Who wants to be a 20 millionaire? – I do

Factual Fingers

Yesterday was a big day for Embarrassing Bodies online (and indeed for Factual Cross-platform at Channel 4) – we passed the 20 million pageviews mark on the EB site a year after launch. This is off the back of 2.2 million visits.

Meanwhile, since September  Sexperience has clocked up 14 million pageviews.

This means in respect of many key metrics these Factual projects are right up there playing with the big boys of C4 Entertainment.

Entertainment Fingers

Radio Radio

An article by Robin Parker in Broadcast this week about my The Radio Play’s The Thing commission, a project I’ve been working on for two years now and which is just concluding its production phase.

I conceived it as an experiment in what I called (back in 2006) ‘User Commissioned Content’, which was sloppy short-hand for ‘User-Generated Content where you give the User a few quid to help realise their vision’ (for some studio time, a special actor, whatever). As it turned out I was applying a TV/video paradigm to the Radio medium where the gap between writer and producer/director is much wider so I adapted the project on the fly, eventually bringing in professional directors from other disciplines (TV, experimental theatre, etc.) to produce the radio dramas professionally but with the freshness of never having worked in the Radio medium.

4Radio sounds off with dramas ahead of launch

• Published: 07 May 2008 11:45
• Author: Robin Parker

The first fiction commissions for Channel 4’s fledgling 4Radio venture are to debut online later this month when the broadcaster unveils four audio dramas.

The plays are all by new writers and will be directed by TV and theatre directors making their radio debuts. Neil Pearson and Hollyoaks actors Gerard McCarthy and Jennifer Biddall are among the cast.

The scripts were chosen from more than 1,000 submitted to an online competition launched last year off the back of C4 theatre talent search The Play’s the Thing.

They were originally intended to be shared with OneWord before C4 pulled its funding from the station in December.

C4 now plans to use the web to launch the plays ahead of 4Radio’s planned start at the end of this year and will also make them available as podcasts.

The 15-minute plays tackle heavyweight themes. Hospital doctor Andy Prendergast’s To the Broad Shore explores euthanasia; DA McIllroy’s The Interpreter features a confrontation between a Belfast police officer and a Chinese illegal immigrant; Stephen Todd’s Proud Songster looks at the impact of genocide in Rwanda; and Caroline Gilfillan’s The Colonel reflects on Chilean torture that took place in the 1970s.

All four are produced by Maud Hand of Maud Hand Productions and John Dryden of Goldhawk Productions. Hand has developed the project since January 2006. Dryden was invited latterly to come on board and is an experienced radio producer who has specialised in recording plays on location, most notably Radio 4’s The Cairo Trilogy, starring Omar Sharif.

The 4Radio plays are also made out of the studio in locations around London.

Directors lined up include Noreen Kershaw, the Life on Mars actress who has turned to directing Coronation Street and Shameless, and Andrew Foster, the New Zealand theatre director who developed cult comedy Flight of the Conchords for HBO and directed the feature film Eagle vs Shark.

C4 new media commissioner Adam Gee has championed the plays at C4, developing the project in his earlier role as head of 4Talent.

Also involved have been writer Annie Caulfield, Radio Academy director Trevor Dann and Shameless creator Paul Abbott.

“Having created some content for 4Radio, much of it linked to established C4 shows, this is our first experiment in making radio drama sound different,” said Gee.

Article reproduced courtesy of Robin Parker and Broadcast

Baa raa black sheep

A pretty action-packed day by any standards. Just on my way home from the British Animation Awards at the National Film Theatre where we launched Channel 4’s new broadband animation channel – 4mations – in collaboration with Aardman and Lupus Films. What I liked most about the awards was that each award was a unique framed image made by an animation professional (including David Shrigley [Blur - Good Song, Hallam Foe titles], Darren Walsh [Angry Kid, Beck - Four Steps, Sony Bravia Play-Doh/rabbits] and Andy Martin [E4 Music, Kerrang! TV IDs] – you can see them all on the 2008 Prizes link on www.britishanimationawards.com) – unique images on the subject of sheep – BAA, baa, sheep, geddit? The whole thing was a celebration of the incredible talent across the UK in this tight-knit, ultimately for-love-not-money industry (not that it doesn’t make money but that’s not what drives its creatives). Happily, Shaun the Sheep picked up a couple of …sheep.

The wolves in sheeps clothing on this particular evening included Richard Morrison for the Sweeney Todd movie titles (produced by that blast from my past, Dominic Buttimore of Th1ng, convener of the annual Elvis birthday tribute at which an 8mm version of Blue Hawaii gets its yearly airing); Osbert Parker for Yours Truly, a thrillingly inventive film noirish animation made under the Animate scheme funded by Channel 4 and the Arts Council), one of three Channel 4 successes on the night; and Simon Tofield for the hilariously well observed feline dynamics captured in Cat Man Do – my favourite of the night.

Behind me in the queue going in was the venerable John Coates, creator of The Snowman and producer of The Beatles’ Yellow Submarine film. One of the nominees was an IrnBru ad parodying The Snowman [Phenomenal Xmas by Robin Shaw/Sherbet], in which the high-pitched kid gets dropped out of the sky by the soaring snowman who nicks his tin. Rightly enough, John was flattered by the homage. The author of the source book, Raymond Briggs, was altogether less sanguine last autumn about this derivative. The Snowman was one of the very first commissions by Channel 4, a quarter of a century ago, which leads us neatly into the other action of the day…

The other end of the day saw the launch of Next on 4 – the blueprint for the next phase of Channel 4 as it moves into its second quarter century. There were a couple of moments of magic that lifted the whole event from a corporate function to an inspiring vision for public service broadcasting.

The first was a video clip. Times are tough. Competition is fierce. The media industries are up in the air. The public service broadcasting model is falling behind the times. The regulator’s breathing down your neck. You’ve been known to upset the powers that be. The advertising revenue is disappearing into the maw of US corporates. The halcyon days of Charlotte Street, The Comic Strip and Max Headroom are a dim&distant memory. The enemy’s at the gate. The wolves are at the door. What do you do? Get Nick Broomfield to make a spoof documentary about the purposes of Channel 4 culminating in a slurred elucidation by none other than Frank Gallagher, just in the Nick of time before the Grolsched-out mainstay of Shameless passes out. “The point of Channel 4, Nicholush, is to maintain the salience of its remit in the new digital age.” Are you people taking this seriously? We are – because only Channel 4 would turn it to comedy (with substance). The medium is very much the message.

The second was a Churchillian moment from the Chairman, Luke Johnson. After struggling a bit during the opening address with the awkwardness that is those autocue systems with the smoked grey glass plates on bendy stalks , to round off the Q&A (hosted in the style we love him for by Jon Snow) Luke responded to the final question by reminding us all that Next on 4, this event, the debate around Channel 4 as Ofcom reviews our public service broadcasting, is all about the value of Channel 4 to UK society and the values and public purposes which drive it. Think Henry V. Think an authentic moment when the passion for an idea breaks through a breach in corporate decorum. Think raw not baa.

25 today

I can’t let today pass without marking the 25th birthday of Channel 4 which was at 4.45pm this afternoon. Ironically at that time I was entering the BBC (at Bvsh House), albeit with Camilla Deakin of Lupus Films, custodian of Channel 4 animation and a former Commissioning Editor herself in the Arts department. We were meeting Philip Dodd, formerly of the ICA, Sight & Sound and now of Made in China, to talk about exporting British animation to China and a possible broadband animation channel to launch next year – animation being a great example of where the Channel has lead from the front, all the way to the Oscars. So broadband video and China – very now&next.

Also very now is me sitting here watching the Big Fat Anniversary Quiz and writing a blog simultaneously – so 2007. MC Jimmy Carr was in the Channel 4 caff earlier today when I got into work. Coming into 124 Horseferry Road past the Big 4 this morning I couldn’t help but feel a little quiver of pride&joy. Who’d have thought that that day quarter of a century ago when I watched a bloke called Gavin (or was Gavin the actor and Paul or somebody the character?) opening his bedroom curtains to reveal Brookside Close for the very first time that one day I’d be beavering away for the nascent Channel.

That winter I left for a year to live in Chambery in France (Savoie) before going to university – my first time living away from home. To stay in touch with things back in Blighty I had a lively correspondence throughout 2003 with my lovely friend Katherine (now herself abroad long term in Aspen) about Gavin, his missus Petra, Bobby and Sheila, etc. I just got back on Monday from a visit to Paris to my other great mate Marcelino Truong who I first met that winter in Chambery – he was just about to pack up teaching and become a comic book illustrator. So 2002/3 was a very big year in my life as well as for British broadcasting.

That same first night the film ‘Walter‘ was broadcast starring Ian McKellen. That too came to have a personal connection. While I was at college I met a visiting fellow called David Rudkin (Artemis 81, December Bride), an accomplished screenwriter and Hitchcock expert. He brought to the university for a speaking event Alistair Reid (Tales of the City, Traffik – both for C4), original director of ‘Morse’, who showed his home video of the making of the series, an inspiring presentation and one of many things which lead me to leaving university with no more precise an idea that that I wanted to work with moving pictures. David also introduced me to ‘Walter’ producer Nigel Evans and his business partner Simon Mellor who gave me my first job in the biz – a holiday job as a runner at his company AKA in Farringdon Road (now the Guardian Newsroom annex where last year, 20 years on, I found myself presenting my commission Breaking the News).

Jools Holland has just popped up to ask a question on the Big Fat Quiz about the Tube. The AKA experience helped me land my first proper job at Solus Enterprises, the co-operative of Jack Hazan & David Mingay (makers of British cinema verite landmarks like ‘A Bigger Splash‘ and ‘Rude Boy‘ with The Clash), Roger Deakins (Sid & Nancy, Shawshank Redemption, O Brother Where art Thou?, etc.) and Dick Pope (Secrets & Lies, Vera Drake). The cutting room upstairs at 35 Marshall Street was usually occupied by promo director Tim Pope and editor Pete Goddard. In there was made the series Groovy Fellas for Channel 4, commissioned by Seamus Cassidy. The title graphics were deliberately difficult to read and looked as much like Groovy Fuckers as Groovy Fellas, derived from Jools’s legendary Freudian slit of the tongue. The graphics, from memory, were designed by Andy who used to do all The Cure’s covers. Alongside Jools, it starred Roland Rivron as an alien who dapper Jools was guiding around contemporary Britain. These days Roland and I cross paths in the local schoolyard rather than the cutting room.

My path also crossed Channel 4 in the next phase of my career in another edit suite – that of the very talented Jan Hallett, the Harrymeister with the legendary ‘trouser tape’. Jan is married to Niamh Byrne who has been doing Presentation at Channel 4 for a dog’s age, one of the longest serving staff members. Jan did all the graphics for Chris Morris’s shows (Channel 4’s ‘Brass Eye’ and the fabulous ‘Day Today’). The ‘Day Today’ gig landed partly because it was done out of IDF (later Jump Design, the graphics outfit which emerged from ITN under the direction of the one&only Richard Norley, who had designed the titles for Channel 4 News). We worked out of the Quantel edit suites of ITN in the downtime between the end of Channel 4 News and the start of Big Breakfast News at dawn. Fueled by adrenaline, beer and curry they were golden days which landed us the Grand Award at the New York International Film & Television Festival and a bunch of other gongs from around the world. And the over-night working combined with inability to sleep in the daytime, frankly, was better than drugs.

So, like the Northern Line, the Channel has been a thread through my life from way back when. Since I started working at C4 early in 2003 my personal favourites include DV8’s ‘Cost of Living’, ‘Shameless’ and ‘Jump Britain’.

So we’re in an ad break now. The ads? Apple iPhone. Nintendo DS. What a different world the Channel’s in 25 years on. A huge challenge. Huge opportunities. The important thing is to stay in touch with our values – well expressed, in the Mark Thompson regime under which I started, as: Do It First, Make Trouble, Inspire Change. And also to have a vision going forward as bold as our heritage – one which refreshes and redefines the broad social purpose of the organisation within UK society on a grand scale, as public service media moves into the digital age.