In Your Face – Week 1

A cool 9 million views for this cut-down from the documentary ‘In Your Face’ in its first week, with high engagement – 5,500 comments; 65,000 shares; 52,000 reactions. Part of this success we have concluded is down to the likeability and charm of the protagonist, Jason – (it has outperformed other similar videos and the casting seems to provide the explanation).

The full film of ‘In Your Face’ is here. The full film on Facebook/Facebook Watch has netted 1.8M views this week which is also a very decent performance and underlined that this is very much a Facebook rather than a YouTube subject, benefitting from viewers engaged through sharing and commenting and happy to pick the videos up in their stream rather than deliberately seeking it out in some way.

I have now made 40 documentaries on tattoos including these series for Channel 4:

• Tattoo Twists [8 films]
• My Secret Tattoo [9 films]
• SeXXXy Tats [6 films]
• Tattoo Fails [6 films]
• My First Tattoo [10 films]

Tattoo Twists – my first tattoo series, inspired Channel 4’s Tattoo Fixers

My Secret Tattoo – this man works with the Minister of Defence (with this hidden under his shirt & tie)

A random still from Tattoo Fails

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Top Documentaries on UK TV 2017

My favourite documentary series of the year

	Title	Channel	Share %	Viewers ‘000s
1	Blue Planet II	BBC 1	45.8	14,011
2	Diana, Our Mother: Her life + Legacy	ITV	36.7	9,390
3	Diana, Seven Days	BBC 1	32.9	6,425
4	Rio Ferdinand: Being Mum + Dad	BBC 1	26.2	6,345
5	Spy In The Wild	BBC 1	25.7	6,218
6	The Real Marigold Hotel	BBC 1	23.3	5,999
7	Wild Alaska Live	BBC 1	31.9	5,998
8	Attenborough and the Giant Elephant	BBC 1	20.3	5,378
9	The Real Full Monty	ITV	24.2	5,362
10	Fake Or Fortune?	BBC 1	26.0	5,127
11	Snow Bears	BBC 1	23.6	4,969
12	Paul O’Grady For the love of Dogs	ITV	21.1	4,960
13	Diana: In Her Own Words	CH4	20.6	4,923
14	The Truth About… Sleep	BBC 1	20.3	4,704
15	Ambulance	BBC 1	21.1	4,660
16	Police Tapes	ITV	20.5	4,522
17	Easyjet: Inside The Cockpit	ITV	20.2	4,488
18	The Real Marigold On Tour	BBC 1	18.3	4,411
19	An Hour To Catch A Killer	ITV	18.1	4,362
20	Inside London Fire Brigade	ITV	18.7	4,317
21	Britain’s Busiest Airport – Heathrow	ITV	18.5	4,309
22	The Met: Policing London	BBC 1	19.5	4,224
23	Martin Clunes: Islands Of Australia	ITV	19.4	4,222
24	The Cruise : Mediterranean	ITV	17.3	4,216
25	Galapagos	BBC 1	16.9	4,173
26	Elizabeth And Philip: Love & Duty	BBC 1	14.6	4,149
27	Sir Bruce Forsyth: Mr Entertainment	BBC 1	21.7	4,094
28	Reported Missing	BBC 1	16.6	4,051
29	Prince Harry & Meghan	ITV	16.8	4,034
30	Joanna Lumley’s India	ITV	18.3	4,025
31	The Week The Landlords Moved In	BBC 1	18.2	3,982
32	The Fifteen Billion Pound Railway	BBC 2	17.4	3,908
33	Italy’s Invisible Cities	BBC 1	14.6	3,859
34	Ross Kemp Behind Bars	ITV	17.1	3,848
35	Sugar Free Farm	ITV	16.3	3,840
36	Gordon Ramsay On Cocaine	ITV	16.4	3,839
37	Diana: The Day Britain Cried	ITV	14.6	3,817
38	Spy in the Wild: Meet the Spies	BBC 1	17.6	3,784
39	Serial Killer with Piers Morgan	ITV	15.9	3,683
40	The Ganges with Sue Perkins	BBC 1	15.9	3,671
41	How To Stay Young	BBC 1	15.9	3,648
42	Britain’s Best Walks with Julia Bradbury	ITV	17.1	3,619
43	A Very Royal Wedding	ITV	14.9	3,588
44	Gone To Pot: American Road Trip	ITV	13.5	3,585
45	Killer Women with Piers Morgan	ITV	15.7	3,553
46	Britain On The Fiddle	BBC 1	14.1	3,459
47	The Truth About Stress	BBC 1	14.7	3,451
48	The Harbour	ITV	14.4	3,431
49	I Am Bolt	BBC 1	15.8	3,409
50	The Sheriffs Are Coming	BBC 1	14.1	3,400
51	Orkney: When The Boat Comes	BBC 1	17.0	3,380
52	Winterwatch	BBC 2	14.0	3,378
53	Harry & Meghan: Royal Engagement	BBC 1	16.0	3,377
54	Russia With Simon Reeve	BBC 2	14.0	3,287
55	Call The Midwife: The Casebook	BBC 1	17.0	3,234
56	Devon & Cornwall Cops	ITV	14.6	3,206
57	Planet Earth II: A World Of Wonder	BBC 1	19.6	3,174

Coincidences No.s 355, 356, 357 & 358

No. 355

In the morning I have a meeting at BAFTA with a director (Peter Demetris) I worked with on ‘Embarrassing Bodies’ to discuss a forthcoming commission I’m doing at Little Dot Studios to do with modern addiction. Peter reminds me he was studio director on Graham Norton’s first chat show ‘So Graham Norton’ on Channel 4.

In the afternoon I get an email from presenter Tim Lovejoy mentioning Graham Norton’s producer at So TV which of course was set up to make ‘So Graham Norton’.

No. 356

An old friend and gig-mate (another Adam) comes to stay from Amsterdam (aka A’dam). He has been working during the day at a famous University Press and mentions that he reckons a significant proportion of their revenue comes from bible sales.

The next day I am at the University of Surrey in Guildford doing a guest lecture. While I am there my old colleague, Jon Weinbren, Head of Digital Media Arts, out of nowhere mentions bible salesmen.

No. 357

A blast from the past – now buried under flats

My mum is trying to describe where an office she visits regularly is. She positions it relative to the old Blue Bird garage on the Finchley Road. I further triangulate it relative to an orthodontist’s surgery I went to once or twice as a kid with her. I remember the man telling me I had a “Polish jaw”. She can’t recall it at all.

A couple of days later one of my best friends visits from Aspen, Colorado where she now lives. We go to the National Theatre together and at lunch she mentions the very same orthodontist to whom she went as a girl.

No. 358

My grandfather was a research scientist not a fruit & veg man (he had a secret love of bacon)

I go with Enfant Terrible No.1 to visit the grave of my grandfather Ian Harris on his birthday (the same day JFK was shot – that’s how I know what I was doing on the day, I was at Pop’s tea party in a cradle).

On the drive home, as I’m talking to my son about his great-grandfather, we pass a commercial van parked in a drive in Hendon with the name I. A. Harris emblazoned on the side.

Little Dot hires Adam Gee for YouTube push

From today’s Broadcast…

Little Dot hires Adam Gee for YouTube push

13 JULY, 2017 | BY ALEX FARBER

Former C4 commissioner to invest £200,000 in originals

Little Dot Studios has hired former C4 multiplatform commissioner Adam Gee to oversee a £200,000 YouTube commissioning push.

The Shoreditch studio is planning to order 10 films of 15-20 minutes for its Real Stories factual channel, which has built up more than 750,000 subscribers and 175 million views since it launched in 2015.

To date, the channel has been populated with content licensed from backer All3Media, as well as distributors including DRG and ITV Global Studios, but it is now keen to order original programming from producers.

Gee has been drafted in as Real Stories commissioning editor to oversee the portfolio of human interest one-offs.

He promised to make quick decisions, unlike the “glacial progress of broadcasters”, with the slate of projects scheduled to be live by November.

Authentic, shareable, intimate and upbeat stories about overcoming adversity are on the agenda, with those exposing child poverty, ‘out-there’ parenting or extreme medical cases proving popular on the channel.

Topics such as sex, terrorism, racism, suicide or surgery are not of interest.

The first project, Brittle Bone Rapper, is a story set on America’s East Coast. It was ordered from Andy Mundy-Castle’s fledgling firm Doc Hearts last week.

Chief executive Andy Taylor said the move into originations was driven by a need to experiment on the Google-owned platform.

“The budget for this will come out of our innovation pot,” he said. “The data tells us that human interest stories are working and we are always looking at ways to respond to the algorithm.”

He added that while the available data could inform the programming, there is no substitute for the “sheer gut instinct” of a commissioner.

Content lessons

Little Dot, which will retain the rights to the shows, does not expect to turn a profit from YouTube advertising, but Taylor is approaching the project with a longer-term strategy.

“We will learn more about the type of content that works, how to leverage our brand and audience – as well as the commercial opportunities beyond YouTube. We could end up licensing them to a VoD platform or securing a six-part series for Channel 4.”

Gee said it is important to think “holistically” about any projects pitched. “What is the life of these stories beyond a 10 to 20-minute midform show?”

Separately, Little Dot has hired former Liberty Global exec Kevin Gibbons as chief financial officer and brought in Maria Fernando as director of partnerships, based in LA, to grow its West Coast offices.

{text courtesy of Broadcast magazine}

 

BBC3 logo

I’m just about to go to Farringdon for a meeting at Maker Studios and noticed while preparing that there isn’t much clear blue water between the logo of Disney-owned Maker and the new BBC3 logo announced earlier this month. What makes the similarity particularly striking is that in many ways the two organisations are now direct competitors with both’s emphasis on online video.

New BBC3 logo

 

I have a vague memory of seeing something like this as an earlier version – I heard there was a last minute failure of nerve at which point the ! appeared

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:

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

Trains, Planes and Canes – Sheffield DocFest Day 4

Was involved in two contrasting panels on my last DocFest day. In the morning the panel I’d pitched to the festival about docs with a lighter touch. It was produced by Documentary Campus, Berlin-based partners of DocFest, the outfit behind the Leipzig documentary festival. Because it’s the birthplace of my late father I’ve a soft spot for it and have been working with them for the last few years, helping nurture emerging documentary talent. On our Seriously Funny panel was Mark Lewis, venerated creator of the landmark ‘Cane Toads: An Unnatural History’, much admired by Brett Morgen (Cobain: Montage of Heck – see Day 1 below); Rudolf Herzog, the man behind ‘Ve Have Vays of Making You Laugh’ about jokes in the Third Reich and ‘The Paedophile Next Door’ made with Steve Humphreys for Channel 4; Heydon Prowse, one of the prime-movers of ‘The Revolution Will Not Be Televised’ (Jolyon Rubinstein, his comedy partner was in the audience), whom I worked with on ‘X’, our recent election project at C4 for under 25s involving the shutting down of E4 for the day of the election (leaving just Darren on screen, the man responsible for E4’s On/Off switch).

Last but by no means least, my brother KG who fronts the short form video series I commissioned about West Coast tech and social trends and whether they will make it to Blighty – ‘Futurgasm’ (mainly to be found on All 4).

It was a fun panel, punctuated with loads of amusing clips, including dog and rat humour from Mark and hoodie humour from KG:

We chatted about the advantages of using humour in documentaries – from access to co-operation (see the police in the last clip above), from non-cynical warmth to asking the unaskable.

In the afternoon I did a session on using drones in documentaries, The Sky’s the Limit, led by Brian Woods of True Vision, in the beautiful Chapel building. I showed my Drones in Forbidden Zones project (which also lives mainly on All 4)

and, to balance out the largely techie panel such as Emma Boswell of The Helicopter Girls, took on the subject largely from an editorial point of view, focusing on how to shoot ‘native’ drone films as opposed to using this exciting new tech simply as a cheap helicopter.

Once I was done with Unmanned Aerial Vehicles I boarded a Manned Rail-bound Vehicle and headed South with pleasant memories of one of my best ever DocFests. Proud to have been on the Advisory Board of this particular one which marks the close of Heather Croll’s brilliant expansive tenure, the sure-footed interim leadership of my friend Mark Atkin, and the opening of Elizabeth McIntyre‘s regime, my former colleague from Documentary Campus. Four fine days fabulously finished.

Tears through the Years – Sheffield DocFest Day 3

Started the day with the best documentary I’ve seen so far – The Black Panthers: Vanguard of the revolution.  I was introduced to its talented, measured director Stanley Nelson as I entered Showroom 3 cinema. I told him about some footage we found in the attic of Solus, my first job, of James Baldwin with two Panthers in London (with Huw Wheldon for BBC’s Monitor shot by Jack Hazan).

It’s a masterful historical doc, the story told perfectly in a clear, disciplined and balanced way. Huey Newton’s story is plain tragic. The women protagonists are powerful and impressive. The stand-out character is Fred Hampton, a captivating orator assassinated by the Chicago pigs.

The story couldn’t be more resonant than now with the chain of events unravelling recently like this:

I chatted after with Stanley and Dick Fontaine (of the National Film & TV School) about the trustworthiness of police testimony then and now, and the power of the US authorities through the last 50 years.

Middle of the day was Roast Beef’s curious The Russian Woodpecker – an oblique route in to capturing the looming resurgence of the Cold War. It takes an artist, Fedor Alexandrovich, to know which way the wind blows in Russia/Ukraine and to become as much an over-the-horizon radar as the mysterious Duga early-warning system he discovers in the shadow of Chernobyl. Conspiracy theory, Cold War paranoia, arty kookiness and Soviet spookiness make a heady brew. Fedor and director Chad Garcia attended the screening in Sheffield’s library.

Rounded off the day at a session on Long Lost Family chaired in his usual ebullient way by ITV’s Simon Dickson (a former colleague at Channel 4) and featuring Davina McCall and Nicky Campbell. It is quite the most emotional show on TV and beautifully made (bar the music). The high production values and excellent direction mark it out from its roots in a Dutch format and a US version. Captures exactly the strengths of UK factual TV. Constructing the format on the official social worker process of adoption reunion was clever thinking. Davina and Nicky are both total pros with real heart. I’ve just watched the latest episode and there was not a dry eye in the hotel room.

Don’t Stop the Music on Newsround

I loved Newsround as a kid. And now after all these years a bit of me gets on it – in the form of Don’t Stop the Music, the multiplatform project I’ve been working on all summer with pianist James Rhodes and Jamie Oliver’s production company, Fresh One.

Over 7,000 instruments were collected in the Don’t Stop the Music Instrument Amnesty thanks to the huge generosity of the British public and their care about music education. That makes it the biggest UK instrument amnesty ever.

Here’s the Newsround item which shows the last step in the journey as the instruments reach the kids…

South America Day 7 – Uruguay, Montevideo: On The Town

Argentina is separated from Uruguay by the River Plate, which from the shore looks like a sea. On the Argentina side it is muddy brown. On the Uruguay side, a bit bluer. It takes around two hours to cross by boat. Valeria, Damian and I boarded from the modern passenger terminal in Buenos Aires, built only two years ago, complete with a wall of falling water.

I spent much of the journey doing my Spanish lessons on Duolinguo. Lo siento, no hablo Espagnol. Funnily enough, I got to use that phrase on Uruguayan television later in the day.

The journey is a flat expanse of calm river, punctuated with the odd vessel but otherwise without features. Eventually the Uruguayan mainland looms into view, and then Montevideo, a largely low-rise city. On disembarking we passed pretty much the whole of the country’s navy in port, grey hulks labelled 1 to 24 under huge yellow cranes.

We were picked up by a colleague of Damian’s from TV station Estudio 9. She drove us along the coastal road, the Ramblas, a crescent promenade bordering the river-sea. We went first to Channel 10 where Damian did an interview on a daytime show. He was preceeded by Chico Novarro, a famous Argentine romantic singer of boleros, and his leather-trousered son, a well-known actor. The two presenters and crew were really welcoming and friendly, especially the older host who couldn’t have been warmer.

Everyone in the crew, cameramen, sound, the works, were on their phones the whole time they were shooting. I watched a voice-over artist at the side of the set do the sponsor presentation live, delivering each bit perfectly and on time then returning to his magazine the second the mike went off.

The set was a comfortable house with living room, kitchen and (fake) garden beyond the French doors. Damian chatted in the kitchen with the younger host (with whom he made the multiplatform show Conectados a couple of years ago) and efficiently got across his activities with Mediamorfosis.

We left the beautiful shade-dappled side street where Channel 10’s studio is located for a hotel in the city centre, not far away, it’s a bijou city. After dumping our stuff, the three of us walked ten blocks to the old city centred on Independence Square (this is Uruguay independence from Argentina). It is defined by the old theatre Solis, a strange masonic tower and a stone arch – very atmospheric and typically hispanic.

We had a late lunch outdoors (a lovely fresh white sea fish steamed with carrots and onions). Then I dragged them in to a beautiful late 19C book shop with high shelves, a book-lined balcony, a stained glass window half-way up the stairs and a café up above. If I lived in Montevideo, this would be my HQ.

Also at my request we popped into the Torres Garcia museum next door in a tall old townhouse, five or six narrow floors high. Joaquin Torres Garcia is Uruguay’s most famous Modernist artist. The early work on display (like Adam & Eve) shows the influence of Cezanne, Picasso and Gauguin. He lived in Paris, Barcelona and New York. Other roots seem to be Klee (searching for a symbolic universal picture language) and native South American Indian art (flat hieroglyphic planes). He was clearly both a restless experimenter and a relentless theorist. Note to self: pick up a book about him on my return.

We then headed off to El Observador newspaper in a quiet, more industrial quarter, beautifully designed offices in black and white, stylish. I had a look around the newsroom, then got roped into an interview despite my Duolinguo Spanish. That’s when I got to say “Lo siento, no hablo Espagnol” on air. We talked about the future of TV and media with a similarly stylish young journalist with blue glasses (Dame Edna Everage-style but dialed down and cool).

Off for a siesta listening to Kind of Blue (= perfect siesta length, finishing on flamenco vibe) then over to Estudio 9 where Damian and I were doing a two-hander evangelising transmedia. The venue was a black-curtained studio, subtly lit in the beautifully lit and decorated former dance hall. We had fun doing it, it seemed to go down very well.

From the studio we headed out for a suitably late a l’Espagnol supper in a former market with various folk from the British Council Uruguay office. In the corner of the open-to-the-air market (a bit like Spitalfields market) was an enclosed space with windows housing a tango school. Tonight was tango night so I got a chance to watch some regular couples at work. I liked their ambition. When I eventually got back to my 8^th floor room I realised what I was looking down on was the corrugated iron roof of the mercado. So I fell asleep in Montevideo listening to the sounds of tango from below.