May 2015

Has TV eaten itself? RTS STUDENT AWARDS 2014 5 JUNE 1:00pm BFI Southbank, SE1 8XT

Hosted by Romesh Ranganathan. Nominated films and highlights of the awards ceremony will be broadcast by Sky www.rts.org.uk Journal of The May 2015 l Volume 52/5

From the CEO The general election are 16-18 September. am very proud I’d like to thank everyone who has dominated the to say that we have assembled a made the recent, sold-out RTS Futures national news agenda world-class line-up of speakers. evening, “I made it in… digital”, such a for much of the year. They include: Michael Lombardo, success. A full report starts on page 23. This month, the RTS President of Programming at HBO; Are you a fan of Episodes, Googlebox hosts a debate in Sharon White, CEO of ; David or W1A? Well, who isn’t? This month’s which two of televi- Abraham, CEO at ; Viacom cover story by Stefan Stern takes a sion’s most experienced anchor men President and CEO Philippe Dauman; perceptive look at how television give an insider’s view of what really Josh Sapan, President and CEO of can’t stop making TV about TV. It’s happened in the political arena. AMC Networks; and David Zaslav, a must-read. and Alastair Stew- President and CEO of Discovery So, too, is Richard Sambrook’s TV art are in conversation with Steve Communications. Diary, which provides some incisive Hewlett at a not-to-be missed Leg- Next month sees the 20th RTS and timely analysis of the election ends’ Lunch on 19 May. For more ­Student Awards. I am thrilled that coverage. details, please go to our website. Romesh Ranganathan will I am delighted to say that registra- host the event at BFI Southbank in tion is open for the biennial RTS London on 5 June. Cambridge Convention, chaired by In an exciting move, the work of this BBC Director-General Tony Hall. year’s nominees and highlights of the The dates of this year’s conference ceremony will be shown on Sky TV. Theresa Wise Contents Richard Sambrook’s TV Diary Why film is a good fit for the BBC Richard Sambrook reflects on an election campaign Head of BBC Films Christine Langan tells Steve Clarke 5 like no other – and hails a new approach to political 16 that the corporation is more serious than ever about interviewing pioneered by backing British movies

TV’s narcissistic tendency From Macclesfield to Manhattan From W1A to Gogglebox, TV shows about telly are has been an innovative indie and 6 everywhere. Stefan Stern provides a guide to some of 19 CEO of Channel 4. He also ran channels at the BBC the best and asks what they tell us about television’s and Universal. He still fervently supports committed view of itself programme-makers, hears Steve Clarke

Easily bruised, easily enthused Our Friend in the West Ben Frow is bringing real passion to Channel 5. Mike Gunton discovers that even in America’s Midwest 8 Andrew Billen discovers a TV executive like no other 22 the -based NHU is part of the culture In the eye of the storm The age of the smart show Maggie Brown profiles Ken MacQuarrie, the tactful A group of digital pioneers explains how TV is evolving 11 Director of BBC Scotland, who needs to keep the 23 in an online content world dominated by YouTube. peace as the SNP surges Matthew Bell logs on

Blurred signals from Brussels NAB: software is the new hardware Content owners are sceptical about the EU’s plans for Adrian Pennington surveys the latest tech trends on 14 a Digital Single Market. They want to protect the status 26 display at NAB in Las vegas quo on selling rights. Raymond Snoddy reports

Cover picture: BBC

Editor Production, design, advertising Royal Television Society Subscription rates Printing Legal notice Steve Clarke Gordon Jamieson 3 Dorset Rise, UK £115 ISSN 0308-454X © Royal Television Society 2015. [email protected] [email protected] London EC4Y 8EN Overseas (surface £146.11) Printer: FE Burman, The views expressed in Television Writer Sub-editor T: 020 7822 2810 Overseas (airmail £172.22) 20 Crimscott St, are not necessarily those of the RTS. Matthew Bell Sarah Bancroft E: [email protected] Enquiries: [email protected] London, SE1 5TP Registered Charity 313 728 [email protected] [email protected] W: www.rts.org.uk

Television www.rts.org.uk May 2015 3 Your guide to upcoming national and RTS NEWS regional events

RTS EARLY EVENING EVENT LONDON REPUBLIC OF IRELAND National events Monday 28 September Tuesday 19 May ■ Charles Byrne (353) 87251 3092 In conversation with Mike The Jane Mercer Memorial ■ [email protected] RTS LEGENDS Darcey, Chief Executive Lecture: Moving images Tuesday 19 May Officer, News UK Given by Raye Farr. Organised SCOTLAND General election 2015: Did TV 6:30pm for 6:45pm jointly by RTS London and Focal Wednesday 20 May come to the aid of the party? Venue: , 24 En- International. 6:30pm for 7:00pm Annual Awards Jeremy Paxman and Alastair dell Street, London WC2H 9HQ Venue: Cavendish Conference 6:30pm. Tickets are free if you Stewart OBE in conversation. Centre, 22 Duchess Mews, join the RTS by direct debit dur- Just days after the conclusion of London W1G 9DT ing April, otherwise: members, the election, two of television’s ■ Daniel Cherowbrier £24 inc VAT plus booking fee; leading interviewers will share ■ [email protected] non-members, £48 plus booking their insiders’ views of exactly fee. Online booking at Eventbrite what happened. Tickets are MIDLANDS Venue: Oran Mor, G12 8QX £69.60 inc VAT (£58+£11.60 VAT) May to June ■ James Wilson 07899 761167 per person and are inclusive of Education workshops in ■ james.wilson@ service but exclusive of alcoholic secondary schools cityofglasgowcollege.ac.uk beverages. 12:30pm for 1:00pm These will give students in years Venue: London Hilton on Park 8 and 9 an insight into jobs in SOUTHERN Lane, London W1K 1BE the TV industry. ■ 17 May SCA ■ Gordon Cooper ■ Book online at www.rts.org.uk Academy, Walsall ■ [email protected] Demis Hassabis RTS industry update roadshows RTS AWARDS ■ 21 May BBC Nottingham ■ Friday 5 June JOINT PUBLIC LECTURE 4 June University of . RTS Student Television Awards Wednesday 4 November Both 11:45-14:00, including lunch 2014 Joint RTS/IET public lecture ■ Jayne Greene 07792 776585 Venue: BFI Southbank, Belvedere with Demis Hassabis ■ [email protected] Road, London SE1 8XT Demis Hassabis is founder of ■ Book online at www.rts.org.uk Deep Mind and an artificial NORTH EAST & THE BORDER intelligence researcher, neuro- 19-20 May RTS FUTURES scientist and computer game Young People’s Video Festival Monday 8 June designer. 6:30pm for 6:45pm Venue: University of Sunderland THAMES VALLEY How to be the best... researcher Venue: TBC ■ Jill Graham Wednesday 1 July 6:30pm ■ [email protected] Summer BBQ – Drone fest Venue: 110 Rochester Row, 6:30pm-8:30pm approx ­London SW1P 1JP Local events NORTH WEST Venue: Pincents Manor, Calcot, ■ Book online at www.rts.org.uk ■ Rachel Pinkney 07966 230639 Reading RG31 4UQ BRISTOL ■ [email protected] ■ Penny Westlake RTS FUTURES Thursday 11 June ■ [email protected] Thursday 16 July Student Showcase screenings Summer party 1:00pm-5:00pm Tuesday 9 June Organised jointly by RTS Futures In conversation with Burrell Technology tour Thursday 18 June and Guardian Edinburgh Inter- Durrant Hifl Organised by RTS NI Futures AGM national Television Festival 6:00pm-7:00pm and hosted by BBC Northern Venue: TBC Talent Schemes. 6:30pm Venue for both: Watershed Ireland. This visit to BBC ■ Hywel Wiliam 07980 007841 Venue: Design Museum, 28 Shad Cinema 3, 1 Canon’s Road, Blackstaff will tour the New ■ [email protected] Thames, London SE1 2YD Harbourside Bristol BS1 5TX Technology Presentations and ■ Book online at www.rts.org.uk Tuesday 14 July Vision department. Camera and YORKSHIRE AGM audio supervisors will showcase Friday 19 June RTS CONVENTION Venue: TBC many aspects of BBC Northern Annual Awards 16-18 September ■ Belinda Biggam Ireland television production. Venue: Royal Armories, RTS Cambridge Convention 2015 ■ [email protected] 18:30pm-21:00pm. Register at: LS10 1LT Venue: West Road Concert Hall, www.eventbrite.co.uk ■ Lisa Holdsworth 07790 145280 Cambridge CB3 9DP and King’s DEVON & CORNWALL Venue: BBC Blackstaff House, ■ lisa@allonewordproductions. College, Cambridge CB2 1ST ■ Contact TBC Bruce Street, BT2 7GX co.uk ■ Book online at www.rts.org.uk ■ John Mitchell EAST ANGLIA ■ mitch.mvbroadcast@ ■ Contact TBC btinternet.com

4 May 2015 www.rts.org.uk Television TV diary

Richard Sambrook reflects on an election campaign like no other – and hails a new approach to political interviewing pioneered by Evan Davis

atching an vide electricity – both heat and light. debates and photo opportunities election The group hug of mutual support and the other in a ground war on the campaign between the three women leaders at doorstep, where it is suggested that from an the end of the BBC’s “no Cameron” Labour has invested more heavily. academic programme is revealing – with Ed perch is Miliband and Nigel Farage left ■ This campaign offers no less col- very dif- uncomfortably on either side. our than previous years. Early days ferent to organising coverage in the Perhaps a new kind of politics is are dominated by Joey – whose Wnewsroom. My university colleagues possible if more women rise to the top. charm is as great as his knowledge of are no less engaged, but they stand politics is minimal. Does he hold the outside the media-political bubble ■ For me, the -on-one interviews key to reaching young, disengaged and are usually better informed. between leaders and Evan Davis on voters? Or is a better This can make some of their ques- the BBC are the most informative conduit? It’s a strange world where tions more challenging than those of moments. Nothing beats polite but politicians queue up to be patronised presenters, correspondents or politi- persistent questioning – or allowing (sometimes in all senses) by celebrities. cians. They seem to think opinion space for a serious response – to gauge should be based on rigorous research a politician’s mettle. It is Evan’s forte ■ Ukip in Bristol adopts a candi- and evidence. Quaint notion. as he consolidates a new approach to date who was previously a pornog- political interviewing. rapher. He had been interviewed ■ We have had a team researching Most people I speak to agree that (read “doorstepped”) by my son for a media coverage of the campaign the campaign is too controlled to be student documentary, which is sud- that has been published in The compelling. Social media has, so far, denly discovered and linked to by Guardian each week. not provided the colour that many BBC Online, Vice News and websites Headlines so far: the BBC offers predicted. around the world. more policy coverage than other Tight party discipline prevents Online viewing figures soar. It’s an channels; politicians spend more gaffes. With no one dropping their early lesson in the power of the news time attacking each other than out- guard, the Twitter feeds become agenda as Sambrook Jnr applies for a lining policy. And, at one stage, Sky an anodyne repetition of the day’s postgrad course in TV journalism. and the BBC feature Conservative message. Not at his father’s institution, of voices speaking for longer than they course, but one run by yet another do other parties. Is that fair, given ■ Never mind 140 characters – BBC alumnus. It’s hard to escape us that a government should be held to many leaders are hoping that a sin- in higher education these days. account on its record? Or unfair, gle word can make a mark. For the given the context of an election cam- Conservatives, it is “security”, the Lib ■ STOP PRESS: Polling day has paign? Essays in by Friday, please. Dems, “anchor”, and the SNP, “pro- revealed all – but if the real picture gressive”. It feels a little bit as if W1A’s was obscured by the battle of sound ■ The leaders’ debates again become Siobhan Sharpe of Perfect Curve has bites and polling errors (as in 1992), the highlight of what, at the time of been at work. Is she behind Miliband’s we can expect lengthy post-mortems. writing, seems an otherwise stale- “Hell, yeah!” going viral? mated campaign. Nicola Sturgeon is Richard Sambrook is Professor of Jour- this year’s . ■ There are rumours of two paral- nalism and Director of the Centre for In spite of the tortuous negotiations lel campaigns running. One in the Journalism at University and a and dysfunctional formats, they pro- media-political bubble of leaders’ former Director of BBC Global News.

Television www.rts.org.uk May 2015 5 TV’s narcissistic tendency

Telly on telly From W1A to Gogglebox, TV shows about telly are everywhere. Stefan Stern provides a guide to some of the best and asks what they tell us about television’s view of itself

ill television There are at least five sub-categories We all just knew, or at least sus- eat itself? A flat of this tendency that are worth consid- pected, that the BBC was a vast, screen might ering in a little more depth. bureaucratic, jargon-filled monster, be easier to get permanently on the brink of scandal down than a Sitcoms about TV or (comic) chaos, but it has been cathode-ray When you turn the cameras around on delightful having it more or less con- tube,W and cause less indigestion – but, what happens in the TV studio, there is firmed by this programme. It has also still, it doesn’t really sound like a fun to be had. Currently being repeated been clever of the BBC to broadcast it. sensible diet. on London Live is Drop the Dead Donkey, Everyone loves an Aunty who can laugh All trades and professions are fasci- a big hit from the 1990s. This was one at herself. nated with themselves and like noth- of the first shows in recent times to Is it possible that these shows can be ing more than talking endlessly about shine a light on the nonsense of TV too knowing, too “incestuous”? Audi- their own work. The TV industry is no “grammar” and convention. ence figures suggest not. Perhaps view- different. In it’s case, making telly about It also made fun, rightly, of some of ers are now so “media literate” and telly is proving increas- sophisticated that they can ingly irresistible. handle all the industry We are all a bit too IN ’S ABSENCE, references and do not find wised-up to dream about the insider chat and jargon “the of television” LIFE HAS IMITATED ART AND, self-indulgent. any more. The schedules THESE DAYS, THERE ARE A But it could also be that struggle to hold our atten- the shelf life of shows tion. FEW MORRIS-LIKE NEWS such as these will inevita- But offered a glimpse ANCHORS ON OUR SCREEN bly be limited. Unless you behind the scenes or, bet- work in television, the ter still, an irreverent joke will wear off. And not or satirical view of the industry, then the feeble amateur dramatics that TV even the Head of Values can do any- viewers do turn up in decent numbers. news reporters can go in for. Not just thing about that. The cameras swing around and show about television, this show mocked us what we have not seen before. journalism itself: the hyperbole, the TV news In trendy, aesthetic terms, this prac- inaccuracy, the dubious morality, the A crucial subset of telly about telly is tice is called “reflexivity”: plays about fiddled expenses, the egos. the newsroom parody. Starting as a plays, films about films and, now, TV And while there was topicality – radio show (On the Hour), about TV. news-related gags were dropped in emerged in 1994 as a blistering take If you are trying to be profound, you late by the writers and down of news gone mad, with a liberal could argue that reflexivity betrays Guy Jenkin – the show was also a dash of Graphics Hell. doubts about the validity or usefulness classic workplace comedy. It was an Stalwarts included Rebecca Front’s of the original medium, and that there added bonus that some monstrous TV crazed US TV reporter who apparently is scepticism as to its continued rele­ folk were involved. could speak for minutes on end with- vance or effectiveness. More recently, an even more know- out ever taking a breath, and the peer- It could just be, of course, that people ing and dry take on telly has been less Chris Morris, who out-Paxmanned are simply having a laugh. Whatever offered in shows such as Episodes, Extras Paxman and all other presenters. the reason behind this “narcissistic and, of course, WIA, which recently Unfortunately, in his absence, life has tendency”, there is a lot of it about. returned for a second series. imitated art and, these days, there are a

6 The ever-more bizarre conference furniture of W1A BBC few Morris-like news anchors on our as Episodes, have been explored in for example of a sweepstake based on screens. more bitter-sweet detail by character the valuations offered on Antiques Road- Less satirical, and more romantic, comedies such as The Larry Sanders show – and just left the camera running. was Aaron Sorkin’s The Newsroom, Show and I’m Alan Partridge. Gogglebox is a simple idea, a bit like a which lasted for three series (2012-14), Here, there is an acknowledgment happier version of the telescreens entertaining many but provoking that the industry can be a hard, unfor- imagined by George Orwell in his many, as well. It was all a bit too good giving place, where cynicism and dis- novel Nineteen Eighty-Four. They (or We) to be true. honesty can make or destroy careers. are looking in on Us (or Them), but “No flipping!” Larry (Garry Shandling) only out of curiosity and for amuse- Sketch shows used to implore his viewers – slightly ment, not sinister surveillance. Another traditional vehicle is the show despairingly. Sceptics will point out that Gogglebox that nods to, or parodies, other telly. In We knew that he knew that we merely confirms “observation theory”: Britain, popularised would. It was a dark and brilliant show. that pointing a camera at people is the idea that you could take a news- The hapless sidekick, Hank Kingsley bound to cause them to change their reader and put her in a fancy frock for a (Jeffrey Tambor), was a remarkably behaviour. dance routine. Not the Nine O’Clock News, subtle and moving character. Whatever the programme’s biggest French and Saunders and all More oblique views of the TV indus- fans may claim about the naturalness featured skits or spoof episodes. try have been offered in Larry David’s and spontaneity of the comments, it There is a risk of being too clever for Curb Your Enthusiasm, and in Harry and seems unlikely that participants ever your own good, however. Paul’s Story of the Twos, which aired last really forget that they are on the telly and once year to mark 50 years of BBC Two. themselves. made fun of , causing In these shows we are, flatteringly No matter: it really is harmless fun offence to their targets. But, arguably, enough, in on the joke, without actu- for most of the family – and revealing repeats of The Two Ronnies’ best work ally having to work in the industry stuff, too. We all have our favourites will still be being shown long after Alas ourselves. from the show: the Scouse pensioner Smith and Jones has been forgotten. Leon and the blunt, chirpy Geordie lass Some clip shows also provide intro- Gogglebox Scarlett Moffatt (and, yes, she has an spective TV fun. ’s TV Burp (light- Lastly, this is perhaps the most enjoy- agent, by the looks of it) being mine. heartedly) and Charlie Brooker’s Screenwipe able (and certainly the newest) category Inevitably, wags have pointed out that (more abrasively) both do that. of the lot: watching people watching what we now need is a new format: a telly. Gogglebox took an image from the programme in which we get to see peo- TV chat show and showbiz comedy popular sitcom The Royle Family – that ple who are watching Gogglebox to hear The behind-the scenes elements of the of the family gathered around the TV their comments on the comments being TV industry, mocked in sitcoms such in time for some communal viewing, made by the people watching telly…

Television www.rts.org.uk May 2015 7 en Frow is not as other directors of programmes. They tend to be sober, jargon-ridden and cautious – at least when speaking to me. They talk of “passion” but rarely show it: steady Bas the ratings sink or, occasionally, rise. Frow is funny, camp and outspoken, easily bruised and easily enthused. He was obviously not what , the publisher and, for four years, owner of Channel 5, was expecting either, when he sum- moned him for a job interview in 2012. “His opening words to me were, ‘Fuck me, you’re short.’ I said: “Not that short.’ And he said: ‘And you’re a poof- ter, too.’ And I said: ‘I’m a short poofter and I’m very good at my job.’ “And I just thought, ‘You know what? That’s great. I know exactly how I have to perform.’ There is no room for vul- nerability with Richard.” He even says he misses his old boss. Frow is dressed in a black designer suit. For the time being, despite Viacom’s takeover of Channel 5 last year, his office remains at Desmond’s Northern & Shell headquarters. I am almost as interested in how Frow, a former costume designer who boasts of having rinsed ’s tights on This Morning, got on as head of features under Tim Gardam at Chan- nel 4 in the early . Now principal of an Oxford college, The Billen Profile Gardam may be the most ascetic intel- lectual ever to have reached the heights of television. Frow commis- Ben Frow is bringing real passion to sioned for him Property Ladder and Death of a Porn Star. Channel 5.Andrew Billen discovers “I loved Tim. He is probably the greatest mentor of my entire career,” he a TV executive like no other says. “They used to call him pointy head because he’s so clever. And I am so un-clever but really instinctive. We had this very bizarre meeting in the middle.” It all suggests to me that Frow is much easier to work with than he Easily bruised, thinks he is and that, despite his pro- tests to the contrary, he can play the “political nice game”. That said, if you are Frow’s boss, as easily enthused Paul Dunthorne, Channel 5’s Chief Operating Officer, is now, you need to be prepared for the occasional onslaught. “I did shout at my boss a couple of

8 weeks ago, yes. In fact, I shouted a few did not decline. ABC1 and 16-34 audi- times. About once a year I have an hour ences actually grew. The year started THE CONTENT IS where I vent. And I said, ‘Thank-you for with the channel’s best ever January that. I’ll see you again in another year.’ and February. The station is, he says, GOOD, THE RATINGS “I sort of store up a year’s worth of “competitive”, “funny”, “self-deprecat- ARE GOOD, THE anxiety and frustration, and, God love ing”, “opportunistic” and “very cheeky”. him, he sits there and looks at me and With Viacom – the owner of MTV, STORY IS GOOD – just takes it all.” Comedy Central and Nickelodeon – AND YET PEOPLE As an emotional man, Frow was comes opportunity. The reality show prepared for volatility when Viacom 10,000 BC, in which Brits tried to survive STILL HAVE A bought Channel 5 in May 2014. in the “stone age” – beset with pro- MISPERCEPTION OF The transition has, however, turned ductions problems, incidentally – was out to be painless. The new owner has aired on Channel 5 with a spin-off, CHANNEL 5, THAT bought into Frow’s vision much as Meet the Stoners, airing on MTV. The Desmond had, but with the bonus of arrangement worked, says Frow, better IT’S A BIT SHIT wanting to put in money rather than for his channel than it did for MTV. take it out. He is working on a two-year strategy No one, he says, is giving him an with Jill Offman at Comedy Central to extra £100m to spend, but money is bring scripted comedy back to Chan- around for big buys such as Gotham or nel 5 eight years on from Angelo’s, the to back a hunch that will enhance sitcom set in a greasy spoon. “ratings, revenue or reputation”. A comprehensive rebrand this On the day he took over from Jeff autumn will, he hopes, allow reputa- Ford, Frow addressed staff and told tion to catch up with content. Says them that the station was positioned Frow: “The content is good, the ratings somewhere between C4 and ITV2. are good, the story is good – and yet “Psychologically, we had to make a people still have a misperception of decision. Did we want to be a really big Channel 5, that it’s a bit shit. And I’m digital channel and compete with the really fed up with that.” E4s and the ITV2s, and so on, or did Although he says that having a £3m we want to be one of the big five? budget would freak him, grease­ “And I said, ‘Let’s be one of the big paint is in his veins. His grandfather five. You know, we are one of the big was Bernard Miles, who built the Mer- five. We just need to up our game a maid Theatre. little bit.’” One of his sisters, Jo, is a stage man- An early indication of that was his ager, the other, Dido, an actress on commissioning of Suspects, an own- Doctors (both use Miles as their profes- grown police procedural to sit among sional surnames). Channel 5’s many crime imports. His mother, Sally, Bernard’s daugh- He has scheduled history program­ ter, died of motor neurone disease in mes, disguising the Plantagenets as 1986. His father, Gerald, who died Britain’s Bloodiest Dynasty, and plenty of 10 years ago, was a writer and author, “benefits” documentary series, such as who worked with Hinge and Bracket On Benefits and Proud. Frow says that and wrote a history of pantomime. this is a subject that “resonates” with They sent their son to St Paul’s his viewers, although he thinks it may Cathedral School, which he hated be time to pull back. “every single day” because he was He admits ratings are challenged neither academic nor posh, although when one or other version of he made friends with Simon Russell is not running. Hardest to get right are Beale, with whom he put on plays that the “grunt” programmes: returnable, required them both to drag up. reliable show such as The Dog Rescuers, Failing the exam to City of London The Nightmare Neighbour Next Door, Britain’s School, he was sent to a comprehen- Horror Homes and GPs: Behind Closed Doors. sive in north London, where he was, Despite the decline in availability conversely, bullied for having an of the American bankers CSI and NCIS, accent that was too refined. Channel 5 was last year the only major “I remember being in the playground

Channel 5 UK commercial channel whose ratings and thinking, ‘I have to make a dec- �

Television www.rts.org.uk May 2015 9 � ision here. I either put on a cockney Hotel Inspector, but left in a clear-out of How now, accent and merge in or I stay true to staff in 2007. who I am.’ And I decided to stay true He joined TV3 in Ireland as Director Ben Frow? to who I am.” or Programming – “I wanted to prove He left school, “wearing pink from that I was good and they shouldn’t head to toe”, with an A-level in stage have got rid of me. I do bear grudges. design to tend costumes at the “The first year was tough, the years National Theatre (“The first thing I two, three and four were fantastic and ever did was alter a skirt for Peggy year five was bloody. It was simply Mount”), studied costume making at gruesome.” the London College of A change of person- Fashion for a year, went nel had made it “pretty to the I DID SHOUT clear” that his time was and then found work at up. The reason that he This Morning. AT MY BOSS no longer burns

Channel 5 For a year, he made A COUPLE scented candles in his Finnigan a suit every office is that he never Ben Frow, Director of afternoon from two and OF WEEKS again wants to mistake Programmes, Channel 5 half metres of fabric a workspace for home. that he would buy at AGO, YES. The day his resigna- Born London, 14 July 1961 lunchtime, sewing as IN FACT, I tion was announced in Parents Gerald Frow, writer, and the journalists set up October 2012, he got Sally Miles, daughter of character the next day’s pro- SHOUTED A the call from Channel actor Bernard Miles gramme, absorbing FEW TIMES 5, which was saying Brought up London and Steeple their news values. goodbye to Jeff Ford. Bumpstead, Essex For a spell, he was on Coincidentally, Ford Education St Paul’s Cathedral camera, demonstrating clothes-mak- would then take Frow’s old job at School; Woodberry Down ing, but he decided he was not “pretty TV3. Comprehensive, north London; enough or confident” to be a pre- Frow lives in north London with his London College of Fashion senter. “So I decided to go behind the civil partner, Nigel Boyd. They met at (studied theatre costume) camera, where you have the power.” the National in 1990 but Boyd, a movie Civil partner Nigel Boyd He moved in 1995 to GMTV and costumier, returned from 18 years in First job National Theatre then to the BBC in , where the US only last year – “We had never costume department he worked on Wipeout and Wogan’s really lived together before.” Web, before arriving at Channel 4 in How’s it going? “It’s challenging. 1990 Dresser for 1998 as Editor of Leisure Programmes, I wish I had a two-bedroom flat.” and Judy Finnigan on This Morning rising to Head of Features and Factual Surely a man of his distinction 1995 Senior Producer, GMTV Entertainment. should live somewhere bigger? 1997 Executive Producer, BBC He spotted Nigella Lawson when “I made some mistakes.” 1998 Editor of Leisure she was a guest on Nigel Slater’s Real In property? “Yes – for all my prop- Programmes, Channel 4 Food but it took him a year to get her erty programmes.” 2003 Head of Features and on screen in her own show, Nigella Every day, he goes past the house Factual Entertainment, Channel 4 Bites. Objectors said that she was a of his opposite number at Channel 4, 2004 Controller of Features and woman, posh and from London. Jay Hunt, who famously took excep- Entertainment, Channel 5 “And I said: ‘She is a woman. She’s tion to claims that Channel 5 had 2007 Director of Programming, curvy. She’s had tragedy and difficul- beaten Channel 4 in the ratings. TV3 in ties in her life. No woman will resent “It is like a knife in my ,” he 2013 Director of Programmes, Nigella. They will just love her.’ And I confesses. “It is the house that I want Channel 5 was so proud of that show. It was my to live in.” first real, pure commission.” There is nothing personal in this. Hits Nigella Bites, Property Ladder, Other cookery programmes, Both feeling that life is too short for How Clean Is Your House including Ramsay’s Kitchen Nightmares, feuds, he and Channel 4’s Chief Crea- Misses From House To Home (C4), followed and a spate of property porn tive Officer lunched recently. Britain’s Biggest Primary School (C5) shows. “We both talked about the jobs we Faith Buddhist. ‘I chant for a tax Frow left for his first stint at Chan- were in. We have to wiggle our finger rebate from the tax man’ nel 5 in 2004 after Kevin Lygo made in the air and ask, ‘What is coming Hobbies An animal lover; owns the reverse move. “I don’t think I was down? What do people want? What is a Westie-Retriever cross called Kevin Lygo’s type of person. But I the country thinking about? What are Dorothy Parker didn’t feel I had to leave. I had done a viewers going to be engaged with in Watching 24 Hours in A&E and really good job and I was ready for a nine months’ time?’” Bake Off. And Poldark because his new challenge.” And, in that sense, Ben Frow is partner does. ‘We go: “That bodice As Controller of Features and exactly like every director of pro- is so badly made’” Entertainment at 5, he developed grammes: someone with an awful lot programmes such as The Farm and The resting on his finger’s best guesses.

10 May 2015 www.rts.org.uk Television In the eye of the storm BBC

hen Tony Hall To BBC executives, the corporation needed Profile politics are simple: MacQuarrie poses someone to no threat to the London-based hier- investigate archy that includes Danny Cohen, Jeremy Maggie Brown profiles Director of Television. Clarkson’s Ken MacQuarrie, the Last autumn, rumours of MacQuar- attackW on his producer, he looked rie’s retirement swept Scotland’s north and summoned Ken MacQuarrie, tactful Director of BBC Pacific Quay HQ following the BBC’s the calm and reserved Director of lacklustre Scottish referendum cover- BBC Scotland. Scotland who needs to age – but then abated. As an experienced member of the keep the peace as The Clarkson inquiry was a public Editorial Standards Committee, Mac- sign of the respect in which he is held Quarrie was an obvious choice. His the SNP surges inside the BBC, despite the protesters terse report sealed Clarkson’s exit. camped outside Pacific Quay, angry What the Top Gear presenter made of around. It couldn’t happen,” opined at what they saw as biased coverage. the enigmatic Scot, his polar opposite, one Scottish media observer. Former Controller of BBC Scotland remains the stuff of speculation. But for Observer media columnist Patrick Chalmers says that when MacQuarrie was also a safe choice: Peter Preston, the overriding factor MacQuarrie joined in 1975: “He was it was he who delivered the was that: “He’s an extremely solid very much of the Gaelic crofting inquiry, after the programme wrongly citizen… an honest broker.” tradition, a chubby Gael from the Isle accused Lord McAlpine in 2012 of Preston knows MacQuarrie, a of Mull, a bit scruffy, often the tie not abusing care-home boys. 62-year-old BBC lifer, from his work done up properly. He’s very quiet, Even so, some outsiders thought it at the International Press Institute, very thoughtful, diffident, acute, not odd to summon an executive from where he is an effective vice-chair, the brash BBC producer image at all.” Scotland to sort out problems in Lon- with an organised back office, deliv- Those who know him or work with don. “Imagine the furore the other way ering on his promises. him add comments such as: “He’s an �

Television www.rts.org.uk May 2015 11 [MACQUARRIE IS] GNOMIC, VERY GUARDED, A DIPLOMAT, WHO KEEPS HIS VIEWS TO HIMSELF

� intelligent man, very well rounded”; MacQuarrie is also the first Director “very straightforward”; “emoting is not (the title changed from controller in his way”; and “gnomic, very guarded, a 2009) of BBC Scotland with no experi- diplomat, who keeps his views to him- ence of working elsewhere. self”. Chalmers says of the appointment: Another opined: “Hard to speak to. “It did slightly surprise me… so narrowly He stutters and stumbles. Actually, focused.” McCormick, however, disa- very clever, thinking so deeply, as if he grees: to build a stellar career in Scot- has been in a philosophy class.” land is “a badge of honour”. WE TURN ON Given that Scotland is being swept MacQuarrie, who declined to be by “nationalist fervour”, he will need interviewed for this article, also sits OUR TV IN all of his ability to think deeply in the on the BBC Executive Team and the SCOTLAND months ahead. The BBC in Scotland, Online Direction Group. with an SNP Government in power, He is married, has three grown-up ONLY TO HEAR seems almost overwhelmed by the children, lives in south Glasgow and ABOUT ANOTHER party’s popular surge and the constant enjoys sailing, walking and visiting his complaints about coverage. house in Tobermory. No one has seen COUNTRY’S “We turn on our TV in Scotland only him in a kilt– if he were to wear one, it to hear about another country’s poli- would, presumably, be in the red and POLITICS, VIEWS, tics, views, music, culture and sport,” green of Clan MacQuarrie. MUSIC, CULTURE said one online response under a After Edinburgh University and report on the SNP’s general election teacher training college, he joined the AND SPORT manifesto. BBC and specialised in producing While supporting the licence fee, the award-winning Gaelic programmes. SNP manifesto went further than the Lesley Riddoch, broadcaster and Smith Commission, by seeking power contemporary, says: “He used to be over Scottish broadcasting. quite a radical in the days when John MacQuarrie is not a fancy public Birt came up to give his seminars in speaker. There is a sparse trail of utter- the canteen about the internal market. ances, headed by a speech to RTS He was quite able to be openly critical.” Scotland in April 2013, when he looked By 1992, he became both Head of forward to the 2014 referendum. Gaelic and Head of BBC Scotland’s “What will happen to BBC Scotland Features and Children’s department. should the country vote for independ- “It was the key to Kenny’s career, it ence?” he asked. “I choose not to travel went tremendously well,” says McCor- that path,” he then answered. mick. “His teams would do anything A speech given in October 2014, after for him.” the referendum, conceded there would Riddoch, now a prominent Yes sup- be “much work to do over the next porter, notes: “He just disappeared. He two years” but gave no details. focused on being a manager. There was Critics say this apparent refusal to a sea change”. engage has created a gap in the public MacQuarrie was appointed Head of presence of BBC Scotland. “Fair com- Broadcast in 1996, responsible for all 2014 Yes campaign) and Colin Cameron, ment,” concurs John McCormick, the Scottish output. then BBC Controller of Network Pro- personable BBC Scotland Controller In 1998-99, Birt, supported by Tony gramming outside London, to become who preceded MacQuarrie. Blair, fought off a plan to introduce a Controller of BBC Scotland. But MacQuarrie was feisty in coun- Scottish Six O’Clock News. MacQuarrie His early initiatives included cutting tering disputed academic research in kept his views to himself and, a year staff jobs by 13% and the obligatory March 2014. This claimed to detect later, he became Head of Programmes radical restructuring to “reduce hierar- pro-Union bias in the BBC’s output, for BBC Scotland. Although there were chy”. He warned: “We must produce compared with STV’s, in the run-up to later moves for trials of a BBC Scotland-­ even better programmes and services the referendum. “Our desire is to pro- run News at Six and News at Ten, the plans on an ever-more-efficient basis.” vide the most impartial coverage we were quietly dropped. Many BBC Scotland journalists con- can possibly,” he insisted to Scotland’s In 2004, MacQuarrie defeated Blair tested these cuts. They were also criti- Education and Culture committee. Jenkins (later Chief Executive of the cal of MacQuarrie’s appointment, in

12 work spend was in Scotland, ahead of the target of 8.6% by 2016. But the transfer of network produc- tions, such as Question Time – the so-called “lift and shift” policy – has fierce critics. “What Ken didn’t get, is that we wanted an indigenous industry in Scotland,” fumes Riddoch. Last month, SNP leader Nicola Stur- geon accused the BBC of short chang- ing Scots football teams and fans. She pointed out that it spent only £1m of £68m on Premier League highlights for Match of the Day on Scottish teams. The SNP general election manifesto argued for a substantial role in renego- tiating the BBC Charter. BBC Scotland was seen to be slow in adapting its coverage as the debate about independence intensified, and STV suddenly smartened up with a ratings success, Scotland Tonight, at 10:30pm. BBC Scotland introduced Scotland 2014 (and, currently, Scotland 2015) opposite it; the Scottish Newsnight compromise (a separate Scottish seg- ment at 11:00pm) was abandoned. The big question that MacQuarrie has steered clear of is: how do you see BBC Scotland evolving in the future? Scotland’s sense of itself is sup- ported by having its own, distinctive institutions, from its education and legal systems to an established parlia- ment – and 56 SNP MPs sitting in the UK Parliament. Whether the country achieves independence or merely greater autonomy, BBC Scotland can- not expect to be unaffected. A source close to MacQuarrie says:

Murdo Macleod Murdo “It’s a hell of a problem, the aggressive behaviour by Alex Salmond… being 2011, of John Boothman as Head of promise of reception for BBC radio shouted at by him. News and Current Affairs. Boothman’s listeners along the entire length of the “The SNP thinks BBC Scotland is in partner was Susan Deacon, a former arterial A9 road. the pockets of the BBC in London. The Labour health minister. This stoked Since his appointment as Controller, idea of a Scottish Broadcasting Corpo- fears of party affiliation in a febrile MacQuarrie has paid keen attention to ration is rubbish, but no one can say it.” climate. ratings, seeing them as a vital weapon MacQuarrie has been silent about On the other hand, in 2008, Mac- for fighting in London for BBC Scot- the BBC’s future, argues this source, Quarrie oversaw the launch of BBC land’s budget. In 2013-14, for the first because, “he can’t stand up and say Alba, a lively broadcasting service for time, BBC One’s audience share in anything, because everything he says the country’s 58,000 Gaelic-speaking Scotland was slightly ahead of the rest is distorted, everything is challenged. community. It is subtitled and even of the UK: 21.2%, compared with 21.0%. “He has to keep quiet. I sometimes non-Gaelic speakers praise it. Last year, he proudly announced wonder how he stands it. He must He also delivered on the long-awaited that nearly 11% of the BBC’s total net- have had other offers.”

Television www.rts.org.uk May 2015 13 Blurred signals from Brussels

oss Biggam, Director rights owners, remain unconvinced. General of the Associa- Regulation They are, at best, wary of – and possibly tion of Commercial still hostile to – the Commission’s plans. Television in Europe They will try to block any attempt by (ACT), believes you Content owners are the Commission to impose compulsory need a degree in sceptical about the EU’s pan-European licensing of content. KremlinologyR to work out exactly what “If there’s one thing guaranteed to the European Commission is trying to plans for a Digital Single unite the Anglo-Saxon audio-visual do with its plans for a Digital Single industry, it’s the European Commis- Market (DSM). Market. They want sion,” says John McVay, Chief Executive The Commission has faced concerted to protect the status of the UK’s independent producers’ opposition from the film and television organisation, Pact, who chairs an all-­ industries – not least the ACT, which quo on selling rights. industry action group on geo-blocking. represents the interests of commercial “This is clearly an ideological position broadcasters in 37 countries – over what Raymond Snoddy by the Commission on the false prem- are seen as attempts to end, or erode, reports ise that, if you create a single digital geo-blocking of content across the EU. market in Europe, somehow this will This would prevent rights owners could be of great economic benefit to an generate huge multinational tech com- negotiating traditional, territory-by-­ EU population of more than 500 million. panies that can take on the Americans territory deals. It covers everything from cyber crime at their own game,” adds McVay. Biggam’s point was illustrated at a and protection of intellectual property The danger, maintains the Pact Brussels press conference on 6 May, to improving cross-border parcel deliv- executive, is that if anyone were to when a Commission Vice-President, ery, which would boost e-commerce. license a high-value programme to a Andrus Ansip, who is the lead commis- The Commission says that the infor- video-on-demand service in France, sioner responsible for creating the DSM, mation and communications technol- for instance, it would then have to be tried to explain the latest proposals. ogy sector has accounted for only 30% made available across the EU. Ansip, an Estonian who has expressed of the growth of Europe’s gross domestic There can be little doubt of the hatred of geographical blocking of product in recent years, compared with Commission’s ambition. A leaked draft programming because it prevents him 55% in the US. made clear that it would propose watching Estonian football in Brussels, Removing barriers to a DSM in measures aimed at allowing “full port- claimed: “We don’t want to destroy the Europe, commissioners argue, could ability of legally acquired content”. system based on territoriality.” close that gap with the US and create This strategy document also prom- But then he added: “I am not sup- up to £250bn of economic growth. ised to facilitate “access to legally paid- porting absolute territorial exclusivity.” However, the European audio-visual for, cross-border services (for instance, Matters became more curious when industries, from broadcasters and film allowing a resident of one member state Roberto Viola, Deputy Director-General producers to screenwriters and sports to access online content currently avail- of the EU’s communications directo- able only to residents of another mem- rate, DG Connect, explained, “territori- ber state) while safeguarding the value ality is like cholesterol, there is good of rights in the audio-visual sector”. and bad”. RATHER THAN The Commission’s formal proposals Warming to his theme, Viola argued BANNING published on 6 May reflected some of that preventing portability of services GEO-BLOCKING, the concerns expressed by broadcast- and accessing of content across fron- ers – at least in the language used. tiers were examples of bad cholesterol WHICH WOULD The Commission said it recognised that must be tackled. HURT THE WHOLE the importance of territorial rights but Biggam and his colleagues in the promised to end “unjustified European television industry will be left INDUSTRY, WE geo-blocking” – the word “unjustified” scratching their heads for some time SHOULD BE appears to be a late addition. about the Commission’s specific legis- It also promised a review of the 1993 lative proposals. They are not expected LOOKING AT Satellite and Cable Directive to see to be published until December. MODERNISING whether its scope needed to be At stake is a comprehensive plan to enlarged to cover broadcasters’ online create a single online market, which [LICENSING] transmissions.

14 financing big shows across different territories”. The European Broadcasting Union (EBU), which represents public service broadcasters, will also be watching carefully to see what finally emerges from the Commission. Jacques Lovell, an EBU Brussels specialist, com- mented before the May announcement: “We think the whole licens- ing process and the possibility for the user and the rights holder to negotiate should remain at the very heart of how we use works.” He added: “Rather than banning geo-­ blocking, which would hurt the whole industry, we should be looking at modernising existing licensing solutions.” Estonia tackles in their Sky declined to comment Euro 2016 qualifier but is part of the broadcasting opposition to the Commission’s geo-blocking plans. The satellite broadcaster believes portability is possible, with technical The Commission First, safeguards to protect geographical made it clear that it still owners exclusivity. wants wider online access to selling on a pan-­ Although the Commission is deter- works across the EU and to ensure that European basis would find that smaller mined to take rapid action, there is a users who buy films, music or articles national platforms would be unable to long way to go before implementation. at home can also enjoy them while pay. Second, online rights would be The lobbying will now really get /Ints Kalnins Reuters/Ints travelling across Europe. snapped up by large international under way before the plans go to the McVay remains unconvinced: merely players, such as or large mobile European Council and European Par- “recognising” the importance of terri- or cable companies. liament and on to member states – a torial rights doesn’t amount to a com- Third, content could simply be with- two-year process. mitment. And who would define what held from online distribution until Earlier, Downing Street caused pan- is “unjustifiable” geo-blocking, he asks. exclusive, lucrative national broadcast demonium by warmly welcoming the “I think these are the usual bureau- windows have expired – resulting in Commission’s overall plans for a digi- cratic warm words that mean nothing less content and less choice than there tal single market, despite the opposi- and can be interpreted in a number of is now. tion of the film and television industry. ways,” he continues. “At the heart of Fourth, there would be a risk that Cynics saw it as an attempt to curry what they want is to remove geo-­ smaller markets and minority languages favour with the Commission in blocking, which removes territoriality could be marginalised – ironically, the advance of attempts to re-negotiate at a stroke. I don’t think they have very opposite of what Ansip, the Esto- UK membership. moved on that at all.” nian commissioner, is trying to achieve. The game is on and the outcome is The Pact-led campaign will go on, The UK’s Premier League, in particu- uncertain. The likelihood is that some and will be supported by ACT, which lar, is said to be “spitting bricks” about sort of portability will be introduced. says it will be watching the Commis- the likely negative effect of Commis- This might allow people going on holi- sion like a hawk. sion plans on the value of its TV rights day to access their TV subscriptions for The broadcasters’ case against the deals across Europe. Having to offer a a limited time in another EU country. DSM is that, however carefully the pan-European contract could lead to a Undoubtedly, there will be a sus- Commissioners’ words are chosen, levelling down of the value it derives tained battle to prevent the Commis- their initiative would have a number from selling those rights in the UK – sion overturning the traditional sale of of unintended, negative – but wholly by far its biggest market. rights, country-by-country, in Europe. predictable – consequences for own- Biggam says ACT members are Estonian football may not be on ers of high-value content in sport, film ­worried about the unintended conse- Andrus Ansip’s television screen in and TV drama and entertainment. quences, “particularly the difficulty of Brussels any time soon.

Television www.rts.org.uk May 2015 15 Cinema As her unit marks its 25th anniversary, Head of BBC Films Christine Langan tells Steve Clarke that the corporation is more serious than ever about backing British movies

veryone knows that BBC drama is either near or at the top of its game. But what of BBC Films, the broadcaster’s infinitely poorer and sometimesE neglected cousin? For the past six years, BBC Films has been led by Christine Langan, a one- time Granada script editor who went on to win acclaim within ITV and beyond. Langan produced the hugely influ- ential drama series , a show envied by the BBC. Her reputation for identifying high-quality content was enhanced further when she produced two award-winning films that told us insightful things about New Labour: The Deal and the Oscar-nominated The Queen. Both were scripted by the matchless . Nowadays, she is overseeing a BBC

Films that is punching above its weight BBC more than ever. Remarkably, the outfit will be involved in the release of 15 movies this year. Each of them is partly funded by her total editorial budget of around £9.6m. She also pays for script development. Why film is Latterly, some of the UK’s most suc- cessful films have reached the silver screen thanks to her. Think of Saving Mr Banks, Philomena and Quartet, all strong performers globally and at a good fit home, or Mrs Brown’s Boys D’Movie and Alan Partridge: Alpha Papa, big domestic box-office hits. In return for the investment, the productions receive exclusive TV pre- for the BBC mieres on BBC TV channels following their cinema showcase. Earlier this year, BBC Films, which This was the same award that went golden smile might crack even Vladi- marks its 25th anniversary this month, to ’s in 2013. Coinci- mir Putin’s iciness. was given a special Bafta award for its dentally, Langan once worked for Ross. “Nowadays, there aren’t enough outstanding contribution to British Langan is softly spoken and eternally really good executives working at cinema. affable, but not easily deterred. Her broadcasters,” says her former Granada

16 boss , CEO of Left Bank 13. No one can rule out further cuts ’s take on David Pictures. “A lot of them have left to when the next licence fee is set. Copperfield and ’s David become independents, but Christine is Indeed, sceptics have questioned Brent film, Life on the Road. one of the best. The BBC is incredibly whether the BBC should be in such a Three feature-length documentaries lucky to have her. risky, financially complex and precari- are also being made. Their subjects are “She is a proper, proper producer, a ous activity as film-making at all. the record-breaking jockey AP McCoy, great enabler. Christine never raises “That would be a very the enigmatic singer Grace Jones her voice but she is absolutely and the youngest-ever Royal undaunted. Who else at the Ballet star, Sergei Polunin. BBC can handle Harvey “If it is hard to define BBC Weinstein? She should be Films, it is because it is many given a bigger role.” things,” suggests Langan. For now, Langan, who “There are a lot of true stories joined BBC Films in 2006 to in what we do, brave stories work as an executive producer of what it is to be human. for her predecessor, David What it is to push yourself Thompson, appears more than hard and survive. At the end content with her lot. of the day, we’re just looking Both Director-General Tony for compelling stories.” Hall and Director of Television Can she single out any

Danny Cohen are genuinely BBC movies made on her watch engaged by BBC Films, she that she is particularly stresses. She no longer feels she is proud of? “It’s an invidious thing to sometimes working in “a vacuum”. have to do because I am very attached “We have never been so to all of them. You have different feel- absorbed into the family of the BBC,” CHRISTINE ings around different genres, obviously. insists Langan. “Under Mark [Thomp- “I always find In the Loop subversive son], it just wasn’t a priority, but Tony NEVER RAISES and entertaining. I adore Philomena, is the kind of DG who, from day one, HER VOICE which I think shows us at our best.” has taken a very specific interest in BUT SHE IS Why? “When Gaby Tana [the pro- every area of what the BBC does.” ducer] talked to me about it, it seemed Hall has even managed to fit in a set ABSOLUTELY to me that wanted to visit to one of Langan’s productions, a UNDAUNTED. produce this story with her. location trip to A Little Chaos, a period “The more we talked, the more drama starring Alan Rickman as WHO ELSE AT apparent it was that he should write it. Louis XIV THE BBC CAN I think I helped to encourage him. He Nevertheless, some film people see didn’t feel able to write it alone. He Langan as fighting an uphill battle HANDLE HARVEY wanted a partner and I introduced him against widespread ignorance in the WEINSTEIN? to [screenwriter] Jeff Pope. BBC about the movie business. “That became a very strong collabo- “The hardest thing about Christine’s ration. I hope that’s the kind of thing job is that hardly anyone else at the reasonable, understandable question,” that BBC Films can do – make intro- BBC understands a thing about feature offers Langan. “I have no qualms ductions and be a creative hub and put films,” opines a seasoned observer of whatsoever in suggesting that we are people together.” the film business. providing transparent value for money She continues: “I think we probably Inevitably, money remains tight. for our viewers. had a similar feeling around Philomena Since 2010, Langan’s budget has been “Once we take delivery of a film for to that around The Queen [both were slashed by £1m. She points out that the channels, all in all, we’ve probably directed by Stephen Frears]. That it Film4’s editorial budget is around 50% paid less for a very high-quality pro- was quite special. And, in its own way, bigger than that of BBC Films. duction lasting 90 minutes to two it did make waves. The Irish authori- “We make the money go a very long hours, often containing the best of ties ended up opening records previ- way, but I could do with more… We British talent, than a piece of peak-time ously closed to the public. People need to explore other forms of fund- TV drama. And we can repeat those reached out and found relatives that ing, such as Worldwide…” movies for free. We get great terms.” they needed to know about.” Later in our conversation, she adds: The films that she commissions are Langan acknowledges that “hits are “I would like the funding to be greater. strong on period drama, literary fiction very hard to pull off. You need every- I am not talking about five times as and comedy. Some, of course, such as thing to align. You just keep plugging much but 50% more would be such a the new Horrible Histories-inspired Bill (a away. There are films that haven’t sea change and make a huge differ- comedy adventure based on “Shake- performed very well at the box office, ence to what we can do.” speare’s lost years”), are derived from but where I’ve had personal As part of the Delivering Quality the hit BBC TV series. that is very encouraging.” First review, BBC Films’ overhead was This month saw the release of a new She accepts that there is a case for reduced. The department used to version of Far From the Madding Crowd, BBC Films doing more challenging employ 17 people. Now it is down to starring Carey Mulligan. Upcoming is movies: “I would like to find edgier �

Television www.rts.org.uk May 2015 17 BBC

� projects. That is an area for us to I will be interested to see how it does Langan’s partner is the TV script- work on, but it is a full complement. on TV. It could do really well.” writer Christian Spurrier. His credits There is a lot to find and fund.” Langan comes from a blue-collar, include Spooks and Silent Witness. Is it true that horror films are a no-go Irish immigrant family. She was “Writers are sometimes abused,” zone for BBC Films? “Psychological raised in Tottenham, north London. says Langan. “Or they are paranoid. thrillers are great news,” she says. “I am Despite going to Cambridge (cour- They are very sensitive people who do all ears for that kind of thing. We’ve just tesy of a grammar school education), a very difficult job. They need to be got a very low-budget film written and gaining a foothold in broadcasting sensitive to come up with the goods. directed by David Farr [a writer on was difficult. “Sometimes, in film, they can be Spooks]; really chilling, creepy and “I couldn’t find a way in. I mistak- slightly eclipsed by the needs of pro- zeitgeisty. enly ended up working for a business duction or the director, or they don’t “It is all about the quality of ideas. If writing company because they’d said see eye to eye. So there are often it is a violent heist and the characters something about corporate video things that you have to resolve or are a bit stereotyped, then I am not scripts.” finesse.” that interested. She then got a job as a copywriter She admits that her job requires “Horror tends to be a very com- at an ad agency. “At the same time, I endless diplomacy: “At times, that is mercial genre that is well taken care was trying continually to get into tiring. It’s part and parcel of the busi- of elsewhere.” film,” Langan recalls. “That’s what I ness. I would say that I am working Among the recent box-office also- loved. But I didn’t have any contacts for a very fair-minded organisation. I rans were a version of Great Expecta- and I didn’t want to be a runner.” am not here to be Cruella de Vil. It’s tions, directed by Mike Newell, and Gradually, her facility as a word- not the ferociously aggressive, cutting another Dickens-inspired movie, The smith led to work assessing film edge of the commercial world. The Invisible Woman, focused on the life of scripts. Her first break was being BBC is a bigger project than that.” the novelist’s mistress, Nelly Ternan. employed by film-funding body Brit- What, then, of Film4’s apparently While critics loved last year’s feel- ish Screen as Tessa Ross’s assistant. higher profile? There is no sense that good feast that was Pride, a story of “It was brilliant working for her. she is envious of Film4’s success and how the gay community raised money The British film industry wasn’t as big carefully acquired reputation for risk to support the 1984-85 miners’ strike, or as successful as it is now. She was taking it didn’t draw in cinema audiences funding development. “Channel 4 has brilliant marketing,” across the UK. “Tessa was very generous in letting Langan acknowledges. “There is a Says Langan: “I don’t know how to me read things and having me sit in Film4 television channel. That auto- say this delicately, but I think some of on meetings.” matically puts you in a different place. the audience thought, ‘It’s a gay film, Script editing for Granada in Man- “It’s a smaller bull’s eye, in a way, so it’s not for me.’ I guess the fact that chester (initially for daytime soap because it’s about provocation and it was called Pride made that pretty Families) came next. Langan had edge and purely film-makers. plain. Once they see the film, audi- found her niche. “Tessa’s MO was all about bringing ences love it. Her aptitude for working with writ- film-makers on at all costs. We want to “Outside London and the South ers has helped drive her career for- bring film-makers on but we are also East, it was quite hard to get them in. ward. Coincidentally, perhaps, very mindful of BBC TV audiences.”

18 May 2015 www.rts.org.uk Television Interview Michael Jackson has been an innovative indie and CEO of Channel 4. He also ran channels at the BBC and Universal. He still fervently supports committed programme-makers, hears Steve Clarke Nutopia From Macclesfield to Manhattan

ichael Jackson’s a true child of the television age. was fascinated by TV. I watched the stellar career Interviewed last month at the Uni- 1960s unfold on television… encapsulates versity of Westminster (he was a stu- “I remember being disappointed much of the dent there in the 1970s, when it was that the funeral of JFK resulted in Blue creative history known as the Polytechnic of Central Peter being cancelled.” of TV during the London), Jackson recalled his child- Jackson loved American shows pastM 30 years. He was an innovative hood in provincial Macclesfield. such as Batman and The Monkees. independent producer back in the He emphasised how television had When BBC Two began in 1964, the 1980s, reinvented BBC Two in the given him a cultural lifeline at a time, new service helped to widen his 1990s, and went on to run Channel 4. in the 1960s, when there was “a sense cultural horizons. There, he launched Queer as Folk, Ali G of culture being rationed”. At the age “As I got older, I loved things such and Big Brother, before crossing the of 12, Jackson was reputedly deter- as Late Night Line-Up, World Cinema and Atlantic to work for the legendary mined to forge a media career. Man Alive. It was definitely the most mogul Barry Diller. There may have been just two TV sophisticated culture in my life.” Today, still based in New York, his channels, but Jackson was struck by His course in media studies at the career has swung full circle. Jackson the relatively new medium’s unprec- Polytechnic of Central London forced is once again working as a producer. edented ability to entertain and stim- Jackson to “think about the world and There was little in his family back- ulate: “The world I was brought up in be critical about it… Given that most ground to suggest he’d become one was a very boring place. People didn’t of my working life I’ve been an editor of the most influential TV executives go on foreign holidays. [But] TV had of one kind or another, that’s where I of his generation – apart from being an extraordinary kinetic power… I learnt my skills. �

Television www.rts.org.uk May 2015 19 � “The practical side showed me how manage anybody. For me, it was about difficult it was to hone things and to being able to express my own interests create meaning.” and tastes. On graduating, he worked first as a “You’re not under the whip of having lobbyist for a group campaigning to to get big audiences. I loved the whole launch Channel 4 – earning £30 a scheduler thing, controlling the time week. One of the objectives was to and space of television… That doesn’t prevent the upstart becoming a chan- matter any more in the age of the nel owned by the BBC. iPlayer.” Because he lacked an Oxbridge Under his leadership, BBC Two’s degree, Jackson figured the best way to flagship shows included the get on in TV was to become an inde- award-winning documentary The pendent producer. Channel 4’s launch in Death of Yugoslavia, produced by Norma 1982 provided him with an opportunity. Percy, and dramas such as This Life, He never thought about joining the produced by Tony Garnett’s World BBC or, by implication, ITV, because the Productions, and Peter Flannery’s established networks seemed to oper- state-of-the-nation, nine-part serial, ate for the benefit of “a charmed circle”. Our Friends in the North. “In those days, getting a job on The The latter came to be regarded as South Bank Show was very prestigious. one of the defining TV dramas of the They used to get 2,000 applications for 1990s; it famously involved “many one researcher’s job,” said Jackson. more than seven years of development “There were very few jobs in TV hell”, according to Jackson. because there was just ITV and the Briefly, he ran BBC One, a job he BBC… TV felt very glamorous and far enjoyed far less than being in charge of away. It was not something you were BBC Two because he had to win big there is no building called Television likely to be a part of.” audiences. “It is much more a techni- Centre now because TV is not central His first show for Channel 4 was one cal exercise,” he said. “And it is really in the way it was then.” of its early hits, the documentary series hard finding shows that, in those days, On several occasions, Michael Jack- The Sixties, followed by Open the Box, 18 million people wanted to watch.” son’s name was linked to the BBC which looked at how we interact with Was it fun working for John Birt, the director-general’s job. Prior to Tony TV. Next up was The Media Show, edited BBC Director-General who, more than Hall’s appointment, journalists specu- by Jackson. two decades later, still divides opinion? lated that Jackson was in the running. “You could rent an office in Soho, sit “Yes, it was fun. Other than in current The truth could not be more different. around with a few like-minded people affairs, where John had terrible taste, “I wouldn’t have been any good as and invent something from scratch,” he he had really good judgement about director-general,” Jackson admitted. said. “It turned out that you didn’t need “The thing that motivates me is being a studio, endless people and a film an editor. My aversion to being direc- library. You could do it all yourself.” I WOULDN’T tor-general was that I wouldn’t have In 1988, Jackson was persuaded to been very interested in programme join the BBC as the founding editor of HAVE BEEN strategy… The DG is editor-in-chief The Late Show, hailed as a new kind of ANY GOOD AS when someone screws up but, perhaps, late-night show that defied genres. not often enough in a positive way.” Out of The Late Show came Later with DIRECTOR- Being in charge of Channel 4 Jools Holland, still a staple of the BBC GENERAL. THE involved a different set of challenges to Two schedule more than 20 years later. working at the BBC. Because of his “I was very resistant to doing The Late THING THAT work lobbying for the station and pro- Show,” recalled Jackson. “It sounded too MOTIVATES ME IS ducing for it, he had a “sentimental dangerous but, of course, turned out to attachment” to the broadcaster. be an incredible experience… BEING AN EDITOR Looking back on Channel 4, Jackson “Sometimes, it was a magazine pro- said it was “incredible” how successful gramme. Sometimes, it was a docu- programmes. His taste and instinct it had become and how it had changed mentary. As we said at the time, it was were exactly mine. since launched the net- very postmodern… You could have an “It’s a thing about John that is not work. idea in the bath and go in and make it sufficiently recognised. He really pro- Flush with money, Jackson was able happen.” moted imaginative television.” to invest in comedy, entertainment In 1991, Jackson was promoted to Did Jackson regret leaving the BBC and, controversially, expensive US Head of Music and Arts. Aged 33, he to become CEO at Channel 4? “I loved shows such as Ally McBeal, Sex and the was the youngest head of department working at the BBC. Once you knew City and The West Wing. in the corporation’s history. how to press the levers, it was just like One priority was The 11 O’Clock Show, Two years later, he succeeded Alan working at a Hollywood studio. inspired by Jon Stewart’s The Daily Show. Yentob as Controller of BBC Two. “You were working at a building “It was much more about wanking “That is the best job in television,” called the Television Centre. You were than political satire,” Jackson observed. Jackson opined. “You don’t have to really at the centre. It’s no accident that “But out of it came Ali G and all sorts

20 This Life Our Friends in the North All pictures: BBC of other talented people who went on Aubyn’s Patrick Melrose novels, to do amazing things.” scripted by . He is also What was he most proud of during an executive producer on the BBC’s Why the licence his time at Channel 4, which culmi- keenly anticipated remake of Civilisa- nated in winning 11 Baftas in 2001? “I’d tion, a co-production with Jane Root’s fee should rise say Queer as Folk. It was very much of Nutopia; Jackson worked with Root at its moment and allowed an important the beginning of his career and the two There ‘is an argument to be had writer [] to tell you are old friends. about the licence fee increasing’, about his world. It wasn’t a problem He spends most of his time in New believes Michael Jackson. drama. It was proudly a reflection of York but he is intimately connected The BBC’s ‘critical weight of pro- what it was like.” with British television. He supports an gramming’, he said, ‘cannot be seen Always obsessed by American cul- increase in the BBC licence fee (see anywhere else in the world’. ture, Jackson accepted Barry Diller’s box). While there is much that he This was particularly true of offer of a job, initially as President and admires in American TV, his native factual shows. ‘If the BBC wasn’t CEO of USA Entertainment. land remains, in his opinion, a cultural there, you wouldn’t see those After such a stimulating career, often and creative hub that produces singu- programmes,’ he argued. at the cutting edge of British TV, work- lar shows. Jackson warned that the BBC may ing across the Atlantic was a bit of a “I don’t watch television channels be forced to ‘start dismembering comedown. much, I watch TV programmes. I itself’ if the licence fee remains “Actually, the work itself didn’t turn watch a lot of BBC shows on the frozen and it continues to suffer out to be very interesting,” he said. iPlayer,” said Jackson. “I like the rich- from top-slicing. “Running American cable channels… ness and diversity, still, of specialist He suggested that the BBC should They’re very dependent on a few big factual, which is something that Amer- be more aggressive in defending drama commissions. It was fine, but ica, by and large, isn’t interested in. itself in the face of potential cuts: what was utterly fascinating was the “The thing that I would most wish ‘I do not think it is for the BBC to social anthropology of being part of for at the BBC would be to take argue for its own dismemberment. American television.” BBC Four and turn it into a low-budget The BBC should be arguing for the He added: “It is, as they say, high version of what Channel 4 used to be. sustenance of what it has. school with money… and incredibly “I look at what, say, Adam Curtis and ‘Politicians may find that dismem­ dull and insular… Everybody is contin- Louis Theroux do… I’d like to see much bering the BBC turns out not to be ually looking over their shoulder at more of that.” a very popular policy.’ people who are thinking exactly the He added: “You can’t beat the con- Jackson highlighted the impor- same thing.” viction of a good programme-maker. tance of the BBC to the UK’s But Jackson stayed in the US and That is one of the things that Tony Hall creative economy: ‘[Through Sky,] helped Diller develop content for the wants to do with Civilisation.” has benefited digital space. greatly from the BBC. If you take He is now an American citizen Michael Jackson was interviewed by out a pillar [such as the BBC], the working as a producer. Jackson’s pro- academic John Mair on 27 April at the whole structure will topple.’ jects include a TV version of Edward St University of Westminster.

Television www.rts.org.uk May 2015 21 OUR FRIEND IN THE WEST

Mike Gunton ast week, I was stand- happened in Bristol? I think it’s that ing in a fly-fishing discovers that gravitational pull. It keeps talent shop in a small town bound together in remarkable, possi- in Montana telling the even in America’s bly unique, ways. The NHU can feel owner I worked for Midwest the like a college campus at times, where the BBC Natural His- everyone knows everyone else. tory Unit. “Oh, so Bristol-based That, combined with the relative you’re from Bristol,” was his reply. NHU is part of the security of the in-house production LOK, he was a wildlife fan and did guarantee, could generate a sense of then ask if was culture insularity, even complacency. But the my neighbour, but it does illustrate opposite seems to be the case. that Bristol and the NHU’s reputation So how important is it for the BBC go far and wide. or for Bristol that the NHU continues I joined in my late twenties to work as a centre of innovation? on the Attenborough blockbuster The Can it remain a global leader? I think Trials of Life. I thought I’d stay for the the answer to both questions is that it three years it took to make the series must. and then move on. New technologies to bring new But I discovered, as so many others insights and new ways of telling sto- have, that Bristol and the NHU create ries on digital platforms need to be an enormous gravitational pull. married with the confidence to com- The ingenuity of the camera tech- mit to ambitious, long-term projects. nology, the producers and cinematog- This, in turn, will continue to have a raphers in delivering astonishing, significant ripple effect across the beautiful and insightful stories is creative universe that is Bristol. legendary. Wired The gravitational pull of the NHU In fact, it’s become part of the story extends across the city. Beyond our itself. The 10-minute, behind-the- HQ in Whiteladies Road are dozens of scenes segments that have become post-production and graphics houses.

regular features of our blue-chip Charlie Surbey/ There is an ever-increasing number documentaries are as popular as the of indies, both big and small. main shows. with Autumnwatch and Winterwatch. It is this very concentration of You know that something has Through companion digital output, experience (the combined expertise become part of the TV landscape when they have pioneered the creation of must be more than a thousand years) sketch shows start to parody you. huge online communities that enjoy – the exchange of knowledge and the My trip to Montana was partly extraordinary interactivity and a common purpose – that generates innovation-focused. It involved whole digital life beyond the TV. innovation far greater than the sum of developing the next iteration of As I write, we are stoking up the the parts. drone-filming technology. digital and social media ahead of our It may, of course, be possible to The NHU’s next big “landmark” Shark series, which will go out on recreate the strength and success of documentary, One Planet, will be big election night. It might draw some the NHU elsewhere. But this is the on immersive imagery. Flying cam- interesting parallels. team that has, for nearly 60 years, eras close to our subjects while they If it has half the impact of our pushed creative boundaries and flown are on the move will be one way to recent pufferfish story from Life Story the flag for the natural world. I think achieve this. (19 million views on Facebook), I’ll be that would be a hard act to follow. Closer to home, Springwatch typifies more than happy. innovation of a different kind. The So why has all this innovation Mike Gunton is Creative Director of the “Watches” now run almost year round, (not forgetting children’s and radio) BBC Natural History Unit.

22 May 2015 www.rts.org.uk Television Fleur De Force (left) and Steve Bartlett

The age of the smart show Paul Hampartsoumian Paul

TS Futures assembled the digital and social-media worlds. a panel of pioneers RTS Futures Success could be “fan fiction that for its sold-out event turns into massive book sales or at London’s Hospital making videos that becomes a nice Club in late April, “I A group of digital business on its own without needing made it in… digital”. pioneers explains how to be on television”. AnR enthusiastic, youthful audience Kat Hebden, Managing Director of was eager to learn from their TV is evolving in an FremantleMedia UK’s new digital experiences of working at the cutting online content world division, Shotglass Media, reckoned edge of new media. It learnt, perhaps that the digital and traditional broad- surprisingly, that television – the dominated by YouTube. casting worlds are coming together. dancing dad at an achingly hip party “The differences are getting less – still has a big role to play in the Matthew Bell logs on and less,” she said. “Most of my team digital age. who create content have worked in The digital arena is vast – and space to sell their wares. Traditional broadcasting in one way or another expanding rapidly. YouTube, the big TV, though, is not necessarily their at some point – it’s a huge industry daddy of new media, claims that more first port of call. and you can learn a lot. We don’t see than 1 billion people watch its content, “The beauty of now is that, to make [TV and digital] as different platforms while Instagram and Twitter both have a television show, you don’t have to any more.” around 300 million monthly users. be on television and you don’t have to Hebden produces digital brand Newer services – including six- wait for a break – you can start doing extensions, including YouTube con- second video clip platform Vine and it straight away,” argued Twitter’s UK tent, apps and social media, for top photo-messaging app Snapchat – are Head of Broadcast Partnerships, Dan TV shows, such as The X Factor, Take Me hugely popular with kids. Biddle. Out and The Apprentice. It may be a crowded marketplace, He added that TV is no longer even She also creates content for football but plenty of people are finding the the ultimate goal of many players in channels such as Blue Moon Rising �

Television www.rts.org.uk May 2015 23 � (Manchester City) and Full Time Dev- get new content online in as little as What you need ils (Manchester United), as well as Vice’s three hours. to succeed YouTube food channel, Munchies. “I never thought about this as a There are still differences in the career when I started six years ago. At content shown by the two media, and that time, YouTube wasn’t what it is Dan Biddle, Twitter: ‘A sense of also in the way that content is created. now. I started because I was passionate adventure and experimentation… “[In digital], you can about the content,” Go the extra mile… Even if your role set up a website, said the vlogger. now is not necessarily what you make a video and, if YOU DON’T De Force’s You- want to do, what you do online it doesn’t get many HAVE TO WAIT Tube hair and make- is visible… you can build yourself, views, you can delete up tutorials, product not just as a brand, but as a the video and do it FOR A BREAK reviews and fashion commodity and as an individual. again,” said Biddle. videos attract up to ‘There are certain skills you Before joining [ONLINE] – YOU 5 million views a need to have and you don’t want Twitter, he spent CAN START month. to be called out in a high-pressure seven years at the She’s written a environment… but there’s a thing BBC where he DOING [VIDEOS] book, is launching a called the internet, which happens worked on the social- STRAIGHT AWAY make-up line and to be full of videos that will teach media campaign for has worked as “a you how to do stuff.’ the Bafta-winning brand ambassador” BBC Two series The Virtual Revolution. for Sainsbury’s and Starbucks. “[In TV,] you spend nine months The final member of the Futures making a television production, which panel, Steve Bartlett, dropped out of has got a massive budget, and you need university after attending just one eyeballs on that – overnights matter,” lecture. He developed a social-network said Biddle. “You may have a confident website for students and now, at the commissioner or channel controller age of 22, runs his own new-media who says, ‘I think this has got legs’, but company, Social Chain. there’s still a massive pressure that is Its owners claim that Social Chain, perhaps less in digital.” This pressure, he an “influencer marketing agency”, added, will grow as digital productions promoting consumer brands on Twit- become better funded. ter, is already a multi million-pound With budgets currently considerably business. lower in the digital world than in tradi- “We own hundreds of Twitter tional TV, Hebden said she has to be accounts and we can start trends – more “creatively and commercially it takes us 20 minutes to become the innovative in terms of content”. Shot- number-one trend on Twitter,” glass’s parent, TV producer Fremantle- explained Bartlett. Media, “has a big development team The early days were tough: “I had no that spends a lot of time on ideas”. money. There were times when I was

Paul Hampartsoumian Paul She added: “I take a project and start sleeping on a bench and shoplifting. developing stuff “Especially at the Fleur De Force, vlogger: ‘Learn as straight away. We start, you have to you go along… If something doesn’t launch channels and WHEN BRANDS take that hit to your do well, you can take it down and then, if one’s not TRY TOO HARD, personal life; you change direction. I didn’t have any working, we launch have to make sacri- training in anything I do now.’ another channel and IT’S ALMOST fices. I didn’t see my see whether it gets AS BAD AS NOT friends, couldn’t buy Kat Hebden, Shotglass Media: ‘We traction and an audi- anything or eat well, often hire on personality, not [a per- ence. If it does, we TRYING AT ALL. but I did it because I son’s] skills set. You can learn the bring brands on loved it and eventu- skills… TV is hierarchical in terms board and work out WE SEE A LOT ally it paid off.” of the way you work your way up, where we can take it OF ‘COOL DAD Ironically, it could whereas digital is more open.’ – it’s a different be said that social- model.” SYNDROME’ media outfits such Steve Bartlett, Social Chain: Digital media is as Twitter are sus- ‘[When hiring,] the two big things able to react almost instantly to audi- tained by old-school media institutions for me are [a person’s] attitude ence demand. Beauty and fashion – in particular, television. and their “why” – we ask everyone vlogger Fleur De Force said that her “I don’t think you can underestimate why they want to join Social content strongly reflected audience the power of television,” said Biddle. “It Chain… Their “why” is a really good feedback, both good and bad. is still massive: 40% of tweets in prime­ indicator of how they’re going to “If you make something that’s not time are about TV and that is a massive respond in certain situations.’ great, you know it [immediately],” she driver of conversation. explained, adding that she was able to “Brands are increasingly using their

24 WE OWN HUNDREDS OF TWITTER ACCOUNTS… IT TAKES US 20 MINUTES TO BECOME THE NUMBER- ONE TREND ON TWITTER

The digital dos

Paul Hampartsoumian Paul and don’ts media spend on Twitter amplification, “our content is like a conversation Fleur De Force, vlogger: ‘Do listen as opposed to banner ads or more – our audiences tell us if they don’t to what your audience has to say traditional media advertising. Brands like it immediately. We don’t have a when you’re thinking about future fund commercial broadcasters so the commissioning hierarchy, neither do content… they’re the best people more that they engage in digital audi- we have those [bigger] budgets. to tell you new directions to go in. ences, the more broadcasters will have “I think how we create content will ‘Don’t watch other people’s to do that as well,” reckoned Hebden. change to keep up with how we’re content and think that’s the way to Social media activity is visible, consuming it.” do it. There’s no set way of doing pointed out Biddle: “You can see how The panel agreed that YouTube’s things. The great thing about You- people are reacting live to what you position as the dominant online video Tube is that you can… do whatever put out there. For most TV shows, such platform was unlikely to be challenged you want in your own way… as The Apprentice, say, the TV is only the in the near future. ‘In terms of building an audience, first screen for one hour a week.” “There will still be influential people do have a schedule, so people Broadcasters increasingly have to making content on YouTube,” said know when to come back to you… think about extending the lives of their De Force. “It will be interesting to see and do engage with the community shows beyond the initial TV exposure, how the audiences of [content] creators that you want to access.’ whether that is on YouTube or social change over time – if they grow up media. “Smart shows,” Biddle added, with them, if they outgrow them.” Steve Bartlett, Social Chain: ‘Don’t “are delivering everywhere.” The content creators, too, the vlogger try too hard to be in the [Twitter] Looking forward to the digital world argued will have to move with the conversation. A lot of brands hear of 2020, Biddle argued that “distribu- times: “Can you change and develop they have to be on Twitter because tion and devices will probably change your content as you get older, given that’s where the kids are at – when more than platforms”. the online audience is young? brands try too hard, it’s almost as He predicted that YouTube would “As with traditional media, people bad as not trying at all. continue to grow, but not necessarily come and go, and it will be interesting ‘We see a lot of “cool dad syn- at the expense of television: “Quality to see who stays and how they adapt drome”… Don’t be afraid of taking TV, such as Game of Thrones, Breaking to remain relevant.” risks. The big pay-offs, in terms of our Bad and Poldark – those aren’t going business, come when we take risks. anywhere; they’re here to stay.” The RTS Futures event ‘I made it in… digi- ‘Don’t fall into the trap of thinking “People will still want big TV events tal’ was held on 27 April at The Hospital that a trend on Twitter is inherently and high-quality drama, but the way Club in central London. It was chaired valuable – it’s not… a trend on they consume that content will be by BBC Radio 1 DJ and TV presenter Alice Twitter is a by-product of people different,” said Hebden. Levine and produced by Emily Gale, talking; it’s not of value itself.’ In the digital world, she continued, Sasha Breslau and James Longman.

Television www.rts.org.uk May 2015 25 Software is the new hardware iZotope

Audio post- production software from iZotope

he NAB trade show, held Users can buy weekly, monthly or per- every April in Las Vegas, NAB review manent licences to unlock either or used to bill itself as the both of the camera’s HD slow-motion place to see kit manufac- and Ultra-HD capture features. turers parade their newest Adrian Pennington The bottom dropped out of the market wares to broadcasters and for money-spinning post-production producers. Headline-grabbing black surveys the latest tech software some time ago. But Avid’s Tboxes that perform cool, new tricks announcement that it will give away trends on display at are, however, increasingly rare. copies of its editing program Media Today’s production and post-­ NAB in Las vegas Composer First was still eye-catching. production tools tend, instead, to be Twenty years ago, the company’s software. They are, therefore, open to , then buy optional licences to flagship product cost £25,000. Now, incremental and regular upgrades, and keep pace with future developments. with dedicated hardware no longer not tied to the cycle of trade shows. This is especially the case with the shift required to run it, Avid is using a free Even the hardware is designed to from HDTV to Ultra-HDTV production. version to entice new users to its plat- evolve with tweaks to the central chip Grass Valley introduced the LDX 86 form. The company hopes it can then set, rather than a wholesale ­redesign. Universe camera, which is aimed at persuade some of them to upgrade to Generally, this is good news for buy- customers who, for now, want to record ISIS, its hardware-based storage and ers, since the use of commodity com- in HD but who want, at some point, to collaboration environment – which puting systems pushes down the cost transition to shoot in Ultra-HD. As a has a starter price of £12,200. of their initial investment. It can be further incentive, the camera can shoot “I don’t see Media Composer First as handy for manufacturers, too, since at six times the normal HD frame rate a tool that will be used commercially they need to design only one product for slow-motion replays. at the expense of Media Composer, and switch on the appropriate func- “It democratises extreme slo-motion due to its limitations, but rather as a tions for purchasers who buy more and 4K production,” argues Michael ‘training tool’ to introduce the next than the entry-level set of features. Cronk, Grass Valley’s Senior Vice-­ generation to Avid,” says Richard Moss, Cameras are among the last bastions President of Strategic Marketing. “Our Managing Director of post-­production of dedicated hardware, but should now, customers don’t have to make a choice company Gorilla Group. perhaps, be thought of as platforms. [between cameras], as they can have The fully featured Media Composer Many of the announcements at NAB all of them with one investment.” software requires subscribers to pay 2015 underlined that camera owners Sony’s new HDC-4300 camera epito- £35.75 per month, or to buy a perma- can now invest in a single body for use mises the software licensing approach. nent licence.

26 Ultra-HDTV The next generation: 8K

Ultra-HDTV broadcasts are still in the Several (mainly Japanese) vendors future, yet manufacturers are working on are preparing 8K cameras. Among them its second generation. The first generation, is Ikegami, which has worked with NHK 4K, has four times the resolution of HDTV over the past decade on an 8K studio and is currently available only as a video-­ camera. The latest version is a tenth the on-demand format. size of the 2002 debut model. The second generation of Ultra-HDTV Owners of Sony’s F65 cinema camera is 8K. With pictures 8,000 pixels wide, have had the potential to shoot in 8K

it has four times the resolution of 4K since the camera’s launch in 2011 – if they Panasonic and 16 times that of HD. LG, Panasonic, bought the necessary firmware upgrade. Samsung and Sharp introduced proto- US manufacturer Red will have an 8K streams that 8K images require are also type 8K television sets at the Consumer sensor ready to fit its new camera mod- coming to market – although this is cur- ­Electronics Show in January. ule, Weapon, by the end of the year, at a rently as much about brand positioning Japanese broadcaster NHK plans to cost of $69,000. by manufacturers such as Quantel, with start 8K broadcasting in time for the Post-production tools capable of its Pablo Rio colour-correction system, 2020 Olympics. manipulating the mammoth data as it is about fulfilling user demand.

Cameras Outside broadcasters gear up for Ultra-HD

The first generation of Ultra-HD cameras camera is an HDTV unit that doubles was too ‘cinematic’ for outside broadcast as a 4K one. Future software options (OB) use, because they employed a single (see main article, left) for the camera sensor, rather than three. OB units have will include the ability to shoot a wider been demanding three sensors so that colour range and to transmit pictures via they can use their existing stock of lenses a single IP (internet protocol) cable.

and capture pictures with a greater depth Sony US broadcasters CBS, Fox Sports and of field, in which both foreground and NBC Sports will be buying HDC-4300s. background objects are in focus. Sony HDC-4300 ‘The really valuable thing about Hitachi, Ikegami and Sony have joined 4K is that the camera positions [at last year’s pioneer, Grass Valley, in ‘For our customers, 4K is not a main- sports venues] don’t need to change offering such cameras. This is despite stream production format today,’ concedes from HD,’ says Jamie Hindhaugh, Chief Sony having spent the past few years Sony’s Head of Business Development Operating Officer of BT Sport. ‘With the trying to convince the market that single for 3D, 4K & Sports, Mark Grinyer. ‘So their next evolution of equipment there is a Super 35mm sensor cameras – originally inv­estment to produce Ultra-HD must be real opportunity to capture in 4K and designed for cinema – were suitable for secured over their HD productions.’ down-res to HD, which does give you an Ultra-HD sports. Therefore, Sony’s new HDC-4300 enhanced look on screen.’

Drones Lighter payloads pack more pixels

Professional drone to its range. This comes because it has a wide 13 stops of dynamic with a 4K camera, a location-aware range,’ says CEO Grant Petty. ‘This is a big sensor for indoor shooting and an auto improvement in image quality over action- for take-off and landing to help cams, so you can get all those high-energy inexperienced pilots. shots without the consumer look.’ Weight is the big issue with drones. UK firm Vislink has built a tiny trans- Anything weighing more than 7kg is mitter to stream HDTV images from Go- restricted from flying over urban areas Pro cameras, which are aimed squarely DJI Phantom 3

DJI in the UK. Most models can only pack at sports enthusiasts. Branded HeroCast enough batteries to fly for seven to and marketed by GoPro as the lightest The special area that NAB set aside for 15 minutes. So anything that reduces the such box around, the €7,000 unit has drones was among the show’s busiest payload will make drones more usable already been used live by the National and noisiest (drones’ engines are so for live broadcast. Hockey League and ESPN X Games. loud that it is impractical to use them for Blackmagic Design unveiled a Micro It does, however, require users to capturing audio). model of its digital Super 16mm Cinema ­purchase a special frequency licence Market leader DJI added the Phantom 3 Camera. ‘It’s a true digital film camera to operate it.

Television www.rts.org.uk May 2015 27 FROM THE DIGITAL EDITOR

Soap secrets, breakfast TV rivalry and the enduring appeal of war stories are all tackled in RTS online features this month, says Tim Dickens RTS

This month, we announced the names of some of the industry heavyweights from both sides of the Atlantic who will speak at the RTS Cambridge Convention. The announcement boosted traffic to rts.org.uk, but there was much else to enjoy on the news section of the site… Our ever-eager bursary re- cipients have just sent us their video diaries, documenting their first two terms studying with the support of the Society.

You can find them on the ITV website and on YouTube. I was impressed by the sheer enthusi- The recipe for breakfast success spoke to ITN’s Alastair Stewart ahead of asm with which they are pursuing Last month Good Morning Britain his RTS Legends Lunch on 19 May, as their studies, which really comes celebrated its first year of entertaining well as The Media Show’s Steve Hewlett across in their short videos. the muesli-munching masses on ITV. and the Chair of the RTS Television Applications for this year’s bur- But despite the star signing of Journalism Awards, Stewart Purvis. saries for technology and TV pro- Susanna Reid (pictured above) joining ◗ j.mp/RTSelection duction courses close on 1 June. the team from the Beeb, the show has Visit: j.mp/TVbursary for more. fallen well short of the share enjoyed We’re fortunate to have You- by BBC Breakfast. Bex Stewart explores Tube as one of our International the history of a bitter TV rivalry going Why is the Second World War so Patrons, and we’ve just moved all on over the breakfast table. popular on television? of our online videos to the plat- ◗ j.mp/breakfastTV This month is the 70th anniversary form. The RTS YouTube channel of VE Day and there’s no shortage of has been jazzed up, and has all WWII-themed dramas and docs. kinds of great videos, from fea- Pippa Shawley speaks to history guy tures to How To guides. Search Behind the Scenes at , Home Fires Executive for Royal Television Society on For the latest in our series that takes Producer Catherine Oldfield and YouTube to see for yourself. viewers into the heart of well-known Yesterday’s Adrian Wills about the The cream of the UK’s televi- productions, multimedia producer enduring appeal of the war across sion production students will be Bex Stewart headed north for a look the genres. recognised at the BFI on 5 June, at one of Britain’s favourite soaps. ◗ j.mp/WW2telly and the digital team will be Shooting both on location in the tweeting, ’gramming and Peri- village and in , the scoping all the way to the bar. 10-minute film gives an exclusive It’s not just us, though: Sky has insight into what it takes to write a Tips in 60 Seconds: Lucy Lumsden confirmed that it will broadcast drama script, gives tips from the direc- Our favourite weekly tips video for proceedings. The winning students’ tor and plenty of gossip from the Dales. April came from Lucy Lumsden, efforts will go out on Sky 1 or Sky 2, ◗ j.mp/EmmerdaleBTS Sky’s head of all things funny. She plus highlights of the ceremony. took a minute out from commission- ing to tell us how we should pitch Tim Dickens is RTS Digital Editor. scripted comedy to people like her. ◗ Do you have a news or feature What makes a good political interview? Get an expert producer attached idea for the RTS website? Let Tim Whether you were gripped or bored early on, she says. She’ll look at any- know on 020 7822 2836 or stiff by the election, the digital team thing, but it has to be a fresh voice. [email protected]. thought it was time to look at the art Oh, and try to make her laugh… of the hard-hitting TV interview. We ◗ j.mp/ComedyTips

28 May 2015 www.rts.org.uk Television RTS NEWS How to get the best job in TV “Have ideas that work for cast live via an app, was now the show you are working commonplace. on, and don’t sit in a corner, The final session featured a get your ideas put forward,” team from Leeds-based advised Todd. indie True North, who let Giani said there were three students in on the secrets of tests for getting a film com- making factual entertain- missioned: was it a story that ment, factual and children’s had to be told; was the sub- programmes. ject part of the national con- Researcher Zara Hobson versation; and did the film told students they had to get have good action in it? contacts and then work them The session by keeping . featured anchor Martin Stan- She advised talking to ford and Neil Dunwoodie, people directly. “At first, I Kay Mellor Editor, Digital, on a Skype was terrified when I was told link from London, where he to pick up the phone and hink big, write big, “By the time I got back to was about to start Sky’s elec- talk to lots of people, but it’s shoot big and do the Leeds, it was greenlit and I tion rehearsal. the best way to explain what best you can, what- had to start thinking of char- Dunwoodie was asked what you are doing,” she said. ever you are doing, acters and storylines and attributes he expected from Head of Production Carol wasT the advice that drama locations,” said Mellor. prospective Sky journalists McKenzie outlined opportu- supremo Kay Mellor OBE When asked how she – in addition to being able to nities in production manage- gave students at a one-day knew if an idea had “legs” demonstrate good journalism ment and in post-production. RTS event, “How to get the she advised: “Try pitching it skills and a National Council Creative Director Andrew best job in TV”. to a friend. If you run out of for the Training of Journalists Sheldon said that, although The day’s four panel ses- steam, it probably hasn’t.” qualification. getting in to TV required sions at York St John Univer- One Show Production Exec- He replied: “They must be charm, tenacity and a lot of sity were organised jointly by utive Nick Todd, Topical able to film and edit on their very hard work, once in, the Yorkshire and North East Strand Producer Hardeep mobile, work across all young professionals could and the Border centres. They Giani and researcher Arif media, including digital plat- have a very satisfying career. attracted 140 students from Mahmood gave students the forms, and understand social “It will take you places 10 universities across Cum- inside track on how the team media.” you’d never get to go other- bria, the North East and behind the BBC One series Stanford added that using wise,” said Sheldon. “I think Yorkshire. The day was mod- worked, and the talents an iPhone to film and edit it’s the best job in the world.” elled on the “Getting inside needed to make it in TV. reports, and even to broad- Helen Scott the media” event held by the RTS in London last October. Mellor and drama producer Emily Feller from Red Pro- Midlands teachers get the media message duction Company shared the drama panel, which was In early March, Midlands Cen- support available to young oper at Arts Connect, shared chaired by Carolyn Reynolds. tre held an event at Birming- people who want to learn details of its events and the Quizzed by students about ham University for schools about the media. support it offered young where her ideas came from, and colleges, bringing them Hannah McConville, people in the West Midlands. Mellor recalled a pitching together with leading arts and Programme Co-ordinator at William Gallagher, the session at the BBC, where media organisations from the Into Film, revealed that films regional representative of she had talked about three region. were available for showing at the Writers’ Guild, offered an properly researched ideas. At the ‘Meet the media’ schools and colleges. She said insight into his work, both On the way out of the door, seminar, representatives that the film education charity as a writer and a speaker at she mentioned that she had from the Writers’ Guild, Into also ran competitions and schools, where he regularly just been reading about lot- Film and Arts Connect West schemes for youngsters. had the opportunity to encour- tery winners in the Metro Midlands, as well as the RTS, Rebecca Hardy, Film and age young people to write. newspaper and how “that discussed the schemes and Digital Programme Devel- Dorothy Hobson could be interesting”.

Television www.rts.org.uk May 2015 29 RTS NEWS Tribute to Connemara Belfast students fill cult director

■ Brian Reddin discussed his Black Box with talent award-winning documen- tary about cult film-maker ore than 80 guests Roger Corman’s time in Ire- attended the land, It Came from Connemara!!, second RTS at a Republic of Ireland Cen- Northern Ireland tre event at the end of March. StudentM Television Awards, The B-movie legend which were held at the Bel- opened a studio outside fast arts venue The Black Box Galway in the 1990s, taking at the end of March. advantage of tax breaks to Students from Belfast Met- ropolitan College snapped up two awards. Conal Tutin and Joel Spence took the Drama category with Tout, while the Factual award went to Frankie From left: Award winner Price and Conor Shearer Naomi Doherty with Kieran Doherty (Stellify Media) and for White Heat. Dr Stephen Farry MLA The Comedy and Enter- Brian Reddin tainment award was won by Naomi Doherty for Class- industry is of growing sustained growth,” said Lor- make -low-budget films room Coliseum; the Open importance to Northern raine McDowell, Director of using Irish crews and actors. award was taken by Richard Ireland and we need to Operations, Arts Council of Reddin’s documentary, Parke for Say Something. Both encourage and develop the Northern Ireland. which he produced and students are at Northern creative talent of our stu- “Winning an RTS NI Stu- directed, features an inter- Regional College. dents to achieve further dent Television Award will view with Corman and clips The award ceremony was success in this economically give media students in from his Irish films, as well hosted by UTV newsreader important sector,” said Farry. Northern Ireland a real pro- as behind-the-scenes foot- and Belfast Metropolitan The awards were supported file in the industry as well as age and interviews with College lecturer Aidan by the Arts Council’s Creative a recognised accolade to put many of the cast and crew Browne. UTV Live reporter Industries Innovation Fund. on their CV,” added Michael who worked at the Concorde Judith Hill was the guest “This event highlighted Wilson, Chair of RTS North- Anois Teo studios. speaker and Minister for the importance of mutual ern Ireland Centre. “I am Dublin-born Reddin Learning and Employment co-operation and effective overwhelmed to see such worked on RTÉ series Scratch Stephen Farry MLA presented working relations between support for the annual Saturday before going on to the awards. the creative and education awards ceremony.” present the long-running “The creative media sectors for successful and Matthew Bell series The Last Picture Show. In 2006, he set up Dearg Films, which made It Came From Connemara!! with funding from TG4 and BAI. UTV shows how to make news The documentary pre- miered at the Galway Film ■ Sixteen aspiring journalists Mitchell. The day-long technical understanding. John Fleadh last July and was then and technical crew were given course also included a tour has a wonderful way of shar- screened at the Raindance a taste of life on both sides of of UTV’s Belfast TV studios ing his knowledge with a Film Festival in London. the camera, writing for, and and radio station . group,” said David Kennedy “This was a most enjoyable filming, short news pieces The event received praise of the Northern Ireland Film presentation by Brian with at UTV Studios in mid-March. from the attendees. “The School. many visual and audio The RTS Northern Ireland workshop was professional, a “A fantastic introduction to inserts, which helped the Futures workshop “How to valuable experience and fun the world of television report- attentive audience feel the make the news” was run by – both RTS Futures and UTV ing, both on and off camera atmosphere of this unique industry professionals UTV were incredibly welcoming,” – highly recommended,” time in Irish film produc- Live reporter Judith Hill and said Niamh McGovern from reckoned Shane Hannon from tion,” said RoI Centre Chair News Editor Chris Hagan Queen’s University Belfast. University College Dublin. Charles Byrne. and broadcast engineer John “It certainly added to my Orla Sharpe

30 Media pros Awards follow advice head south tudents from the to schmooze University of dominated the ■ A presentation from Direc- principality’s RTS tor of BBC England Peter StudentS Television Awards, Salmon opened Southern which were held at the end Centre’s sixth annual “Meet of March as part of the week- the Professionals” event at long Zoom International Bournemouth University in Film Festival 2015. mid-March, which was Before the awards were attended by 250 of the presented, Wales Centre region’s production students. assembled a seasoned panel Salmon claimed that there for its careers event, “What had never been a better time next? Breaking into the to enter the creative indus- media”. Four television pros tries. He discussed TV’s “digi- described how they had tal arms race” to secure talent started in the industry to love what they do and mainly young festival audi- can communicate it with ence at Bridgend College. passion – particularly when it The panellists were: Zoe comes to creating compelling Rushton, Talent Manager at content for young people BBC Cymru Wales; Roger who see the world through Burnell, founder of youth their smartphone or tablet. broadcast training scheme Four panellists offered It’s My Shout; and independ- advice on how to stand out ent producers Peter Edwards from the crowd when apply- (Barefoot Rascals) and Paul ing for jobs and how to avoid Islwyn Thomas (Bulb Films). being exploited as unpaid They also discussed recent Drama winners Athena interns. The speakers were: O’Connor-Lindsey (left) infrastructure developments Director of ITV, Factual, and Luke Tucker in South Wales, including the Richard Klein; Channel 4 BBC’s Drama Village in Cardiff Head of Documentaries Nick Bay, the new Pinewood Stu- two universities took part Tail, by George Dallimore, Mirsky; Woodcut Media CEO dios near Newport and the set this year, the jury was Athena O’Connor-Lindsey, and documentary producer of historical drama Da Vinci’s impressed by the high stand- Luke Tucker and Lorna Tru- Kate Beal; and Shine Inter- Demons in a former ard of entries across all gen- man, was judged to be “very national Director of Acquisi- factory, which are all provid- res. Many of the productions moving… beautifully shot tions Georgia Brown. ing significant opportunities. had mustered significant and edited with some well- The discussion was fol- The speakers concluded amounts of crowdsourced crafted camera work”. lowed by an informal net- that flexibility, enthusiasm, funding. James Carlisle’s Cut from the working session, at which an ability to get on with peo- Students from the Univer- Same Cloth took the Anima- the panellists were joined by ple and work as part of a team sity of South Wales scooped tion award and “featured 15 other professionals from were key attributes for any all the awards. Porters, made beautiful, smooth animation, companies such as Topical new entrant to the industry. by James Dougan, Max Cut- with engaging characters”. Television, Lion Television Later the same day, ting and Dan Ridgeon, took No entries were received and Shift 4, as well as recent Bridgend College’s Sony the Factual prize. It for the new Open category, graduates and freelancers, Theatre was the venue for impressed the jury with its but the jurors decided to including three BBC appren- the Zoom Awards. The films “degree of access… and make the award to a film tices. screened during the evening extensive research”. originally entered in the The students’ feedback provided ample proof of the The Entertainment cate- Entertainment category, Vice included: “Great idea – I emerging talent among gory was won by The Bullet Versa – Creation (by Natasha learned so much in such a film-makers in Wales, par- Catch from Catherine Hawthornthwaite, Rhodri short time”; “It gave me so ticularly in some of the Attwood, Yuan Huang, Xan- Carter and Dan Ridgeon). much more confidence to youngest categories. the Young and team – “a The jury said it was “an orig- approach people in the The evening ended with charming story about an inal and highly accomplished industry”; and “I’ve just the presentation of the RTS incompetent magician and production, with a simple, made a great contact for my Wales Student Television his talented assistant”. but effective, format”. next work experience”. Awards 2014. Although only Drama winner A Mermaid’s Hywel Wiliam Gordon Cooper

Television www.rts.org.uk May 2015 31 RTS NEWS Beryl Hockley 1925-2015

hose of us who 1946, the BBC’s television worked at BBC Wales service was on standby to in the 1980s have resume broadcasting after fond memories of our the Second World War. TEngineer-in-Charge (Opera- This was echoed in a tions), Harry Hockley, who newspaper headline of the was also the first Chairman time, which proclaimed: of the RTS Wales Centre. “Beryl to turn on television We also knew that Harry’s – 20,000 are waiting”. Beryl wife had worked at the BBC was the vision mixer who during the “Ally Pally” days. faded up the very first pic- But Beryl Hockley, who has tures on British television died at the age of 90, had a after the war. She is much very special claim to fame. missed by her two daughters Amid great excitement at and their families. Alexandra Palace on 7 June Mari Griffith Welsh TV sorted out over coffee n Wales Centre is organising broadcasters served Wales the BBC Trust and the Audi- permit the creation of a con- a number of “coffee shop” via TV, radio and online ence Council for Wales, given testable production fund. debates with the Institute of platforms, and whether new that the Culture, Media and The meeting considered Welsh Affairs to discuss players could emerge. The Sport Committee has recom- the gatekeeper role of broadcasting issues in Wales. Society mended scrapping the Trust. smart-TV manufacturers At the first event in March, proposed a new, multimedia The prospect of separate and whether the BBC’s at ­ University, content provider for Wales in funding arrangements for iPlayer could provide suffi- representatives from broad- a paper tabled at the meeting. Wales was discussed, possi- cient prominence for alter- casting, academia, the Welsh There was also speculation bly through top-slicing the native local TV content. Language Society and inde- about the continuing roles of licence fee, which might Tim Hartley pendent producers exam- ined the pressing challenges of reach, impact and funding. RTS tours One consequence of the BBC’s Delivering Quality First ITV Cymru initiative has been a 17% fall in the corporation’s English-­ n In late February, Wales Cen- language TV output for Wales tre members visited the new since 2009 and a significant ITV Cymru Wales HQ in Cardiff narrowing of genres. Bay. Huw Rossiter, ITV Cymru also faces cuts of 36% Wales’ Public Affairs Manager, in real terms. took them around the facili- RTS members make the news More positively, the new ties, including the news studio Channel 3 licence for Wales and post-production suites. keeps the same broadcasting Rossiter, who is an RTS other programmes per week, including My Grandfather commitments as before. Wales Committee member, including current affairs spe- Dylan, transmitted by ITV in With BBC Charter renewal explained that, following the cifically for viewers in Wales.’ the week of the centenary of on the horizon and the end renewal of ITV’s licences at He stressed the importance poet ’ birth, and of the current operating the end of 2014, ‘there is now of ITV’s supply of shows, on The Mountain, a series about agreement between the BBC a specific Channel 3 licence commercial terms, to S4C, people working on Snowdon. Trust and S4C in 2016-17, the for Wales, granted by Ofcom, which includes the Welsh Members also took the meeting looked at the rela- which runs to 2024. This is broadcaster’s current affairs opportunity to view the live tionship between the two good news as we will still be series, Y Byd ar Bedwar. ITV broadcast of evening news public service broadcasters. providing four hours of news Wales continues to make a programme . There was discussion of and an hour and a half of range of other programmes, Hywel Wiliam how the present mix of

32 A stint on This Morning brought Marsh to live televi- sion, which is where she has remained for most of her Get in, career. When applying for jobs, she said: “Do your research. Watch [the show], look into what [a company] get on, has done, have an opinion and an idea.” Richmond agreed. “Come up with ideas – shows such and get as This Morning eat up ideas,” she said. “You’re proving that you’re interested, that you’ve done some work and that paid you understand what the show does. “Networking is very impor- tant,” she continued. “Once you’ve worked with certain people, you’ll find yourself working with them again. You have to make contacts and keep in contact.” “Speak to people you’ve worked with every couple of months, telling them what you’re doing, even if you’re not looking for a job,” added Marsh. Channel 4 Head of People Services Kathy Poole was a latecomer to TV, having spent most of her working life in consultancy and at British Airways. “It’s never too late assion, grit, graft, “I almost don’t care what such as BBC Four’s American to get into telly,” she said. reliability, brilliance your qualifications are, but if Nomads. Winstanley also Poole reckoned people and confidence are you come in with the right founded the online jobs needed three qualities to get just some of the attitude, then you’re halfway board The Unit List. in and on in telly. “First, qualitiesP needed to get in and there,” she said. “People start to trust you you’ve got to be really, really get on in TV, according to the Confidence – or, rather, and you get a reputation for good – you’ve got to go the panel of experts assembled the lack of it – puts off being reliable,” said Winstan- extra mile and you’ve got to for a London Centre event employers. “People can ley. “Your name is then do it time and time again,” that drew a capacity crowd smell a lack of confidence,” passed around because she said. in mid-March. added Richmond. “They you’re seen as a safe pair of “Grit” is the second must- Consultant and London think that if you’re not confi- hands – that’s the reputation have: “It’s not easy. I’ve made Centre Chair Kristin Mason dent about yourself and your you want in this industry.” huge mistakes and you’ve asked the panel how the abilities to do [the job], why Winstanley urged new got to get back on your feet young hopefuls in the audi- should they be?” entrants to take responsibil- and back into work – it hap- ence could make an impres- Jude Winstanley has ity for their careers. “Nobody pens to everybody and you sion in a highly competitive climbed the TV ladder, step else is looking after you,” she have to accept that this is industry. by step. Skipping university, said. “Always ask, if you want part of life.” Employers wanted people she worked as a runner on something.” Finally, Poole advised: with passion, argued Shu game shows, including Super- Suzie Marsh, who is cur- “Make sure you challenge Richmond, who has worked market Sweep, for three years rently Series Producer of yourself.” as an executive producer on before becoming a produc- BBC One’s The National Lottery “Getting in and getting on” shows such as ITV1’s This tion secretary and then a Live, took a media degree was produced by Terry Morning and is also the production co-ordinator. before landing a job as a Marsh and held at ITV Lon- founder of the consultancy As a production manager, runner on BBC One science don Studios on 18 March. So You Want to Work in TV. she has worked on shows show Tomorrow’s World. Matthew Bell

Television www.rts.org.uk May 2015 33 OFF M E SSAGE

s the surprise Con- The best part of the day was eaves- Or will John de Mol come to the servative victory dropping on a rehearsal by the mighty rescue, now that Talpa is an ITV- sinks in, broad- BBC Philharmonic. owned company? casters are left The orchestra’s exquisite rendering pondering what of Barber’s Violin Concerto was ■ So much for Channel 5 taking on might have been, enough to move the most committed even more of a mid-Atlantic flavour had three-way of BBC naysayers. under the ownership of Viacom. leaders’ debates been agreed by The station is to be congratulated DowningA Street. ■ Elsewhere in this month’s Televi- for its deal to show League football in Audience figures for the debates sion, readers can catch up on Michael a prime-time, Saturday-night slot. that we got were down on the gal- Jackson’s career path, as he returns Rivals should be on their guard: vanising 2010 clashes. Five years ago, to making programmes. soccer is not only about the Premier upwards of 8 million tuned in to see One nugget excluded from the League. For a start, there are a lot Brown, Cameron and Clegg chew the report for reasons of space was the more goals in the Championship. political fat live on TV. following revelation. Jackson recalled This time around, ratings were that, in the same week in 1997 that he ■ For those of you who missed Paul roughly half what they were during was offered the job of CEO at Chan- Abbott’s new Channel 4 comedy- that “I agree with Nick” election. nel 4, ITV invited him to come and drama, No Offence, do watch it on Still, the BBC, ITV, Channel 4 and work for it as Director at the Network catch-up. If the opening episode is Sky News did their best in difficult Centre. typical, Abbott is back on top form circumstances. “I remember it being a very stress- – fantastic lines and a real fresh feel And what we did have helped to ful week,” said Jackson, not known for from the Shameless maestro. bring life to a hideously long cam- wearing his heart on his sleeve. Joanna Scanlan’s performance as paign that was rarely engrossing. Readers will have to judge them- DI Vivienne Deering is certain to We live in an era dominated by selves whether he made the right have awards juries salivating. GAFA – that’s Google, Apple, Face- decision. Hot on the heels of her role in the book and Amazon, in case you won- idiosyncratic BBC Four comedy dered – but, at times such as general ■ Staying with ITV, in a recent Puppy Love, which she co-wrote, elections, TV remains the default interview, CEO Adam Scanlan is one class act. medium. Crozier was quoted as saying he believes the broadcaster’s transfor- ■ And, finally, on the subject of ■ For Off Message, one of April’s mation is only “40%” complete. drama, Off Message congratulates highlights was joining a trip to Sal- Moreover, digital represents ITV’s Polly Hill, the new Controller of BBC ford’s MediaCity UK organised by next focus, while it simultaneously Drama Commissioning. the BBC for the Broadcasting Press invests more in content. With such successes as Wolf Hall, Guild. With Downton Abbey bowing out Ripper Street and Poldark behind her, On a perfect sunny spring day, later this year, ITV’s development Hill is a very strong appointment. Salford looked less like a drab scene teams may need extra funding as Let’s hope that she continues to from Lowry than a piece of southern they attempt to discover the next have enough money to do her job to California painted by Hockney. signature show. the highest possible standards.

34 May 2015 www.rts.org.uk Television RTS PATRONS

RTS Principal BBC BSkyB Channel 4 ITV Patrons

RTS Discovery Corporate Services Ltd Turner Broadcasting System Inc International Liberty Global Viacom International Media Patrons NBCUniversal International Networks The Walt Disney Company YouTube

RTS Accenture FremantleMedia KPMG Major Channel 5 Fujitsu McKinsey and Co YouView Patrons Deloitte IBM S4C Enders Analysis IMG Studios STV Group EY ITN UKTV

RTS Autocue ITV London ITV Yorkshire Quantel Patrons Digital Television Group ITV Meridian ITV Wales Raidió Teilifís Éireann ITV Anglia ITV Tyne Tees Lumina Search UTV Television ITV Granada ITV West PricewaterhouseCoopers Vinten Broadcast

Who’s who Patron Chair of RTS Trustees CENTRES COUNCIL History at the RTS HRH The Prince of Wales John Hardie Lynn Barlow Don McLean Mike Best President Honorary Secretary Charles Byrne IBC Conference Liaison Sir David Lowen Isabel Clarke Terry Marsh Alex Connock Vice-Presidents Honorary Treasurer Gordon Cooper RTS Legends Dawn Airey Mike Green Tim Hartley Sir David Attenborough OM Kristin Mason CH CVO CBE FRS BOARD OF TRUSTEES Graeme Thompson AWARDS COMMITTEE Baroness Floella Penny Westlake CHAIRS Benjamin OBE Mike Green James Wilson Awards & Fellowship Dame Colette Bowe OBE John Hardie Michael Wilson Policy John Cresswell Huw Jones David Lowen Mike Darcey Jane Lighting SPECIALIST GROUP Greg Dyke Graham McWilliam CHAIRS Craft & Design Awards Lorraine Heggessey David Lowen Archives Cheryl Taylor Ashley Highfield Simon Pitts Steve Bryant Rt Hon Dame Tessa Graeme Thompson Television Journalism Jowell MP Diversity Awards David Lynn EXECUTIVE Marcus Ryder Stewart Purvis CBE Sir Trevor McDonald OBE Chief Executive Ken MacQuarrie Theresa Wise Early Evening Events Programme Awards Trevor Phillips OBE Dan Brooke Alex Mahon Stewart Purvis CBE John Smith Education Student Television Sir Howard Stringer Graeme Thompson Awards Mark Thompson Stuart Murphy RTS Futures Camilla Lewis

Television www.rts.org.uk May 2015 35 HAPPY VALLEY OR HOUSE OF CARDS Television in 2020 the challenges for content, creativity and business models

RTS CAMBRIDGE CONVENTION

Confirmed speakers include: Philippe Dauman, President and CEO, Viacom Michael Lombardo, President of Programming, HBO Josh Sapan, President and CEO, AMC Networks David Zaslav, President and CEO, Discovery Communications David Abraham, CEO, Channel 4 Sharon White, Chief Executive, Ofcom

16-18 September Early-bird discount until 30 June Principal sponsor Registration: www.rts.org.uk