Osama Loves Loved

Osama of Love global hunt Doctor

Osama Loves, as previously mentioned in this august organ (dontcha just love both those words?), is a participative online documentary I commissioned last summer from the breath of fresh air that is Mint Digital and Menthol TV. The interactive documentary came about in response to a request from my fellow commissioner at C4, Aaqil Ahmed, who looks after religious and multicultural TV programming. He had commissioned a season of television programmes about the culture (rather than the politics) of Islam, including a flagship primetime doc on The Koran. The underlying theme of the season was that Islam is not a homogeneous culture but a diverse and multifaceted one. Aaqil asked me to come up with an online project which conveyed the heterogeneity of Islamic culture and, after some great conversations with Andy Bell, Jeremy Lee and the MintFolk, Osama Loves was born…

In an interesting iterative dynamic, the interactive documentary which was born of the TV season in turn gave rise to a TV documentary commissioned through Janey Walker, Channel 4’s Head of Education. It’s a beautiful film entitled Osama bin Everywhere (and sub-titled Searching for 500 Faces of Islam). It follows the progress of Farrah Jarral and Masood Khan through the participative Web travelogue that is Osama Loves, on their mission to track down 500 people called Osama in just 50 days. The two intrepid explorers uploaded blog posts, tweets (a relatively early application of Twitter to enable our protagonists to publish by mobile when out of PC-based internet range), photos and videos each day,  asking the public for tips and advice to help them complete their challenge and get the most from the countries they were visiting (including Nigeria, Egypt, Indonesia and Canada). As they backpacked across the Muslim world their search offered a window into the everyday life, culture and belief of the Muslims they met.

They asked each Osama they met “What do you love?” The idea was to transcend clichés about Muslims – the most well known Muslim on the planet being a certain Osama who epitomises these clichés and is not normally linked with Love. So Osama Loves sought out as many other Osamas (previously a popular name in Islamic countries) as they could in the time and showcased the rich diversity of their hopes and beliefs, concerns and perspectives.

When the spin-off TV doc aired again recently in the C4 morning slot it prompted a mass of positive feedback from viewers including:

“I am a Catholic and father to 6 children. Having just watched Osama bin Everywhere, I feel this programme should be shown to every child in every school in the UK regardless of religious belief. How refreshing it was to watch. This young woman deserves public recognition and a national award. The comments made and feelings expressed by all the Osamas were a true insight to Muslim people and the meaning of their religion.”

“Not really a press enquiry but please pass my congratulations onto Farrah – I taught her at school in the 1990s. Watched today’s Channel 4 programme whilst at home recovering from surgery. Very, very proud of what she’s become – but not at all surprised!”

“The programme was a joy to watch and I’d love to see more programmes like it. The presenter should be very proud of the programme – she is a great ambassador for her religion.”

“In a time of ‘reality TV’ which seem to be centered on Channel 4, finally a program that I could call brilliant! I was at work during my break and caught Osama bin Everywhere. I can honestly say I’ve not been so engrossed in anything in such a long time. This was a pleasure to watch.”

“What a fantastic programme! A real eye-opener, but I only saw it because the TV happened to be on when it started. Why was such a positive, heart-warming program hidden away on morning TV? Have you shown this in an evening slot? Please do!”

“I truly appreciate what you set out to achieve. Everytime I watch a programme on the television about Islam, it highlights the “bad apples”. I am only 18 years old, but have lived all my life in Britain. Having only visited Pakistan once, and at a very young age, you have driven me (in the most positive way) to go back to my country of ethnic origin. The programme itself has opened my eyes to how shallow people can be, relating everything bad to one name. I hope one day that I will have the power to enlighten people, just as you have to me. May you have all the health and happiness in the world, Inshallah.”

And here are a few other reactions to Osama Loves from more pressy sources:

Mike Mendoza, BBC Radio 2 website of the day
This is interesting – a Dave Gorman-influenced quest from 2 London-based Muslims (in collaboration with Channel 4), to find and meet 500 people who share the same name. In the process, they hope to change many people’s perception of Islam. Long-standing listeners will know that I like a pointless quest, so it’s nice to see a quest/travelogue which aims to do something a bit more positive.

Islam Online
Islam doesn’t provoke much interest unless they [Muslims] are burning flags or pillaging embassy workers or holding insulting placards. It won’t provoke much interest outside of Muslims, but Muslims worldwide will be grateful for the positive break. Put it this way, at least it’s better than their annual masterpiece, Big Brother.

The Sun
No doubt the FBI will be keeping a close eye on the site – especially for any entrants expressing a love of the Tora Bora caves in eastern Afghanistan.

Toronto Star
None of this is sponsored by the CIA – the aim is to give dignity back to a much abused and reviled name.

The free range broadcaster

With all the speculation, misinformation, politicking and general bullshit flying around today with the release of TV regulator Ofcom’s blueprint “for sustaining and strengthening public service broadcasting (PSB) for the next decade” I’d like to take a moment here to highlight Ofcom’s recommendation for Channel 4:

Create a strong, alternative public service voice to the BBC, with Channel 4 at the heart

And pick up an article by Roy Greenslade, widely respected Professor of Journalism at London’s City University, writer for The Guardian and Evening Standard, and man about Donegal (believe he’s been spotted in The Bridge Bar, Ramelton where my wedding reached a satisfying, musical conclusion on Day 3). In tonight’s issue of the Standard (which I picked from the bin in East Finchley station – does Alexander Lebedev have any idea how few people part with actual cash money for it?) Prof G wrote the following insightful article:

Ofcom risks making a pig’s ear of C4 if we lose gourmet selection of quality TV
Roy Greenslade
21.01.09

Pig Business - a Channel 4 documentary

“On Monday evening I attended the preview of a Channel 4 documentary called Pig Business. It was a fine piece of work, a mixture of passion and compassion that raised all sorts of disturbing questions about factory farming, agri-business and globalisation, not to mention airing concerns about public health and the environment.

You can make up your own mind on 3 February, when it is screened on More4, but — even if you disagree with the polemic — it has to be seen as an extraordinary project because it was filmed over the course of four years by Tracy Worcester. After the showing there was loud applause for her and tributes from several speakers, including Zac Goldsmith and Chrissie Hynde. There was acclaim too from Tim Sparke, managing director of the path-breaking broadband TV documentary company Mercury Media, but he broadened his praise and struck a particularly topical note.

“If ever we need a demonstration of Channel 4’s commitment to public service broadcasting,” he said. “Then this is it.”

As C4’s chairman, Luke Johnson, and chief executive, Andy Duncan, peruse the Ofcom report released this morning that outlines how the channel will be funded in future, it is important to keep in mind the value of its output.

I know this is the channel of Big Brother, and that we are currently being assaulted by another instalment of a Celebrity Big Brother, a title that — given the crop of inmates — surely breaches the Trades Descriptions Act. But they are programmes that ramp up viewing figures, thereby attracting essential advertising revenue and enabling the broadcasting of serious public service broadcasting (PSB) content.

There is so much to appreciate about C4, not least its contribution to film, arts, drama and documentaries. There is a Channel 4 ethos, a distinctiveness, that sets it apart from both its commercial rivals and the publicly-funded BBC. I happen to be an avid viewer of Channel 4 News because it deals in some depth with the most important news stories of the day. It treats viewers as grown-ups and, significantly, attracts a young audience that clearly appreciates that fact. It’s a sort of early Newsnight.

Consider also the very different documentary and factual strands such as Dispatches, Cutting Edge and Unreported World. The latter, screened 20 times a year in peak time, takes viewers to stories in parts of Africa, South America and south-east Asia that never appear elsewhere.

Sure, the audiences are small. But the whole point of PSB, and of C4’s remit, is to widen the TV horizon. There is no point in sticking to a safe mainstream, agenda. Other broadcasters do that. There is a mix, with populist factual programming running alongside more esoteric stuff, but it works. C4 also commissions programmes that take risks or challenge our preconceptions.

Take the eight-part series now showing on Sunday evenings, Christianity: A History. It started off two weeks ago with a superb and counter-intuitive presentation from Howard Jacobson on Jesus the Jew. It was some of the most watchable TV I have seen in a long time, intelligent without being in the least bit pompous, provocative without any hint of bombast.

Turning to C4’s contribution to film, who can deny the virtues of a company that backed movie-makers such as Danny Boyle (Slumdog Millionaire, Trainspotting and Shallow Grave); Steve McQueen (Hunger) and Martin McDonagh (In Bruges, Six Shooter)?

But let’s stop the tour here. The point of the exercise is to illustrate what we stand to lose if C4 is not adequately funded in the coming years. It is also to underline the point made by BBC executives, even if through gritted teeth, that rival PSB output is healthy for our society.

I realise the over-riding importance of C4 every time I call up the list of documentary channels on Sky and discover the endless loop-tape of what has rightly been dubbed a choice of sharks or Nazis.

What distinguishes C4’s factual output is that it rarely, if ever, stoops to the formulaic TV that populates the digital depths. That is one reason why I have been opposed to the notion of a merger with Five, a commercial channel that would erase the individuality of C4.

I have never seen the point of Five since its launch in 1997 and, going on the viewing figures, neither can most of the nation’s viewers. It is remarkable that a populist channel that screens wall-to-wall entertainment attracts only 4.6% of the total audience. Yet C4, with so much of its PSB programming specifically aimed at minority audiences, manages to get a 6.3% share.

I can well understand why the BBC’s director general, Mark Thompson, has advocated a C4-Five merger. He wants to protect the BBC’s licence fee and preserve the income from its own commercial arm, BBC Worldwide.

While I was thinking about C4’s dilemma I realised that the Pig Business documentary offered several relevant metaphors. In its current state C4 is a free range broadcaster, offering good meat that satisfies the appetites of its customers. If it is overly constrained, whether by tighter budgets or by an uncomfortable accommodation with a rival, there will be a reduction in both the quantity and quality of its meat.

Factory-farmed TV is junk food for the masses. C4’s programmes, by contrast, are a gourmet selection for niche audiences. We lose them at our peril.”

Update 22.i.09:
Last night while I was writing this post Channel 4 was winning the Broadcaster of the Year Award at the Broadcast Awards.

It also picked up awards for:
Best Documentary: My Street [a wonderful film]
Best Documentary Series: The Genius of Charles Darwin
Best Single Drama: Boy A
Best New Programme: Gordon Ramsay Cookalong Live
Best International Sales: Come Dine With Me

Update 22.i.09:

To ram the point home, this lunchtime (GMT) this year’s Oscar nominations have been announced and Channel 4’s Film4 have received 12 (yes, 12!) nominations:

Slumdog Millionaire

· Cinematography

· Directing

· Film editing

· Original score

· Original song – “Jai Ho”

· Original song – “O Saya”

· Best picture

· Sound editing

· Sound mixing

· Adapted screenplay

In Bruges

· Original screenplay

Happy-Go-Lucky

· Original screenplay

Global Warming

Q. Why did the Belgian chicken cross the road? A. Because there's fuck-all else to do in Bruges

What an incredible year my colleagues at Film4 have had since Last King of Scotland picked up an Oscar (and two BAFTAs). Last night at the Golden Globes of the 14 movie awards 6 went to Film4 productions:

• BEST MOTION PICTURE – DRAMA 
Slumdog Millionaire
• BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
 Colin Farrell, In Bruges
• BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY
 Sally Hawkins, Happy-Go-Lucky
• BEST DIRECTOR – MOTION PICTURE
 Danny Boyle, Slumdog Millionaire
• BEST SCREENPLAY – MOTION PICTURE 
Slumdog Millionaire
• BEST ORIGINAL SCORE – MOTION PICTURE 
Slumdog Millionaire

Add to that movies like Hunger which already has picked up a shedload of silverware (20 so far including the Camera d’Or at Cannes, which I acknowledge is not technically silverware) and Garage, a landmark in Irish cinema. Irish and Waiting Around has been something of a theme this year (Garage, Hunger, In Bruges). And let’s not forget A Complete History of My Sexual Failures made by Chris Waitt, an alumnus of 4Talent.

Film4 may not be huge but they’re perfectly formed, add a great deal to the UK film industry and – like Channel 4 as a whole – punch well above their weight. “Our organization is small, but we have a lot of opportunities for aggressive expansion.”

…which brings us neatly from a great night to a Dark Knight: I have to agree with Maggie Gyllenhall’s analysis of Heath Ledger’s win in the Best Supporting Actor category: “Our movie I think is great, but I think he elevated it to a completely different place.” Without a doubt, performance of the year.

Why so serious?

UPDATE 15.i.09 08:15

BAFTA nominations just announced. Film4 picked up 3 of the 5 nominations for Outstanding British Film (In Bruges, Slumdog Millionaire, Hunger); Slumdog got most nominations (equal with The Curious Case of Benjamin Button); and, of course, Slumdog is up there for Best Film and Best Director.

Good to see Kate Winslet pitted against herself in Best Actress category – you can see the speech already: “I’m so sorry, Anne, Meryl, Kristin, …oh god, who’s the other one? Me!”

Now THAT speech, it bears some anaylsis… “I’m so sorry [unconvincing (for such an experienced actress) self-deprecation] Anne, Meryl, Kristin, …oh god, who’s the other one? [what a bitch, eh? sub-text: I know full well who the other sexiest one is] Angelina! this is… ok… now, forgive me …gather [sub-text: I've been to drama school]. Is this really happening? OK, erm… I’m going to try and do this on the cuff, ok [so OFF the cuff I get the phrase wrong] – Thank you so much. Thank you so much! [sub-text: I really do need a good script-writer, I've nothing substantial to say myself] Oh god! {applause} Please wrap up, you have no idea how I’m not wrapping up! [sub-text: stop clapping, I need to wrestle control back, I'm not fucking finished!] Ok, gather…”

UPDATE 17.i.09

I’ve just gotten round to watching the end of The Reader. Having given Kate Winslet a hard time above, I have to confess it is an excellent performance, well worthy of awards. But the film itself has left me with nagging doubts, two in particular. Most of the UK critics praised it highly but I noticed two exceptions, strangely enough by two people I went to school with. Pete Bradshaw of The Guardian expressed strong doubts (from memory, the review I read on the way back from Ireland after the new year gave it one star). Mark Kermode subsequently spoke of his reservations on the weekly film review show he does with Simon Mayo on BBC Radio 5.

The implication of the film – in the trial of Hanna Schmidz – is that she left Siemens to join the SS because she had been offered a promotion which would have exposed her illiteracy. The same happened to her at the tram company after the war – she runs away when a promotion to office work is offered. What is this saying? The film comes to (and this is no easy feat) create a degree of sympathy for Hanna, a guard at Auschwitz for the SS. Is it saying because she was illiterate, disadvantaged, perhaps a touch simple it explains her role in the war? That reminds me of an experience I had in Austria in the 80s.

I was on a scholarship studying the artist Egon Schiele (to whom my attention had first been drawn by David Bowie on the radio). I went to the small village on the outskirts of Vienna to find his studio. I knew it had been up a small lane but had difficulty finding it. I asked an old man I met on the street and first he hushed me, indicating that the name Egon Schiele was still a dirty word in the village 70 odd years after his ‘artistic’ behaviour had scandalised the place. Then he brought me into a bar, bought me a white wine and launched into an apology (in the sense of ‘explanation’) for Austria’s take up of Nazism. We were poor, hungry, illiterate…

It didn’t wash then and it doesn’t in the film either. The other thing I didn’t buy was that the daughter who had been in Auschwitz as a child with her mother would keep a memento (Hanna’s tin) of a concentration camp guard, least of all by a photo of her murdered family. There’s something being underestimated there.

Now I’m not sure what comes from the David Hare screenplay and what from Bernard Schlink’s source novel (Der Vorleser) but the tin and the flight to the SS from the Siemens promotion both give me the impression that Schlink (or Hare, but I suspect the former) was letting Germany off the hook too easily – ignorance is no excuse and forgiveness doesn’t come that easy.

For all that, it’s still a very well made and compelling movie. Ralph Fiennes’ performance is on a par with Kate Winslet. Ironically the one time I met and spoke to him, in the bar at the Almeida in Islington, he had just played the fiendish Amon Goeth in Schindler’s List. David Kross who plays Fiennes’ character, Michael Berg, when young is also excellent. The film was part-shot by my old boss Roger Deakins (who shared the gig with fellow Brit Chris Menges) and it certainly looks great too. Well worth watching but there’s something dubious to be read between the lines.

Update 22.i.09:

This lunchtime this year’s Oscar nominations have been announced and Channel 4’s Film4 has received 12 (yes, 12!) nominations:

Slumdog Millionaire

· Cinematography

· Directing

· Film editing

· Original score

· Original song – “Jai Ho”

· Original song – “O Saya”

· Best picture

· Sound editing

· Sound mixing

· Adapted screenplay

In Bruges

· Original screenplay

Happy-Go-Lucky

· Original screenplay

Public Value defined

This comment was recently posted on the Embarrassing Bodies website:

“After watching your show, my husband decided to check himself one night
whilst having a shower. To his shock he found a lump. He went straight
to his doctor and within a week he had surgery for testicular cancer,
needs to have a few more scans, but thanks to the show he managed to
find it in time.”

by Sinead in response to the How to Check your Balls video

One of four Embarrassing Bodies Self-Check videos

648,000 videos were viewed on the site during the week of broadcast of Embarrassing Teenage Bodies last week.

How to Check Your Balls has been watched nearly 300,000 times in the last six months.

Reaching the parts…

Bit of a turn up for the books today – the Sexperience sex education/information site I commissioned from Mint Digital and Cheetah TV to complement The Sex Education Show on Channel 4 in September/October is now really making its mark on Google…

Searching "sex"

Searching "sex education"

So #1 for “Sex Education” and #2 for “Sex” itself – with 660,000,000 returns for the latter on Google that’s a pretty competitive space, making it quite a result for an 8 week old UK public service factual cross-platform project.

When I checked a few weeks ago Sexperience was running at 6,000% of the traffic of the official government sex ed site for teens (the sponsored link above). Meanwhile, the interactive dimension of Embarrassing Teenage Bodies which I commissioned from Maverick TV in Birmingham and which broadcast last week on C4 prompted 99,000 online STI Checks during the week of broadcast alone. So the big question for me remains how on earth do you get the government and its services to plug into and support this kind of energy, interest and engagement? Now those are parts that are harder to reach than you might think…

A Frog of Good Taste

Here’s a heart-warming review I came across today of my current project – Sexperience – in FroggBlog, the words of wisdom of a UK-based online marketing consultancy.

The mini site that’s accompanying Channel 4’s ‘The Sex Education Show‘ is remarkable.

Visitors to the site can browse statistics, watch a number of high quality videos based on the experiences of real people as well as answer questions that they might normally be afraid to ask courtesy of some excellent online content and tools.

Now what Channel 4 have done is not only create a website which supports the sex education television show in terms of online advertising but it strengthens their association with and commitment to education, enhances their authority as a provider of quality and accessible information (whether it’s broadcasting or reporting online) and ultimately strengthens their relationship with users, both young and old, who might view such a resource as valuable.

The Sexperience site provides an interesting case as to how businesses, both large and small, can involve themselves in other methods of communication, whether it’s through harnessing video content, integrating social tools and feedback facilities, sharing knowledge or by investing in quality content which fulfils user need at all stages of the buying circle.

There is inspiration all around… and acting upon these brainwaves can get people talking about you and your business. And that’s a good thing.

[To date (in its first 15 days) Sexperience has experienced over 280,000 visits racking up over 2.6M pageviews, with nearly 6,000 user-generated contributions (comments and questions).]

Sexperience was produced by the talented folks at Mint Digital and Cheetah Television

(article and picture reproduced courtesy of FroggBlog)

4mations Reviewed

4mations has had its first review (in Web User) – it’s the first project to emerge from the 4iP fund at Channel 4 (though only part-financed by 4iP) – 4mations moves out of beta later this month.

4mations review in Web User

4mations review in Web User