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| EVP BANFF Television Festival |
| Thursday, Day Four - June 13th |
Wendy Jane Carrel talks with some TV programmers and program providers:
Kathryn Pasternak, Supervising Producer, National Geographic Television.
WJC. What is your agenda when you attend the festival?
KP. National Geographic has been attending for several years. Banff is a key event for us and it's a great place to meet our partners. I'm interested in encouraging Canadians to come to National Geographic (with their projects). We'd like to do more co-productions with Canada. I'm Canadian so I'm devoted of course to encouraging Canadian talent to come to us.
WJC. With which countries has National Geographic produced co-productions and what kinds of deals do you make?
KP. We have partners in England, France, Australia, and Germany. We take North American rights.
WJC. What kinds of programming are you focusing on now?
KP. We have a specific style of entertainment documentary devoted to accuracy and spectacular visuals with character driven stories. I think there's been a kind of growth in the TV industry in Canada, opening up new ground story wise for filmmakers here. The market is changing in Canada, with the existence of Discovery here now so there are new opportunities.
I focus on natural history. Wildlife programs, nature, science. We have two main series.... The NATIONAL GEOGRAPHIC SPECIALS which air on NBC, there are five of them each year, the program has been running for 30 years. Then we have EXPLORER our two hour weekly magazine format series which airs on Turner Broadcasting. We produce a total of 80 hrs of specials per year. We also produce two children's series - WILD ANIMALS and GEO KIDS.
WJC. How do you prefer to receive submissions by writers and producers, filmmakers?
KP. There are a variety of ways to approach us. We have different entry points depending on what you have. If we fully commission a project, National Geographic would retain ownership and development would be handled by an in-house story development group. If the piece is cultural, historical and has anything to do with people, Margaret McEvoy is the key person (she is leaving at the end of June). If it is natural history then the natural history unit run by Keenan Smart handles it. If there is interest from a broadcaster in another country, the filmmaker can come through co-productions. If it is natural history for for co-production it's me. There are five execs in our department, Wynette Yao is the head. Rachel Lyon is an associate director. I'm supervising producer co-productions. If a film is at roughcut or beyond, Jenny Apostol is the contact for acquisitions. Our NBC Specials are a different situation, they are produced out of the Los Angeles office. Nick Noxon is executive producer, Jeanelle Balnicke is the development manager for these in-depth one hours with big subjects. The Specials consist of evergreen programs, everything is topical, the documentary must have a long shelf life because it will go out on video. The Specials are very competitive, it is a difficult endeavor to produce a special. New blood is welcome but filmmakers must realize it is a challenge to get in. There are more opportunities for new filmmakers with the 2-hour magazine format Explorer. Explorer celebrates its 10th anniversary this summer.
We still maintain a presence on PBS. Our programs are multi-part series of preferably more than an hour - mini-series, etc. CHINA BEYOND THE CLOUDS was a 7 1/2 hour show co-produced with Channel 4, it was an intimate story about the town of Lijiang. THE GREAT EAST INDIAN RAILWAY was also very successful for us, it is available on videocassette.
WJC. What are the budgets of your specials and series?
KP. The specials have budgets in the $600-$750,000 range. An Explorer video journalist with a first person narrative of an expedition - less than $100,000. EXPLORER programs are around $50,000 per hour. Natural history films are generally more expensive to make.
All departments memtioned answer quiries by phone, fax, letter or e-mail. They want a complete treatment, it's very important. It's also important to know Netional Geographic programming and our style of program. Our films are character driven, with a strong story line, inherent drama, whole range of subject matter known to be geographic. We also want a budget, a schedule, a delivery date and any other critical, timely information. Bios for key creative team, plus a worksample or pitch tape. In short, start with a query. Know what we do, watch the shows. Expect a one month to six weeks initial complete review of the project. Pitch meetinginternally with marketing and other depts. Maintianing quality is key for us, it's critical.
To work on co-prods, we letter from another broadcaster. Having interest of money attached is key.
Simon Preston-Barnes. Head of International Development, Isambard Productions, New Zealand.
WJC. Why have you travelled almost 36 hours just to be at Banff?
SPB. This is my 3rd Banff, I'm a veteran now. For me coming here is more about getting to know people than to securing a deal. So yesterday I played golf with a colleague. I spend time with someone like that and they know who you are in the future. Golf is an indication of someone's personality - you know by the way they play if you can work with them. I can be in a queue for food and over hear what someone is saying and when it relates to what I am doing and I realize it's someone I can do business with, we meet and talk. I look at this over the long-term, this is a five-year plan. MIP-TV at Cannes is where I have at least 30 meetings with specific projects in mind. Banff is for personalities and easy access. It's also refreshing to come to Canada, even in a beautiful resort spot like this, it's so reasonable compared to MIP.
WJC. How long has your company been in business and what is your mandate?
SPB. Isambard was originally set up to be an in-house production arm of TV3. One of the founding members of TV3 is the Executive Chairman of our company. He preferred production to running a TV studio. We lease out 3 main studios, we also provide below-the-line services. The company was established in 1989.
WJC. What is your mandate?
SPB. To produce programming, anything goes - TV movies, mini-series (haven't done yet), Black Stallion (co-production with Alliance filmed in NZ and UK), series, local sitcoms, documentaries. We are also in the feature film business now. We just made a deal with UA Theater Chain to guarantee a 200 screen release for a series of 12 family feature films. (A successful idea of the 1950's and 1960's). We have decided on six so far. The first movie, which begins photography in a couple of weeks, was written by an American. It is a co-production between NZ and Ellipse Programme and Canal+.
WJC. How do you work with the outside world?
SPB. There's not a lot of money in New Zealand so we've followed the Canadian example for co-productions and coming up with $, someone through contacts at a place like this (Banff) comes to you and says we want to film in NZ. I would service it - rent studio space, organize locations, all the below-the-line. I provided just such a thing with Rysher for ONE WEST WAIKIKI for two episodes in western Samoa. For a service fee we organized everything, I was line producer. I looked after director James Cameron for a movie.
Here's out it works - if we were to raise the money it would have to come from the New Zealand Film Commission which would insist on a New Zealand writer. Section 18 requires NZ content, it's very similar to the Canadian requirements. The Commission will spend a lot of $ on development of ideas up to a draft stage. Then we have to seek a production financing deal. New Zealand has co-production trade agreements in place with Canada and Europe.
What Americans want is quality and they can get it from us. In NZ, Universal produces HERCULES XENA, a TV series about a warrior princess. The U.S. feels it wants to spend their $ in New Zealand, they're still skeptical about working with others. Working in New Zealand was an economic decision for them, they could save $$.
Universal just finished the FRIGHTENERS with Peter Jackson directing, a New Zealand director with Michael Jay Fox starring. It was filmed in Wellington and is scheduled for a fall release.
WJC. What kind of material interests you?
SPB. We look at everything on a case by case basis. I'll read and think it excites me. I view it as a personal proposition and how I can adapt it for New Zealand and if it will make money. Then I think about how I'm going to raise the money. If it isn't obvious, I have to say no. We do steer clear of science fiction, we can't compete in that market, it's too expensive.
WJC. What is your relationship with broadcasters?
SPB. If I want to make a film in New Zealand I present the broadcaster with an outline, he gives me a letter that he will broadcast it and gives me a license fee. Then I would put together a proposal for New Zealand On Air. New Zealnd On Air would distribute the licence fee. NZ On Air evaluates the project and says whether or not it suits the requirements of the Broadcasting Act. Careful Criteria to follow. The broadcaster puts in the license fee, cash, equipment and editing. The problem is, the project can't sell globaly, especially if I produce a comedy which is the most highly-rated kind of programming in NZ. For the future you need a library and a constant cash flow. It's a step by step problem. I would try to get NZ On Air to come into an agreement for co-production more and more.
As a note of interest, a Maori public TV station, Aoeteroa TV, is now being launched with funds from the government to produce programming. 10 or 20% of the population is of Maori origin. There are 3 million New Zealanders, 600,000 Maoris, they live all over the island, actually two islands.
Liam Miller, Director of TV Programmes, Radio Telefis Eirann
WJC. Why are you attending Banff this year?
LM. This is my 6th time to the Banff TV Festival. There are lots of changes. I regard this festival as the best for TV programming from my point of view because we are a broadcaster that uses a high percentage of foreign programming in our schedule. I've found programming in Banff (for RTE) because the theme of the festival is excellence, and it's an oopportunity to see a worldwide cross-section of what a whole range of broadcasters seem to be commissioning. We've actually picked up series here which have played very well, from New Zealand and Australia. Banff also offers a valuable cross-section of contacts with other broadcasters and producers. It's different from MIP and MIPCOM. There is a level of pressure and structure at MIP that doesn't allow the level of informality and comfort one finds here. In 1992 I had an increasing concern that Canada was beginning to look inward and focused on the domestic, but (that's all changed and now) it has become a truly international event. WJC. How does RTE acquire programming?
LN. We seldom pre-buy programming- it would distort the cost of acquisitions and up to now we are the only player in our market, but it's about to change. We will have another domestic English private sector channel launched soon.
I've been a senior manager in programming the last 12 years, after being a TV producer. All of my background is in the industry. Before I joined RTE I was a young film cameraman who produced lots of documentaries. It was a traditional root into the industry. Today programming execs go straight into programming dept.
All of our major domestic entertainment strands - we have two domestically produced weekly drama primetime serials, completely funded by us, and we have two major weekly talk shows one of which has been running 34 yrs. They are all disproportionately successful than any other show. There are other strong elements in the schedule. We do a wide range of information and lifetstyle programming which also garner big ratings.
In an average autumn, winter, spring high season - 14 to 17 out of the top 20 are Irish productions. Network 2 is different - it has a heavy sports content with big ratings plus a lot of acquired material such as FRIENDS to reach a younger audience.
WJC. What is the RTE gameplan as is relates to co-productions?
LM. Because RTE is publicly funded we've always lived in direct competition with the UK. Irish content or context is key. We don't have a lot of space to invest in international productions. (If we are to commit to a such a production, the program must always contain an Irish angel). The project does not necessarily have to be set in an Irish city or have an Irish lead, (but it must have relevant Irish content).
Canada is the only country we have a co-production treaty with. Doug Barrett, a Toronto media attorney, and I negotiated the treaty in 1989. We've (Ireland) discussed over the last number of years creating a co-production treaty with Australia but as yet no formal treaty is in place.
WJC. How do you prefer filmmakers to approach with a project?
LM. If someone has a project which they believe suited we like to talk at the treatment or script stage. We prefer to discuss before talent is attached. We do advise overseas producers what their options are for Irish partners. On drama our strong preference is for contemporary pieces about Ireland or Irish people or their experiences in the diaspora. Only occasionally will we produce an historical piece. The budgets vary, $1.5 to $2 mill typical for a dramatic movie. Americans can get screen credit.
Ros Borland, Deputy Business Development Manager Drama, BBC Scotland
WJC. How do you prefer to be approached by filmmakers with projects?
RB. By phone or fax. What we want is a brief outline of the script and the personal and professional history. We then give the inquiry to the appropriate editor.
WJC. What is your preference for content?
RB. In Scotland, of course we like Scottish stories, it's the same for the Irish and the Welsh. However, we recently produced a massive series RHODES, set in Rhodesia (Zimbabwe), 11 episodes of 50 minutes each, based on a true story from history. Most of all, we want character driven pieces. Note: Other than drama, the BBC produces UNDER THE SUN, an anthropological documentary series, the HORIZON series, OMNIBUS which is an arts series, and MODERN TIMES which focuses on human interest stories.
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