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BUILD IT, AND THEY WILL COME October Films’ recent three-part Sky series, The Great Treehouse Challenge, brought the prodco together with three UK communities to create something that would last well beyond the air date of the final episode. Here, October Films’ managing director Denman Rooke discusses the value of social endeavor programming for the producer, the broadcaster and the viewer. ocial endeavor programming, of which our recent production, The Great Treehouse Challenge, is a prime example, is an increasingly popular genre in the TV landscape. This trend displays no signs of abating. In an age of economic uncertainty and financial hardship, such shows utilize the power of television as leverage to help a community achieve more than it could alone, through supporting, stimulating and drawing attention to the community and individuals at the heart of the process and story. There is, of course, the question of how genuinely a show can interact with communities and what social impact can be really generated. The answer comes down to the individual program makers. It’s a truism that as soon as you turn a camera on a group of people they act differently. But if you ensure in the budget there is enough time to spend with the communities, listening to their concerns and responding effectively to them, ultimately, you will leave them something they care about and are willing to maintain.
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The Great Treehouse Challenge did indeed produce some great treehouses – not to mention plenty of challenges. It was an unusual show to produce: not only did we have to tackle complex and ambitious treehouse construction, sometimes in the remotest parts of the UK, but, significantly, it put local communities at the very heart of the shows. They were active participants as opposed to mere bystanders – something that is absolutely vital to get right when producing content of this nature. Just as important is ensuring that, as a producer, your involvement does not end with the final day of filming. In social programming, your impact must be real, and long-lasting – your programming will benefit as a result. In our instance, each treehouse needed a minimum lifespan of five years. This could not be a quick fix for a TV program, but a genuine act of social endeavor. Sky was also keen that we build the structures in keeping with the channel’s commitment to sustainable development.
After all, the shows are in part commissioned to raise awareness of global environmental issues – another emerging trend in TV – and we had to practice what we preached. It was always going to be key that community volunteers helped us to build each treehouse. Moreover, this had a positive effect on the finished product. There is something hugely engaging in watching a group of people achieve a seemingly impossible task by working together – the whole becomes greater than the sum of its parts. Ultimately it is only if the community cares enough to get involved that we, as program makers, are able to generate the authentic narrative which is vital if we are to get an emotional engagement with a wider audience. Social endeavor programming is challenging to make, counterintuitive to the ‘control freak’ psyche of TV producers, and rife with the potential for schedule and budget overruns. But the final result can be rewarding for the communities and riveting for the viewer.
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03/01/12 9:44 AM