plug to break the BBC’s funding code. But last Pictures, thinks film-makers need to raise gramme making so that the budget for the ers at the moment will be pushed out by for its co-sponsor, the Co-op”. month, when it was established that Amer- one third again of what they’ve scraped viewers TV programme also includes the budget their age and we will start to get people With such comments ringing in the ican new media billionaire Jim Clark pro- together to make their documentary to away from for the web and for other outreach mate- who are younger and more open to this,” ears of British doc makers, plus regulator vided the money for the film himself, the give it a chance in movie theatres. rials. According to Koch, the foundations says Felix. “But it will take the next five to Ofcom’s tightening of the BBC’s rules on BBC began negotiations to screen it. Film financiers, sensing the change, are their and philanthropic organisations that are 10 years for this to happen.” documentary funding, Claire Fox, director “I think it’s OK that some film-makers putting together marketing funds. Cyan finely- large backers of PBS are very interested in Until then Boyd says he will continue of the Institute of Ideas, says that vigilance pay their mortgages with money from Pictures has raised £61m ($100m) to pay the long shelflife of the programmes they to work with producers and new media is needed to make sure documentary mak- NGOs,” says Nick Fraser, series editor of the for releases. Golden Sand Entertainment crafted fund. “If we can prove to our funders that a creators and broadcasters to help them ers do not become propagandists. “It’s fash- BBC Storyville strand. “But it means that in Los Angeles has raised double that. film into project has a 10-year life on the web, that’s collaborate more efficiently. “We try to ionable talk for film-makers to go outside film-makers have to prove their independ- Releasing simultaneously in the much more valuable than having a fort- bring people together from different back- the broadcasting community for money, ence to their audience.” cinema, on DVD and on television can the online night of TV audiences.” grounds to develop hybrid formats from but there is a need to make sure where the give the biggest “bang for the buck” in world?’ The web plays a fundamentally differ- scratch. An important element of this is impetus for the message of their film comes publicity terms. Michael Winterbottom did ent role from a TV programme with space getting all involved to understand each from,” says Fox. “At the end of the day, Does taking funding this with The Road to Guantanamo. Meg Carter for user-generated content and opportu- other’s language because ‘development’ in NGOs and charities are political and their Andrew Eaton, the film’s producer, says on multi- nities for people to dig deeper into par- games means something completely differ- involvement in a documentary should not from interested groups the cinema release just about covered its ticular issues most relevant to them. What ent from ‘development’ in the TV world,” turn it into advertorial.” costs.“If you’re creating something for a platform broadcasters and programme makers are says Boyd. “Great ideas are only the first Fox admits that experienced doc makers mean the resulting film small, specialised audience, it’s up to you content, starting to appreciate is how to use the web challenge. The next is in getting these ideas have worked successfully with such part- is more propaganda to create that audience,” he says. to engage audiences in new ways, but it is commissioned and paid for.” ners for many years, but with less money Self-release success: Christopher Nolan’sfirst US film, MementoMemento/Pathe Tim Adler page 5 not always a simple sell. “There are funda- Additional reporting by Meg Carter coming from TV commissioning editors than passionate story? The Guardian | Monday 2 November 2009 5 Facts in focus Multiplatform content Interactive strategies aim to grow audiences

Cross-platform documentary content has traditionally been an afterthought, but attitudes are changing

Meg Carter

The dearth of successful, multiplatform documentary programme content is largely because lower-risk projects eg. longer-running series and programmes aimed at teens, have so far been the areas targeted for multiplatform exploitation. But documentaries may be coming of age in this regard as commissioners and producers seek new ways to extend their audiences and production techniques. “One reason we’ve not seen more multiplatform documentaries is the economics of production,” says Adam Gee, cross- platform commissioning editor for factual programming at Channel 4. “You need a decent footprint in peak-time schedules to drive sufficient numbers online yet many documentaries nowadays are one- offs rather than full series.” Audience benefit Another factor is figuring out which bits of a documentary will work best on digital platforms. Nick Cohen, BBC multiplatform commissioning executive for factual and arts, says: “Multiplatform has to be about giving people something to do. But to work, you must think through carefully the audience benefit – a very different approach to traditional TV production.” Then there are the big cultural differ- ences between TV and digital production. These pose perhaps the greatest challenge, says Frank Boyd, director of Crosso- Colourful content: Embarassing Bodies’ Doctor Christian Jessen warns teenage kids about sunburn in one of the Doctors in Magaluf road shows Channel 4 ver Labs, a cross-platform training initia- tive. “Lack of digital production expertise potential of online to make programme tent were integrated throughout the TV means many independent producers work The Routes project A multiplatform success story content more personally relevant to its show. As a result, 3.5 million people have with a digital agency to produce multiplat- audience, says the BBC’s Cohen. The BBC1 accessed the website and mobile content, form content. But most production peo- series was a linear documentary with tra- demonstrating the mainstream appetite ple are trained and experienced in a single Channel 4’s goal of motivating a teen selected players and actors taking part in ditional narrative. Online, however, all for multiplatform. medium, so one element of a project will audience to learn more about genetics a raid on a fictitious genetics laboratory data behind the TV show was made avail- always come first – usually TV.” led to Routes, a cross-platform project via social media networks. The “raid” was able for the audience to play with. Community of interest Despite this, a number of recent suc- with TV, online and offline elements. The filmed and the result put online. Despite the advantages of thinking Clear spikes in Embarrassing Bodies’ web cesses demonstrate that lessons are now project launched in January 2009 and “Although everything was moderated multiplatform from the outset, successful traffic proved viewers will watch factual being learned. “Britain from Above was was co-funded by the Wellcome Trust. by the production team, the idea was content can also (and does) evolve organi- TV with laptops open at the same time, conceived as cross-platform from the Routes comprised three main strands, to let things unfold organically,” Oil cally – proof that clear rules and practices creating what Gee calls “a shift” at Chan- outset – a critical factor in its success,” straddling online, the real world and TV, creative director Mike Bennett explains. are yet to be established. For example, nel 4. “It was the first evidence that mul- believes Kirsty Hunter, head of interac- and was aimed at 14- to 19-year-olds. “We hoped, by allowing ‘players’ to co- Embarrassing Bodies, produced by Mav- tiplatform for factual could work and find tive for the show’s producer, Lion TV. The first strand of the project, which was author certain elements, to create a truly erick TV, was first commissioned as a post- an audience,” he says. The programme also benefited from being created by Oil Productions, was a series immersive experience.” watershed, TV-only documentary series Lion TV’s Hunter says there is scope for made by a fully integrated multiplatform of short-form documentary programmes The Routes website, which remains back in 2000. In 2007 it was re-presented documentary-makers to integrate multi- production team drawn from Lion TV and featuring comedian Katherine Ryan who available to view as an educational to Channel 4’s features department as a platform into the TV production process digital agency Numiko. suffers from lupus. resource, has so far attracted unique primetime, multiplatform show. itself. “The question is how far can you Numiko managing director David The second strand was a package of visitors of just over half a million. “At first, the multiplatform content push multiplatform pre-broadcast to Eccles says: “The One Show was, in effect, short, genetics-themed online games “The key to making any multiplatform was designed as an educational add- build a community of interest who will an executive summary of what happened and the third a murder mystery game content work is for everyone, TV and on and just cross-promoted at the TV eventually be your audience – using blogs online and on BBC4. On BBC4 the audi- built around the fate of a fictitious digital producers, to work as a single show’s end,” says Maverick founder and and tweets, for example?” Turpie sounds ence was directed to extended content genetics scientist, Professor Markus team,” says Channel 4 Education digital media director Jonnie Turpie. a note of caution, however. “Embarrass- which explored topics only touched on Schoenberg. Clues were spread across commissioning editor Matt Locke. MC When the production team saw the spike ing Bodies showed that people multitask by BBC1.” 30 specially-created websites as well as in web traffic after the shows aired, the while watching factual programming, The Truth About Crime, a documentary a number of live events. Weblink strategy was re-thought; by the second which raises a rather fundamental ques- conceived as a multiplatform idea by Films The game element ran for three series, expert advice from doctors com- tion: do documentary-makers really want of Record and produced in association months culminating in an event involving Routes: routesgame.com/home missioned for online along with direct to send viewers away from their finely- with Mentorn Media, demonstrated the references to the multiplatform con- crafted film into the online world?” Gaming brings serious factual content to life

recently launched by Channel 4 about players learn first hand the challenges Documentary-linked games online privacy in which players expe- and compromises that might be required can put across serious factual rience the potential pitfalls of posting in managing to ethically run a branch of every thought and action online. It was the fast food giant. Another example is content in an enjoyable, developed by multiplatform production September 12, a game which forces play- accessible manner. So why company Six to Start, whose co-founder ers to consider the collateral damage they Adrian Hon felt active audience participa- cause when trying to wipe out terrorists aren’t there more of them? tion was the best way to bring the content threatening a community. Meg Carter to life. Though both games were developed “Games make a lot of sense in education by games companies as free, stand-alone because teens really like them,” Hon says. online games, their serious subject mat- In May 2009, Channel 4 launched 1066: “But their potential extends way beyond ter indicates the potential for film-makers. The Game, to accompany its histori- this. Everyone plays games in some shape Yet few examples of documentary-linked cal docu-drama series, 1066. The game or form, even if it’s doing a crossword or games exist. Most TV-themed games allowed players to take control of English, Sudoku. It’s all down to finding the type of development has so far been driven by Viking or Norman armies to learn more game most appropriate to the subject.” drama and entertainment. about military strategy and social issues Games can also extend the potential Funding issues and lack of contact of the time. Six months on, the game has audience for factual material. “A gaming between games and TV producers are been played 6.5m times – a clear indication component to a multiplatform content two reasons for this, Hon suggests. of the potential interest in games involv- project can broaden the audience for a TV Another, however, is concern about ing documentary themes. documentary, bringing in a new demo- appropriateness. Channel 4’s interest in games is driven graphic or gender bias,” says games con- “In a business where people’s careers by a belief that multiplatform content is sultant Margaret Robertson. are built on credibility, accuracy and not the best way to fulfil its remit to provide Robertson, who is a mentor at Crosso- manipulating the facts, interactive con- educational programming for a 14- to 19- ver Labs, cites a number of examples, tent is still seen by many as scary – there year-old audience. However, the lessons including The McDonalds Game, where is a stigma around games,” Robertson now being learned are set to shape the concedes. “But the counter-argument development of games for other audiences is that by playing around with the facts and different forms of factual content. ‘A gaming component a user may end up understanding more “Games are very good for historical about the wider context – an opportunity subjects with rich back stories,” Channel to a multiplatform documentary-makers can’t ignore.” 4 Education commissioning editor Matt content project can Locke explains. “But they are also a pow- Weblinks erful way to address issues that might oth- broaden the audience erwise be regarded as dry or difficult.” 1066: tinyurl.com/cv72px A case in point is Smokescreen, a game for a TV documentary’ Life online: Channel 4’s game, Smokescreen, explores online privacy Channel 4 Smokescreen: smokescreengame.com 6 The Guardian | Monday 2 November 2009 Facts in focus Celebrity/Personal views When the stars come out, so do the viewers

sharp point about battery-farm raised The success of the celebrity- chickens arguably benefited from his pas- driven documentary has sion about the subject and celebrity. But for veteran doc maker Molly Dineen earned the once-scorned there is an unhealthy crossover between genre a permanent place in PR and news. In her opinion, celebrity documentaries do not help. “I think the plans of TV schedulers Joanna Lumley is wonderful and so are orangutans, but why should she go and Ross Biddiscombe tell us about them rather than a serious film-maker?” asks Dineen. She believes that “celebrity influence” The celebrity-led documentary or factual is one reason that new, original documen- series might feel anathema to many tradi- tary ideas are so scarce. “Commissioning tional documentary film-makers, but the editors need to be braver. There is too trend is here to stay because it works. much copying of versions of the same For commissioners like Richard Woolfe thing,” she says. at Five, a familiar face leading a factual “The best documentaries are unpredict- series helps it to stand out in a crowded able,” adds Nick Fraser, series editor of the TV schedule. “Celebrities like Paul Mer- BBC’s Storyville strand. “With a celebrity ton (Paul Merton in China for Five) or Rory involved they often will want to see the McGrath (Rory and Paddy’s Great British effect of their labours on screen and there Adventure for Five) are great story tellers is a tendency for them to want bite-sized and fantastic communicators who revel in social messages. Too many of this type of passionate projects,” says Woolfe. “The documentary would just be boring.” viewer is hooked because the shows work Producer Rachel Wexler prefers her on two levels – it’s about the host and their “celebrity” to be the documentary subject, experiences together with a good dollop as happened with real-life brain surgeon of jeopardy that makes for must-see, talk- Henry Marsh in her highly-acclaimed The about programming.” English Surgeon. “I don’t mind a celebrity Ross Kemp In Afghanistan, an award- who is credible within the subject – like winning series for Sky One, is a case in Stephen Fry talking about a mental dis- point. The former Eastenders TV star has ease that affects him (as he did in BBC2’s also looked at gangs and, most recently, at Secret Life of the Manic Depressive) – modern pirates, all of which have attracted because that can help viewers understand good audiences for Sky. “The Afghanistan the subject better,” says Wexler. “But I dis- series with Ross was a kind of journalism; like the idea of plonking a celebrity in a there was no prescriptive idea, but the film just because they are famous.” journalism comes through actuality,” For some film-makers, the celebrity says Andrew O’Connell, the programme’s impact is used in a more subtle way. Pro- executive producer. “It’s not the heavier ducer Christopher Hurd used Ted Danson style of Dispatches or Panorama. It’s not (star of Cheers and Three Men And A Baby) massively intellectual; it’s more visceral. to narrate his campaigning documentary It is journalism through great access and The End Of The Line because the star had Ross asking great questions.” been speaking out on the subject of fish Celebrity chef Hugh Fearnley-Whitting- depletion for many years. “Ted was well stall went after Tesco in his Channel 4 doc- informed and was prepared to speak to the umentary series, Chickens, Hugh & Tesco press which made a big difference, espe- Too, making very watchable telly. Hugh’s Question time: Ross Kemp’s dispatches from the Afghan frontline typify the trend towards star-driven documentaries Sky One cially in America.”

Debate What will future audiences want and how will producers deliver it?

James Erskine, not known what much of the audience director and thinks. That’s not the case now. It ≥ producer. was great for me to get such a huge Credits include: political response to my most recent Vanishing Of the film, The Lie Of The Land, through the Bees (producer) internet. It was very gratifying and and Torchwood that level of interest is what will fuel (director) the documentary makers in the future. There is a very vocal group of talented people out there making films with There have been some very high lots of energy, but it is tough to reach impact films on environmental topics audiences – especially young people – in the last year, but I’m not sure that the who don’t quite know where the real trend for this kind of campaigning movie world begins and their virtual world will continue. Audiences don’t need ends. Some of the reason is because to keep being told just what’s wrong. there is an unhealthy crossover with I think it’s more likely that more films PR seeping into the news; there is too on issues like human rights and social much government interference in our causes will be made allow people to look lives about how we communicate and at the world through a more positive lens it is affecting documentary makers. and inform them about how they can It is causing new ideas for docs to be change things. We don’t want audiences scarce and I admire people who will leaving the cinema feeling depressed or stand up for those ideas, especially the hopeless all the time. commissioning editors. Also, the cinema is not a long- term forum for documentaries. Alice Carder, Doc films for the cinema are too student journalist expensive to make and release for and film-maker most film-makers. But we can still make docs about big issues. We’re making a film about arms spending and weapons of mass destruction, but we approach it with humour. Plus it’s time to look at these subjects in a more modular way; breaking them down into a 3-minute piece to send to The documentary film-making business a mobile phone. Younger audiences needs de-mystifying for the next Hear Matt are more likely to watch this than a generation; the industry can feel very classic narrative. closed and too London-centric. Studying Wells, Jeff in Sheffield, sometimes it feels like I’m Jarvis and Molly Dineen, working on my own. But there is such a panels of documentary film- lot of freedom to think that anyone can maker. Credits pick up a camera and start making films experts pick include: Home from about what they see around them. Young over the the Hill, The Heart of adults of this generation are benefiting the Angel, Tony Blair from the advances in technology and biggest and Geri also in price. I use a £700 Sony handheld media HD camera and that’s a good enough to stories on make real documentaries. But you also need to be really multiskilled – operate both sides of We are going through a revolution the camera, edit film as well as promote the Atlantic in how we live and work with digital yourself and get your own funding. It technology and it’s something every means the film-maker can have control. Media Talk film-maker – including myself – has There should be more mentors in the and Media– to embrace. There are plenty of good industry, experienced people who can Talk USA short films being shown online and it encourage us and give us guidance. Then is important to build up an audience young adults can make more docs about podcasts, there because it’s an incredibly exciting their own experiences and what they see guardian. option to have viewers respond to you around them. via the web. For years, we have killed co.uk/audio ourselves trying to get a story right and Interviews by Ross Biddiscombe