Archive for the ‘channel 4’ Category

So long and thanks for all the fish…

An extract from an article in Broadcast today. {courtesy of Broadcast}

 

 

Senior digital commissioners depart in C4 shake-up

 

Channel 4 commissioners Adam Gee and Jody Smith are to leave the broadcaster after more than a decade as part of a restructure at digital video service All 4.

The broadcaster is shaking up All 4’s editorial team, scrapping genre commissioning in favour of recruiting an overarching executive who will be responsible for curating, acquiring and commissioning programming.

As a result, Gee and Smith’s respective factual and entertainment multiplatform commissioning roles will close. It also follows the departure of shorts commissioner Isaac Densu, who left to join youth music brand SBTV in February after a year.

Around half of All 4’s 15-strong editorial team of online producers are also understood to be at risk of redundancy as a result of the changes.

C4 offered a clue to its plans in late April when it advertised for a Collections commissioning editor to help with the “transformation” of All 4.

Digital departures

Gee and Smith, who are expected to leave over the summer, have worked at C4 for 13 and 10 years respectively.

Factual multiplatform commissioner Gee was responsible for Embarrassing Bodies’ multiplatform output, Hugh’s Fish Fight and music amnesty campaign Don’t Stop The Music. He has collected an array of Bafta, RTS, Broadcast Digital and Emmy Awards.

He has commissioned over 25 short-form series since All 4 was established including My Pop Up Restaurant and Naked and Invisible, which has notched up over 6m YouTube views. He has also overseen digital shorts including Tattoo Twists, which led to E4 format Tattoo Fixers, and Drones In Forbidden Zones, the inspiration for C4’s Hidden Britain By Drone.

“I have loved every minute at Channel 4 and couldn’t respect its values more,” said Gee. “It has been a pleasure and a privilege to help establish Channel 4 as the world leader in TV-centred multiplatform; to set up and run the innovative and impactful IdeasFactory creative talent scheme when I first arrived; and most recently to get the channel’s short-form originals offer up and running with a distinctly C4 voice.”

 

Davidson-Houston thanked the pair for their “huge contributions to Channel 4’s reputation for innovation” in a note to staff. “They have boldly gone where no one has gone before,” he added.

The broadcaster will be looking to build on strong foundations. After launching All 4 around 12 months ago, digital revenues have rocketed to £82m, up 30% from 2014’s figure of £63m.

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The Black Lesbian Handbook

Some feedback I just came across for this series while preparing a very dull document – background on the commission is here.

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RosyKat ‏@RosyKat  19 Dec 2015

Bit late to the party but #theblacklesbianhandbook is the best thing I’ve ever seen on TV @Channel4 #uklesbians

 

tawa ‏@TawandaFarai  17 Sep 2015

The Black Lesbian Handbook is brilliant. Storytelling at its finest.

 

vivi woo ‏@PeachesLenoir  27 Feb 2015Greenwich, London

I watched the black lesbian handbook, very insightful

 

Brooke ‏@BrukusMaximus  17 Feb 2015

@4oD just found the black lesbian handbook. Very interesting. Thank you. #BlackCulture #gay # blackgaytaboo #girlswholovegirls #stud #fem

 

SineadAlannah ‏@SineadAWrites  18 Dec 2015

Addicted to the Black Lesbian Handbook @Channel4 #fridaynightin

 

JustJoyxox ‏@soul_sistar  11 Dec 2015Croydon, London

I just watched the black lesbian handbook very interesting documentary I learnt a lot about the gay community here and abroad #LGBT

 

Sean ‏@PhantomDoor  18 Dec 2015

Watching Peep Show, keep getting ads for “The Black Lesbian Handbook” the most Channel 4 show imaginable.

 

DANNII ‏@MissDannitweets  9 Dec 2015

The black lesbian handbook docs on channel 4 is so fascinating!

The Black Lesbian Handbook

This is a documentary project I’m really proud of. I recently commissioned the 2nd series this time set in Atlanta, Georgia but featuring some of the people who appeared in the London-based 1st series.

Channel 4 has really got behind it promotion-wise and it’s doing really well, finding a significant audience on All 4.

What’s particularly pleasing is the warm reception online like these:

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The films were directed by Andy Mundy-Castle and produced by Rukhsana Mosam at Ten66 in Sussex.

Made in Northern Ireland: The Male Body Handbook

article from GNI (Gay Northern Ireland) 17 November 2015

GNI (Gay Northern Ireland) 17 November 2015

For Fawkes’ Sake

[6.xi.15]

guy fawkes guido mask

As I left Channel 4 for York yesterday the taxi driver avoided Whitehall due to “something going on down there” – it was the now annual gathering of a ‘million masks’ to march against Capitalism. The masks are those Guido Fawkes masks beloved of everyone from left-field comicbook artist Alan Moore to right-winger Paul Staines. Guido is the name Staines uses when fighting Socialism. Guido was the name Guy (Fawkes) used when fighting for the Spanish.

I missed my train north by a minute but luckily the guard on the next one was short-sighted and missed the invalidity of my ticket. On arrival in York I walked along the city walls and into the quaintly English in an ecclesiastical sort of way city centre. Dumped my Wigan Casinoish moddy bag at Middleton’s hotel and headed for the opening of the Aesthetica Short Film Festival, a BAFTA-qualifying shorts fest at which I spoke today to an audience of 180 young’uns in a steeply raked lecture theatre at York St John University.

At the opening gathering I bumped into Revolution Software’s Charles Cecil, a games geezer descended from some notorious Elizabethan Cecil (Robert I think). I used to see him regularly at the annual b.tween cross-platform conference. We watched 5 opening short films in the City Screen auditorium, of which 3, possibly 4, were too long IMHO. Good production values and well made (mostly dramas) but not truly taking on board the aesthetics and dynamics of the online video age.

Later in the evening I wandered the lanes of York, eventually finding myself under this sign for the Guy Fawkes Inn:

guy fawkes inn pub york

So it’s 5th November. The masked men in the West End by now had started setting fire to police vans and taking on the pigs. Across the rest of the country fireworks are exploding. And I’m standing on the streets where Guy Fawkes was born in 1570 – under one of those masks. I didn’t even know he came from York until I found his inn.

Thursday 5th November 2015 - London

Thursday 5th November 2015 – London

I wandered on around the tranquil Minster, no-one much around, too late for firework noise, a gentle drizzle in a diffuse sodium light. Past the stone workshop where 21st century men carve stone components from the very same stone in which the monumental building was originally constructed, to repair its ancient fabric.

I returned along the cobbled quay by the Ouse to listen to Steely Dan and write about suffragettes. Now I’m listening to John Martyn on my newly acquired red iPod Nano and writing about another famous political militant on the train home.

As the ridiculous and slimy Tory discussions about the idealogical privitisation of Channel 4 continue at Prime Minister’s Questions this week (it costs the public nothing, it’s not broken and it doesn’t need private investment) I’m a bit sorry Guido didn’t manage to blow the mothers (of the mother of Parliaments) up.

V for Vendetta comic alan moore

In The Future

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IntheFuture_Toilets_2800

All 4 one

goggle box tv series channel 4

Was up at the Edinburgh TV Festival at the end of last week – very much a Channel 4 flavoured one. Channel 4 was named Channel of the Year 2014.

C4’s Chief executive David Abraham gave the opening MacTaggart lecture (the first one by a C4 chief exec in a dozen years and it’s been four years since any UK broadcaster has been invited to speak). It centred on championing British creativity and the unique climate of creative freedom and risk-taking that we have in UK public service broadcasting. He highlighted how important it is for the broadcasting and media industry, politicians, regulators and the public to robustly defend and build this outstanding public service system at this particular juncture, when it is under assault from without (especially US multinational corporations) and within (short-term thinkers and profit-takers). He concluded with a call to action for the next generation of media creatives. It was a generous speech, acknowledging both BBC and ITV’s role in the very special TV ecology of this country.

At the Festival awards, Channel 4 also picked up the award for TV Moment of the Year for Mushi’s speech in Educating Yorkshire and won the Programme Innovation category with The Murder Trial. There was further recognition for C4’s current affairs film Children on the Frontline, with Marcel Mettelsiefen picking up the Debut Producer/Director Award.

Such a whitewash of the awards is almost without precedent at Edinburgh and reflects a revived creative spirit at Horseferry Road after the annus horribilis that was 2013 both for C4 and the BBC. For me personally, the new focus on short form video which has come about this year enables the happy surfing of this wave of new energy. Here’s one of my first commissions in that area from a young British director, Umut Gunduz, who I met at Google HQ in St Giles a few months ago – the series is called Double Vision and the first episode is Cycle of Love.

double vision first date cycle of love

Dear Dear Dickie – 4 ways to remember Richard Attenborough

The Great Escape (1963)

This one (from the year I made my debut on earth) is for me his most memorable role as an actor – as Bartlett, who can forget that tragic end, machine-gunned in a field by the heartless Nazis alongside his stalwart Scottish buddy, MacDonald (played by the ever dependable Gordon Jackson)?

The Great Escape poster Richard Attenborough

 

In Which We Serve (1942)

His fresh faced debut, already a screen presence to be reckoned with. Directed by David Lean and Noel Coward, a suitably English place to start.

In_Which_We_Serve richard attenborough actor

 

Chaplin (1992)

My hero well captured by the talented young Robert Downey Jnr. under the assured direction of Dickie.

richard attenborough chaplin robert downey jnr director

 

Cry Freedom (1987)

I remember this one opening my eyes to the outrages of apartheid South Africa back in my university days. Denzel Washington was powerful as Steve Biko and first came to international prominence under Dickie’s direction.

cry_freedom_denzel washington kevin Klein steve biko donald woods

Richard Attenborough was instrumental in the establishment of Channel 4 – Deputy Chairman from 1980 to 1986 as it got on its feet and Chairman from 1986 to 1992 through its golden age.

He was also a key leader in BAFTA, associated with the Academy for 30 years and President for over a decade.

richard-attenborough oscars academy awards

I interviewed Lord David Puttnam about him recently for my book, When Sparks Fly. I was thinking of including him in the Film chapter (Choose Life) which focuses on Danny Boyle. With its central theme of the creative rewards of openness and generosity, Attenborough struck me as the cinema embodiment of British public service values. Channel 4 and BAFTA are just two of many appointments which demonstrate his prodigious energy and unfailing commitment to public service media/arts, from the brilliant Chickenshed Theatre to the Mandela Statue Fund.

1964

1964

 

 

History Boy

the dawn of time universe sun big bang

I’ve been coming to DocFest (formerly the Sheffield International Documentary Festival) since the dawn of time. I’m sitting cross-legged on the hill of Howard Street, on a black marble seaty-thing, as I write this, buddha-like. The hill runs up from the station towards the city centre and is one of the best bits of urban regeneration I’ve seen in this country. Overlooking this spot is an Andrew Motion poem written on the side of a Sheffield Hallam University tower block addressing travellers arriving in the city (Andrew Motion in part inspired Simple Pleasures part 4). After my many years coming to the festival I came up with a good strategy involving this hill yesterday. Instead of relentless regular blocks of formalised meetings crowding out the day I arranged no meetings – just sat on one of these black marble blocks and waited for people I knew and wanted to see pass by me. It worked very well – I got to chat with more people and the chats were the lengths they needed to be.

howard street sheffield docfest 2014

I am now on the train pulling out of Sheffield. I leave behind a very satisfying couple of days’ experience. It began as I got off the other train the other way on Sunday evening. I dumped my stuff at the hotel and went out for dinner just out of town with Colm O’Callaghan, a colleague from RTE in Dublin. We chatted about all manner of stuff, centred on Ireland and music, and most excitingly discussed the possibility of doing a collaborative historical project next year. We headed back to town to meet  at a bar the speakers in the session I was to chair the next day. We did a judicious amount of preparation (mainly a quick chat to reassure them we’d be talking about stuff they know well and don’t have to think much about and ascertaining what video material they’d brought with) then oiled the getting-to-know-you wheels with alcohol.

robert capa d-day landings

The session the next morning entitled ‘Interacting with the Past’ focused on interactive and multiplatform TV in the History genre. Joe Myerscough, Producer/Director from the excellent Windfall Films, represented the superb D-Day: As It Happens project from Channel 4 in 2013. The delightful Elizabeth Klinck, a super-expert Canadian visual/archive researcher, added an interesting perspective. And my Channel 4 colleague, Online Producer Marie James, focused on The Mill, a historically accurate drama set in 1831. We managed to range across a lot of territory around what interactivity brings to History TV and from a lot of perspectives (indy producer, broadcaster, support services, commissioner), driven by questions from the audience, so it felt free-flowing, flexible and practically useful. Went down well, felt good.

Andre Singer

Andre Singer

At the other end of the day I went to see a new history documentary, Night Will Fall, directed by Andre Singer. I can’t write about it yet beyond what’s already in the public domain but suffice it to say it’s a very impactful film about the filming of the Holocaust. It will be showing on Channel 4 in January coming. One unexpected aspect of the story is that Alfred Hitchcock was involved in this filmic recording of the Holocaust by Allied troops. I chatted with Andre and his wife Lynette, who wrote the commentary for the film, on the way out. Also the producer Sally Angel, who I first met last year through an online project via my friend Steve Moore. We had a lively discussion about what age is best to first introduce young people to the imagery of the Holocaust. I believe it should be 16+. The person from the BFI thought younger was OK on the basis that kids get to see horror films (not an argument I buy – the documentary footage in Night Will Fall is another world from scripted drama).  I first crossed paths with Andre and Lynette when I was starting out on my career and they ran an outfit in Covent Garden called Cafe Productions (that name’s just come back to me after all these years). I went on a bus ride with Andre last May (2013) to Yad Vashem when he first told me about the film. It’s been nestling in the back of my mind since then.

So a day steeped in History.

Brilliant creatures rebels of oz documentary howard jacobson germaine greer

And today started out in similar vein. I went to see Brilliant Creatures: Rebels of Oz, a 2-part BBC/ABC documentary about 4 Australians who made good in London in the 60s, bringing a fresh perspective to a country only just emerging from the War. The Creatures in question are Germaine Greer, writer Clive James, art critic Robert Hughes and comedian Barry Humphreys. Jacobson considers Germaine Greer the most rebellious and radical of these. It’s a fabulous story – woven together by novelist Howard Jacobson (who himself wrote startlingly about the Holocaust in the brilliant Kalooki Nights, which sits on my Shelf of Honour).  I had a brief chat with him after, mainly congratulating him on pulling together such an illuminating story. He said he was in search of the secret to the Oz “zest for life”.

Howard Jacobson, Greg Sanderson (BBC), Germaine Greer

Howard Jacobson, Greg Sanderson (BBC), Germaine Greer

I got close to having a chat with Germaine Greer but it didn’t quite happen. I wanted to talk Frank Zappa with her as the BBC recently released a wonderful radio documentary she made about him. There was a great clip in the film of her hanging with Robert Plant and Led Zep.

germaine_greer 60s

Over breakfast this morning I had a great plan-hatching session with a couple of documentary makers (one from Leipzig where my dad was born) which was also a kick.

So it’s been a couple of days with a heartbeat of History. I had to give it up as a subject in formal education after O Level (apart from a small burst of it as part of my German/Modern Languages degree) but at heart I’m still a History Boy.

evolution denied ape to man

 

The Factory Factor

Intensity - with glasses

Intensity – with glasses

Early on in my career I directed a shoot in a plastics factory in the depths of South London. It was that morning, as I watched the mundane, repetitive jobs people had to do, that I recognised how privileged my work was, above all in its variety and creative fulfilment. Now it’s the end of a long day, thirteen hours without a break, quite intense activity,  which I look back over with that same perspective – that was a really satisfying one.

The first bit at home on rising was just tying up some loose ends of the week, a bit adminy. Then the rest of the day rolled out along the Northern Line.

First stop Borough – a meeting involving a Countdown personality to develop a project focused on words and language. The project seemed to go up a gear or three during the conversation and I’m really excited about it.

Next stop Angel – another creative development meeting for a series about the future, which again made significant headway through a lively and illuminating conversation with the presenter and two producers.

Back to East Finchley for some tough wrangling on a Music education project, really difficult to pull off but really satisfying in its objectives.

Then to round off the week the main person I’m hoping to interview for the Business chapter of my book came back with a positive response.

Popped back to Islington in the evening for some R&R in the form of Nick Lowe at the Union Chapel, which culminated in a rousing rendition of  (What’s So Funny About) Peace, Love and Understanding?

Jesus of Cool

Intensity – before glasses

 

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