TV Real MIPCOM 2017

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TVREAL

WWW.TVREAL.WS

OCTOBER 2017

MIPCOM EDITION

Home-Reno Shows / Co-Productions / National Geographic’s Courteney Monroe

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CONTENTS FEATURES

Natural Wonders

24 GET YOUR FIX Home-renovation and design shows are big business across the globe.

Over the summer, skies across North America darkened in the first total solar eclipse visible from coast to coast across the U.S. in almost a century.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Joanna Padovano Tong Managing Editor Sara Alessi Associate Editor Victor L. Cuevas Production & Design Director Phyllis Q. Busell Art Director Simon Weaver Online Director Dana Mattison Senior Sales & Marketing Manager Nathalia Lopez Sales & Marketing Assistant Andrea Moreno Business Affairs Manager

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Real © 2017 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvreal.ws

The event drew people out into the streets when they would normally have been glued to their screens, proving that even the most sumptuous, binge-worthy dramas of television’s new Golden Age are no match for Mother Nature.

Indeed, Netflix viewership took a significant hit during the astronomical event. According to the streaming service’s U.S. Twitter account, Netflix plays dropped 10 percent during the eclipse. “Hey, just wondering why 10% of you chose to watch a giant rock cover a giant ball of gas when I HAVE ALWAYS BEEN THERE FOR YOU,” Netflix tweeted.

The account added, “Well played, Moon.”

Many networks were quick to capitalize on the eclipse craze, providing everything from docs about the solar system in the lead-up to the event to immersive VR experiences for those outside the path of totality. Space, and the exploration of it, has long provided fertile ground for factual programming, be it in documentary form or the increasingly popular docudrama arena. MARS from National Geographic, for example, combined feature film-quality scripted elements and visual effects with doc-style interviews for its deep-space journey. The series has been renewed for a second season, and the channel has now lined up One Strange Rock, which is poised to film for 100 weeks around the world and in outer space. TV Real hears from Courteney Monroe, the CEO of National Geographic Global Networks, about these shows and much more later in this issue.

Whether exploring the universe, the natural world, lesserknown wildlife species, unusual ecosystems or the like, factual filmmaking continues to get more ambitious, aided by new technologies that allow cameras to go places they’ve never been before. Technological advancements are certainly exciting for the doc community—and also expensive.

It’s no wonder, then, that co-productions are becoming more critical to the factual TV business, a topic we explore indepth in a special feature in TV Real. This issue also examines the latest developments in home-renovation and design series, a perennially popular lifestyle genre.

Drones, virtual reality and remote-camera technology are just some of the tools factual producers are using to tell fresh stories and explore new areas of well-worn subjects—or to take viewers into uncharted territories of the world’s natural wonders.

—Kristin Brzoznowski

24 32 BETTER TOGETHER Broadcasters, producers and distributors are coming together to finance high-end documentaries.

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INTERVIEW

36 National Geographic’s Courteney Monroe

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A+E Networks Leah Remini: Scientology and the Aftermath / How the World Made America / America’s War on Drugs The Emmy-winning docuseries Leah Remini: Scientology and the Aftermath follows the titular actress as she tells the shocking stories of abuse, heartbreak and harassment experienced by those who have left the Church of Scientology.

A+E Networks is also presenting How the World Made America, which “uncovers the great forces that set mankind in motion,” says Ellen Lovejoy, the company’s VP, head of content sales for the Americas and formats. “It’s an epic, premium, global documentary about the greatest migrations of all time, and the repercussions that they have had—culturally, sociologically and politically—on our present nation.” Another highlight is America’s War on Drugs, which zeroes in on the ecstasy trade that is believed to be controlled by Israeli organized crime, according to Interpol and U.S. Customs.

America’s War on Drugs

Boat Rocker Rights

“A+E Networks is a destination for fact-seekers; truth is the primary strand of our DNA.” —Ellen Lovejoy

Late Nite Eats

Late Nite Eats / History in the Making / Vintage Tech Hunters Combining the genres of food, travel and adventure, Late Nite Eats takes viewers along with Chef Jordan Andino as he visits cities and restaurants that reign supreme in the late-night food scene. Boat Rocker Rights is offering up the 13x30-minute series to international buyers. The company also has in its catalog History in the Making. Each episode of the 13-part series presents the process—using original techniques—of the production of an ancient item—be it a tool, weapon, machine or a vehicle of historical importance. The series Vintage Tech Hunters is led by retro-tech collector hosts who are constantly looking for rare and nostalgic technology. Cursed Bloodlines, meanwhile, explores the dark histories of prominent families that appeared to have had it all.

Canamedia Ghost Dimension: Flying Solo / Shark Divers / Travel Time with Linda Paranormal expert Sean Reynolds investigates Europe’s most haunted locations in Ghost Dimension: Flying Solo.

Canamedia is also presenting Shark Divers, which “gets up close and personal with the brave and passionate souls who study, photograph, interact and even wrestle with some of the most terrifying creatures on Earth,” says Andrea Stokes, the company’s managing director of international sales and acquisitions. Another highlight is Travel Time with Linda, which Stokes describes as an “exciting, upbeat new travel series offering travel inspiration with all the key elements: glamour, luxury and adventure.” She adds, “MIPCOM is invaluable to us to promote and sell our factual fare, but we’re also always on the lookout to add new quality content to our ever-expanding catalog.”

“Our factual content focuses on niche programming with universal appeal.”

—Andrea Stokes

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Distribution360 Terror in the Woods / WW2 Treasure Hunters / Give Some of the most shocking and unexplained paranormal encounters that occur in the wild are investigated in Terror in the Woods. “With all things scary being in fashion right now, Terror in the Woods is perfectly timed—especially with Halloween around the corner,” says Diane Rankin, the senior VP of international sales and acquisitions at Distribution360.

WW2 Treasure Hunters uses state-of-the-art geotechnology, archival documents and period-accurate maps to locate relics of World War II that are in danger of being lost to urban development or natural corrosion. The company is also presenting the Daytime Emmy Award-winning series Give. “The series is equally appealing as a finished program acquisition or as a format to be produced locally, as it is simple, sweet and full of emotion,” Rankin says.

Terror in the Woods

“We are excited to be debuting these three series at this market as they each appeal to quite different demographics across the factual-viewer landscape.”

—Diane Rankin

Escapade Media

Steve Backshall & the Vertical Mile

Steve Backshall & the Vertical Mile / Household Empires / Charged & Disbarred More than 60 people have perished attempting to scale the north face of the Eiger. In Steve Backshall & the Vertical Mile, available in 4K, the titular adventurer takes on the challenge, which has been a lifelong goal of his. Jessica Stonehouse, Escapade Media’s head of sales, partnerships and business development for the U.K. and U.S., describes the program as “a totally new way of doing adventure. In addition to the format, viewers have access to daily feeds and VR shorts, making them feel as if they’re on the climb with Steve from start to finish.” Household Empires, meanwhile, “demonstrates a new way of crafting business—small home businesses going global,” Stonehouse says. Narrated by lawyer and prosecutor James Pacitti, Charged & Disbarred looks at real-life crimes committed by those trusted to uphold the law.

“MIPCOM is an important market to introduce new titles, share concepts for future projects and discuss developments in the industry.”

—Jessica Stonehouse

FremantleMedia International India’s Partition: The Forgotten Story / Coastal Railways with Julie Walters / Judi Dench’s Secret Woodland British filmmaker Gurinder Chadha explores how India became divided into two nations in India’s Partition: The Forgotten Story. FremantleMedia International is also offering Coastal Railways with Julie Walters, a four-parter in which the presenter travels to the most beautiful and interesting parts of coastal railway routes in the U.K. The company is additionally promoting Judi Dench’s Secret Woodland, which looks on as the Oscar-winning actress shares her passion for trees, and Wasted! The Story of Food Waste, a documentary that includes interviews with, among others, Anthony Bourdain.

“This market, our high-end factual plate is all about star power and bringing their personal and compelling passions to global screens,” says Angela Neillis, the company’s director of non-scripted for the U.K., EMEA and Asia Pacific.

India’s Partition: The Forgotten Story

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“We have enormously impactful and captivating projects in our factual offering spanning history, science and documentary.”

—Angela Neillis

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GRB Entertainment Man at Arms / Exposed / Super Fan Builds In Man at Arms, expert craftsmen recreate deadly, iconic weapons from film, TV and video games, while historians explore their real-life origins as game changers in the art of war. “Man at Arms is the perfect scenario for fans to see fictional weapons come to life, and no one has ever done this before,” says Michael Lolato, the senior VP of international distribution at GRB Entertainment. Exposed uncovers the truth behind crimes committed against celebrities, telling stories they have previously remained silent about. “There are two sides to every story, and for the first time ever, you’ll get to hear from the people whose lives were altered drastically because of a criminal’s decisions,” says Lolato. In Super Fan Builds, Hollywood’s top prop makers build one-of-akind items for fans of comic books, video games and movies.

Super Fan Builds

“Whether you’re a fan of classic films like Back to the Future or a Minecraft-obsessed gamer, you’ll be blown away by the creations [in Super Fan Builds].”

—Michael Lolato

Gusto Worldwide Media

The Urban Vegetarian

The Urban Vegetarian / Flour Power / The Latin Kitchen Since last MIPCOM, Gusto Worldwide Media has developed new concepts and shot fresh seasons of its marquee programs. “We’ve been shooting several in-studio and field productions, including six brand-new series, a heartwarming holiday special with a celebrity chef and the renewal of two original shows,” says Chris Knight, the company’s president and CEO. “Despite it all, we’ve maintained our core philosophy that food is not a prop; it’s the main character.

And we always make the main character beautiful, vibrant and inspiring.” For MIPCOM, the company is presenting The Urban Vegetarian, which is all about the love of plant-based meals, and Flour Power, the company’s first-ever baking series. The Latin Kitchen is another new series shot this year, featuring Mexican, Venezuelan and Spanish cuisines.

“It’s been a whirlwind year of production for Gusto Worldwide Media.”

—Chris Knight

Looking Glass International Drone Wars / The Harem of Egypt’s Sun King / Art in the City: Dubai Walls Drones are in the spotlight in the competition series Drone Wars, on offer from Looking Glass International. Contestants must build a new drone in each episode and compete in various obstacles to earn points and prize money. “It explores the design and build process and offers audiences unique insight into this new technology,” says Sam Thompson, the company’s VP of international distribution and co-productions. The slate also features the blue-chip specialist factual title The Harem of Egypt’s Sun King and the hour-long documentary Art in the City: Dubai Walls. “Dubai continues to defy expectation and judgment in this unique look at street art,” Thompson says of Art in the City: Dubai Walls. “Featuring 16 of the world’s foremost street artists and curated by Juxtapoz magazine, the doc follows the artists as they create a new open-air gallery.”

“We have maintained our focus on specialist factual and blue-chip documentaries—a strong suit for the company since 2004.”

—Sam Thompson

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The Harem of Egypt’s Sun King

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Passion Distribution

The People’s Vet

The Class Next Door / Pompeii: Countdown to Disaster / The People’s Vet The factual-entertainment series The Class Next Door features a class full of parents who have been sent back to school. It is filmed in an actual school during the regular term with real teachers. “Each episode is driven by the warm and funny narratives of parents as they endure the daily routine of school all over again, and how they compare to their kids next door,” says Emmanuelle Namiech, the CEO of Passion Distribution. “It’s engaging, fun and a great new factual-entertainment format.”

The company also presents the three-part Pompeii: Countdown to Disaster, exploring the final days of the Roman city that was buried in a volcanic eruption. “This series is particularly exciting as it sheds light on new information, combining geological, historical and archaeological evidence,” says Namiech. “Previously unseen restorations help bring back to life ancient buildings that were never before open to the public. All of this new information is revealed with a new kind of storytelling: a countdown through the final 48 hours of life in Pompeii.” There is also The People’s Vet, about workers in busy charity pet hospitals. Producer Blakeway North has “found emotional and life-affirming stories for an entertaining, uplifting series with bags of drama, warmth and fun,” says Namiech.

“Each eventful episode possesses a carefully crafted blend of stories, from the dramatic and nail-biting to the laugh-outloud funny and occasional weepy tear-jerkers.”

“There is huge international demand for great factual, factual entertainment and specialist factual content.”

—Emmanuelle Namiech

Rive Gauche Television

Written in Blood

Project Dad / Written in Blood / The Jury Room Comedian Donnell Rawlings, actor Daniel Cosgrove and DJ Skribble spend time alone with their kids in Project Dad. The program “provides viewers with a unique perspective into the lives of celebrity dads who have been left to be a single father for a few days,” says Jon Kramer, the CEO of Rive Gauche Television. “The dads struggle to balance caring for a home, parenting and pursuing a full-time career—all on their own. No moms, no help, no mercy!”

Celebrity guests include comedian Dave Chappelle and rapper Lil Jon. In the ten-part series Written in Blood, best-selling thriller writer Simon Toyne (The Boy Who Saw) discusses with other crime writers how their fictional work has been inspired by real-life crimes. Each episode examines a different criminal case using reconstructions, real-life footage, and interviews with senior police officers, family members, key witnesses and other experts.

There is also The Jury Room, a six-part series that revisits real murder cases in which the convicted killers have always maintained their innocence. “The Jury Room is quite unique in that the audience now will have a firsthand look at what happens in a jury-room deliberation,” Kramer says. “The series opens up with a case and introduces new evidence to the jurors, who must now decide if the suspect is guilty or innocent.”

“Rive Gauche believes in introducing product that is different and unique to attract a diverse group of viewers regardless of their viewing habits.”

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“We want to take factual buyers through the easiest route possible for them to get the shows they need.”

TCB Media Rights

—Paul Heaney

EasyJet: Inside the Cockpit / Flipping Bangers / World’s Wildest Weather Rookie pilots are the focus of EasyJet: Inside the Cockpit.

“EasyJet offers unrivaled access and is a great piece of light entertainment,” says Paul Heaney, the CEO of TCB Media Rights. The company is also presenting the new series Flipping Bangers, which “offers a twist on the ‘buy car, do-up car, sell car’ sub-genre,” Heaney notes. There is also the docuseries World’s Wildest Weather. “World’s Wildest Weather doesn’t try to be anything other than a contemporary science series with the very best clips and personal testimony—drama on a huge scale,” Heaney says. “Flipping Bangers and World’s Wildest Weather are TCB-funded via our network of buyers, rather than commissioned. They tell us what they want, and we give the brief to the producer with the best track record in the area.”

EasyJet: Inside the Cockpit

Terra Mater Factual Studios The Moon: Our Gateway to the Universe / Tasmania: Weird and Wonderful / Chasing Quakes The most recent scientific breakthroughs offering insight into the moon are highlighted in The Moon: Our Gateway to the Universe. Terra Mater Factual Studios’ slate also features the one-off Tasmania: Weird and Wonderful. Sabine Holzer, the company’s head of TV, calls the David Attenborough-narrated documentary “a visual feast in 4K, filled with intimate stories and amazing discoveries from one of the few places on our planet that can still be considered truly primeval. We have captured rarely seen behavior of the legendary Tasmanian devil, and we present beautifully filmed footage of the Tasmanian platypus and all the other strange creatures living on this distinctive island.” The release of Chasing Quakes coincides with the anniversary of last year’s major earthquakes in Italy.

Tasmania: Weird and Wonderful

“By making use of new technologies, working with unusual perspectives and finding new angles of storytelling, we’re providing cuttingedge docs for the market.”

—Sabine Holzer

ZDF Enterprises

Size Matters

Size Matters / Hitler’s Circle of Evil / Big Pacific The 4K UHD highlight Size Matters explains various scientific concepts and why certain things could never be different from how they are. Hitler’s Circle of Evil centers on the Nazis who competed for attention from the infamous dictator, while Big Pacific showcases a broad range of locations, species, natural phenomena and behaviors that can be found in the eponymous ocean. “ZDFE.factual has been known for all kinds of top documentaries for many years now, but it’s mainly the genres of history, science and wildlife that are highly esteemed among our international clients,” says Ralf Rückauer, the VP of ZDFE.factual at ZDF Enterprises. “Therefore, we’ve recently acquired a whole new bunch of high-end programs from these three genres, produced by some of the finest specialist factual production companies in the world.”

“Our latest catalog novelties are blue-chip productions, and we are very proud to be distributing them.”

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Home Town on Scripps’ HGTV.

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Sara Alessi looks at how home-renovation and design series are being given makeovers of their own to keep the genre fresh and in demand. home can be a symbol of success. It can also represent the owner’s personality.

Home is, after all, where the heart is. So it’s not surprising that even as some folks are looking to upgrade or downsize by purchasing new homes to fit their changing lifestyles, others are on a mission to customize the walls already around them, whether the goal is to make their houses fancier, more practical, or simply more personal. Where better to turn than the television— usually prominently displayed at home—for inspiration (and tips on how to get it all done)?

“There is great interest in and demand for home-renovation series, as illustrated by record-breaking ratings at HGTV,” says Allison Page, the general manager of U.S. programming and development at Scripps Networks Interactive.

“Smart, entertaining, creative home shows resist changing viewing patterns,” says Gena McCarthy, the executive VP of programming and development for FYI at A+E Networks.

“It’s a classic genre that needs a clever update every few years to stay relevant, but it is almost a comfort food for many people.”

McCarthy adds, “FYI reinvented this classic genre and has inspired many imitators by anchoring our development process in social trends.”

While those trends may vary across the globe, there are dedicated fans everywhere who want to see homes transformed before their eyes while simultaneously picking up tips to spruce up their own space. That’s

why Maartje Horchner, the executive VP of content at all3media international, believes “home-renovation series have consistent appeal internationally.”

Holly Hodges, the head of sales operations and a VP of sales at Twofour Rights, agrees, noting, “Home renovation remains a staple genre and an interesting reflection of social movement and the economic state. We are currently in an era of warm, feel-good television that’s probably rooted in the economic conditions we are living in. People are not moving as much today, so the home-renovation format points of full-scale builds and excess have been replaced with how to make money on homes, something that’s part of our format The Home Game.”

Each episode introduces teams of homeowners who are at the beginning of a major renovation and fast-forwards through the makeover process to reveal the transformations and show who added the most value to their property.

STAYING HOME Matthew Ashcroft, the CEO of Parade Media, notes that the British trend is indeed “reflected on our screens with a high demand for makeover programming versus knock down and build. House prices are soaring, and more people are staying in their homes, which means more DIY and fewer ground-up builds,” as seen in shows like Ready Set Reno and The Home Team.

“What works in one market is different than the next, and that distinction gives viewers insight into various real estate and design trends across the country,” explains

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Alongside the “tiny house” craze in the U.S., there is also a “greater amount of courage in renovating a home,” says Rive Gauche’s Kramer. “A lot of people today buy a house and gut the entire inside, leaving only the walls.” This adds an element of anticipation as viewers at home await the ta-da moment when the result is unveiled.

Indeed, the key to maintaining audience engagement is “a big reveal at the conclusion of each episode or multiple minireveals across the narrative arc,” Parade’s Ashcroft says.

“Home-renovation formats are about transformation, and viewers look for that payoff,” adds Hodges of Twofour.

And when a project is this big and personal, it should be entrusted to someone who knows what he or she is doing when wielding a hammer—or a sledgehammer.

TEACHING MOMENTS

The actor Antonio Sabato Jr. fronts Rive Gauche’s Fix It & Finish It.

Scripps’ Page. “A 4,000-square-foot house might be $150,000 in one town, and that’s a great gee-whiz element, particularly to those viewers in pricier markets. A mid-century design might be what can sell a specific house in a different town, and that’s a compelling insight on another show. It’s the variety within the narrow lane of home-related programming that is our special sauce.”

NEW LOOK Jon Kramer, the CEO of Rive Gauche Television, has found that “like everything else in the unscripted space, home-reno and design is a crowded arena. The market is looking for new ideas, and you’ve got to at least live up to the standards. It’s hard to enter unless you have a unique element to offer.”

That can be a challenge, as “producers need to deliver stories with a fresh approach to what have become common renovation tasks,” A+E’s McCarthy explains. “Yet, we must maintain a familiar feel for those tasks so that we don’t lose the viewer in the first minute of the program.”

Tiny House Nation, for example, offers a unique perspective by introducing viewers to people across the U.S. who are making their dream home in spaces no larger than 500 square feet.

A+E’s McCarthy is mindful that “viewers who tackle home renovations are usually making a big investment. Therefore, they must trust the information and methods a host delivers. When a host’s personality and wit make a project look more enjoyable, viewers are more likely to trust their own DIY capabilities and complete a project successfully.

And success at home creates a loyal viewer.”

Kate Llewellyn-Jones, the managing director of TCB Media Rights, is also of the opinion that “having practical, takeaway advice is helpful, and it boosts the program into the spotlight.”

For Rive Gauche’s Kramer, hosts “have to be able to communicate with the audience and take you on a journey of renovation, and they should have more knowledge than the viewer does. A good presenter will make you feel comfortable and attempt to be on the same page as you.”

Kramer has found that the use of computer technology to demonstrate what the renovations will look like to the homeowners and the audience is one innovation that has added to the viewing experience.

Rive Gauche sells Fix It & Finish It, hosted by Antonio Sabato Jr. Kramer points to Sabato as a successful presenter because “he is personable, a good communicator and he

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A+E Networks’ Tiny House Nation is one of the biggest hits on FYI in the U.S.

has knowledge of how to renovate a house. Viewers like him and trust him.”

“Hosts have to be an authority in their trade, and they must be engaging and professional, with a strong point of view that people want to listen to and learn from or be inspired by,” agrees Parade’s Ashcroft.

Hodges of Twofour adds, “Knowledge of the subject matter can give a presenter credibility, while enthusiasm and passion for interiors and renovation can help a host shine.”

When it comes to qualities that make a successful host, “Likeability, relatability and a passion for what they’re doing have to be first; experience and knowledge are second,” according to Diane Rankin, the senior VP of international sales and acquisitions at Distribution360 (D360).

BRAND NAMES D360’s home-reno library thrives on the so-called “Bryan brand,” comprised of a range of series hosted by and starring Bryan Baeumler. These programs “cut across a mix of home-reno/lifestyle shows,” Rankin says. “Many buyers refer to his shows as Bryan as opposed to by the actual name of the program.” This is a testament to the power of a host, as viewers develop an attachment to the talent and feel a connection that keeps them coming back.

“Channels and viewers buy into key talent, and the personalities become encompassed into the brand,” says Twofour’s Hodges. “The genre has become more talent-led.”

In fact, “Expert hosts with big personalities tend to attract new viewers, while also securing a repeat audience, as home-reno audiences tend to be loyal,” says Andrea Stokes, the managing director of international sales and acquisitions at Canamedia.

Series featuring multiple hosts are popular as well, and the chemistry between them is critical to the show’s success.

“When you see hosts with an upper hand, they’re often husbands and wives, brothers or mothers and daughters,” says D360’s Rankin. “Home design is very personal. It’s

family-oriented and requires a lot of sharing and compromise. It makes sense that family members doing [home renovations] together [on TV] works. You’ve got family members coming into your home via the screen talking about designing and renovating someone’s house together; it just feels comforting and relatable.”

D360’s series House of Bryan, in particular, capitalizes on the family aspect of home renovation as it features Baeumler as he rebuilds his own home—under the watchful eye of wife Sarah and their children.

FAMILY AFFAIR This trend is also evident in the range of shows on Scripps’ HGTV. From husband-and-wife team Chip and Joanna Gaines on Fixer Upper to siblings Jonathan and Drew Scott on Property Brothers, the lineup is filled with family-led shows.

When it comes to capturing viewers, a little friendly competition between presenters doesn’t hurt, either. TCB recently added Slice of Paradise to its catalog. LlewellynJones says the show “embodies so much of what the market is looking for at the moment, which is often two hosts who have chemistry. There is a competition element to Slice of Paradise, which is a nice hook for the market.”

The series features male and female hosts who are pitted against each other as they compete to see which property the potential home buyers will choose. Llewellyn-Jones believes that the competition element adds something extra to the show, with the hosts’ bantering rapport and the buildup of anticipation to see which property the home buyers will choose, or what a renovation will look like in the end.

And according to Stokes of Canamedia, “You can renovate anything these days, from your cabin to your deck to your shed to your doghouse. Unique, memorable builds with tension and optimism and budgeting versus overspending always make for interesting TV.” Indeed, the genre has become broader over the years, not only in terms of what can be spruced up, but also with regard to

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you’re instantly bringing in human interest stories, and the home is such a universal theme, it can work well for local audiences around the globe.”

“The unique selling point of these shows is the production authenticity and genuine emotional connection they make to participants,” says all3media’s Horchner. When viewers are emotionally engaged, they become “directly invested in what they are watching, whether it is through the tension of seeing whether the renovation will be pulled off or identifying with the story of the homeowner on-screen. An example is The Great Interior Design Challenge, which executes the balance between emotional narrative and personable host. This show has been extremely successful worldwide, with recent deals even being brokered in Asia.”

Slice of Paradise, which is new to the TCB catalog, is a home-buying series with a competition element.

the focus, which is less on money and more on other elements related to the home-renovation and design experience.

“Viewers want a mix of real estate, renovation and design,” says Scripps’ Page. “That blend offers up something for everyone. Ten years ago, a pure design show would work, but today, to bring in the biggest and most passionate audience, we have to offer more.”

“In the execution, I’m seeing less of the [home-reno costs] being discussed because it’s not always relevant, and it could turn a lot of [broadcasters] off since they might have to replace those elements themselves locally,” says D360’s Rankin. “Ideally, buyers would like a turnkey series that can quite quickly be put on the air.”

“People are using many different ways to talk about property,” TCB’s Llewellyn-Jones agrees. “It’s not just transactional, but emotional, so there are many ways of telling that story.”

Twofour’s Hodges concurs. “A home is such a personal and unique space. By telling the story of a renovation,

BROADER HORIZONS Horchner finds that the biggest change has been a push towards the more aspirational series, referencing Grand Designs and Ugly House to Lovely House with George Clarke as examples. “Viewers are able to imagine a more high-end, aspiring version of their own homes. This sort of show takes a major investment, which ends up putting them in a league of their own. It is this kind of programming that earns the winning slot on first-tier channels.”

Twofour’s Hodges also sees ways for home-reno shows to make their way into more coveted time slots. “Combining renovation format points with reality and returning characters elevates a show into a more prime-time position in a broadcaster’s schedule. Both free-to-air broadcasters and pay channels want this content. Many new channels have launched over the years that are [geared to] home and lifestyle programming, opening up the market further.”

Distribution360 sells a number of shows featuring Bryan Baeumler, including Bryan Inc., in which he and his wife, Sarah, buy, renovate and sell homes.

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Andy Fry checks in with factual producers and distributors to understand the secret sauce behind successful co-production partnerships. etween the creative ambitions of producers and the pressures on channel budgets, international co-production has become critical to the effective functioning of the factual TV business.

“Co-pros are the bigger projects—the ones that have higher production values, where more money is involved, the ones that play bigger editorial and financial roles for all partners,” says Ralf Rückauer, the VP for factual at ZDF Enterprises (ZDFE).

“We are an emerging channel that has to stretch its resources, but we always set a high bar for our production values,” says David Royle, the executive VP of programming and production at Smithsonian Networks. “To achieve this, we need strong partners.”

Yuri Sudo, senior producer for international co-productions at NHK in Japan, affirms the growing importance of collaboration in documentary filmmaking.

“With new platforms and services arising, we think it is important to find the right partners to combine our abilities to create something that has a large impact and a big buzz. Copros can also be a way to exchange thoughts and ideas and enable us to find a better solution” to today’s social issues.

But just what does it take to make sure that the result enthralls audiences in multiple markets?

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SUBJECT MATTERS For Rückauer, the starting point has to be choosing the right subject matter. “Co-pros tend to work best when they focus on topics such as the mysteries and beauties of nature, incidents and dark chapters of history or questions about our existence and the universe that we live in. In short: volcanoes, sharks, Hitler, dinosaurs, the oceans, pyramids, battlefields, planets and God.” Mark Reynolds, the director of factual at BBC Worldwide, takes a position similar to Rückauer’s on the appropriate subject matter for cross-border alliances.

“Natural history and science work especially well for us.

We do some domestic shows in these genres, but if you choose the right subjects and approach them from a global perspective, they prove popular with buyers. Co-pro can also be right for some pure documentary subjects where one partner has amazing access. Let’s say, for example, that a prestigious institution has granted behind-the-scenes access to just one partner.”

History is an area that can be challenging from a co-pro perspective, Reynolds notes. “You can build co-pros around anniversaries, iconic events and global conflicts. But it is a little harder because you often have different editorial perspectives coming to the table. Sometimes you find historical topics merging a bit into current-affairs perspectives.”

For Sabine Holzer, a former ORF executive who is now head of TV at Terra Mater Factual Studios, “topics that best suit our documentary co-productions are those that appeal to audiences all around the world— from major blue-chip documentary series (such as the forthcoming three-parter Okavango: Thread of Life) to very specific one-offs, for instance, the upcoming Ant Mountain presented by David Attenborough.”

Echoing his peers, Smithsonian’s Royle says wildlife programming and big technology lend themselves to coproduction. “Blue-chip natural history crosses all international borders—not least because animals don’t speak—so the programs are easy to dub and version. And as filming wildlife is unpredictable and expensive, broadcasters are keen to share the risk.”

But he is also “struck by the ongoing appeal of ancient history. I think it’s partly because new technology like groundpenetrating radar and lidar is allowing archaeologists to see below surfaces. This has enabled the Smithsonian Channel to be at the forefront of some great discoveries, from the first dig inside Stonehenge in 50 years to the discovery of the gladiator school at Carnuntum to the remains of the royal city of Angkor in the Cambodian forest. I also think advances in TV technology have played a huge part. Now you can use CGI to recreate a cinematic epic, as our partners at Korea’s EBS have done with Qin Shi Huang: The King of Eternal Empire, or you can use drones to capture the landscape and structures of the ancient world, as Ireland’s Tile Films has done for our series Sacred Sites.”

Science, natural history and ancient civilizations comprise the top three genres for NHK’s co-pros, Sudo says. Projects that illustrate this range include The Body, focusing on the human body and the revolutionary new findings in medical science. A co-production with S4C, France Télévisions and other yet to be named broadcasters, the series “uses our newly developed 8K-UHD imaging technology, and also cuttingedge CGI, to explore the human body as a huge inner network,” Sudo says.

Also on the slate are Deep Ocean, a co-production with ZDF and Nat Geo WILD, and Looking Through the Pyramids, a co-production with Bonne Pioche, HIP.institute and France Télévisions. The latter, says Sudo, is “an ambitious project that will aim to reveal, for the first time, the inner structure of the Great Pyramids of Giza.”

THE BIG IDEA It is also important, co-pro veterans agree, to make sure the collaboration is led by creative considerations. ZDFE.factual’s Rückauer stresses that a co-production should never just be about chasing the money.

“Our philosophy is to encourage producers first to be creative and then think about partners. An example is Size Matters from Screen Glue and Jasper James. His idea to create a science program on the size of things and his experimental approach was so unique that we closed a development deal with him. ZDF’s Terra X strand then became part of it, as well as ARTE and BBC Four. None would have asked us up front to create a science program on the size of things.”

Partners should also have some creative input, but the level of input is highly dependent on the deal.

“Some co-production partners don’t get deeply editorially involved, while others prefer to give detailed editorial input,” says Terra Mater’s Holzer. “But the common vision of what the completed film should look like is certainly key to a successful co-production.”

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Examples of successful doc co-pros for Terra Mater include Soul of the Elephant and David Attenborough’s Light on Earth. “The first, a co-production with wildlife filmmakers Dereck and Beverly Joubert, Thirteen/WNET Nature and France 5, provides exclusive access to the lives and behavior of elephants. All partners were striving for the same grandeur in cinematography, emotions and story telling. Light on Earth by Martin Dohrn and Joe Loncraine, on the other hand, was a co-pro with CuriosityStream, BBC, ABC Australia and UKTV. It was fruitful due to the mixture of technical innovation throughout the production, producing stunning one-ofa-kind footage, topped with the enthusiastic participation of Sir David Attenborough.”

CREATIVE INPUT

Blue Ant’s relationship with Blink Films has resulted in several projects, including Arabian Inferno.

Royle notes that with Smithsonian’s “substantial financial contributions to co-productions, we always expect to have creative input. Luckily, most of our partners want us to have editorial involvement—I think because we try to be culturally sensitive and we have a reputation for dramatic storytelling, creative quality and editorial integrity. Of course, there are some challenges in working with us. I think we are one of the few channels left that has an independent fact-checking team—experts from the Smithsonian Institution review all our films to ensure they are fair and accurate.”

While creative input from partners can be valuable, it also helps not to have too many voices. “You don’t want to have too many partners on a project; otherwise it places a tremendous burden on the producer who has to answer to so many people and has so many different sensibilities to satisfy,” Royle says.

But of course, Royle acknowledges that there are exceptions. “We’ve just finished the 4K series Warrior Women with Urban Canyons. Sebastian Peiter combined the Smithsonian Channel with at least ten European co-pro

partners to make the series—and I believe his other coproduction partners are as pleased as we are. He deserves a medal for diplomacy!”

Sudo says that for projects initiated by other producers or broadcasters, NHK might be less involved editorially, or may take on a role as a simple co-financier. But the organization’s preference is to be involved in all aspects of the creative process, from script development to actual filming, as well as in contributing to the promotion and distribution of the program. “Our focus is always on combining an international team of creative talent and expertise so that the end product becomes stronger in its universal appeal. Balancing creative input from different partners is always a challenge, but if done carefully and sensibly, we believe partnership can bring out an amazing result for everyone.”

Sudo cites Tokyo Phoenix, a co-production with CC&C (Clarke Costelle & Co) and ARTE. “In this history project, NHK provided its extensive archive footage and the historical research from our experienced director, where our coproducer, CC&C, contributed to the project with the colorization techniques and their eloquent storytelling,” he says.

CALLING THE EXPERTS BBC Worldwide’s Reynolds says it is standard practice to hand the central production responsibility to one outfit, “but there are times when you can draw on the creativity and expertise of all the partners involved. In Wild Japan, co-producer NHK provided [equipment], teams and access to areas we wouldn’t have reached without them.”

Kyle Murdoch, the managing director of NHNZ, says his company is “focused on true co-pros—we expect our partners to have editorial input. Our co-producers are investing so they can share with their local audience— and they know their audience much better than we do.”

He acknowledges that “it’s not easy managing editorial input from multiple co-producers, but given the amount

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Terra Mater collaborates with international partners on its wildlife projects, such as the upcoming Attenborough’s Ant Mountain. of investment required for these shows it is vital to take the time to listen and discuss editorial opinions.”

NHNZ, which recently partnered with ZDF Enterprises and several broadcasters on Big Pacific, is a new addition to the Blue Ant Media family. Blue Ant has been ramping up its co-production efforts, in part to bolster its Love Nature streaming service, a joint venture with Smithsonian Networks.

“We are involved in giving creative input, but every partner is different,” says Ward Platt, the former head of National Geographic international channels who recently joined Blue Ant as its CEO of global networks and kids. “We work together to ensure all needs are being met in every unique partnership that we have. Our goal is to produce internationally successful content, and that will happen with strong partnerships with a common goal.”

An example of a successful partnership, says Platt, is a longstanding relationship with Blink Films that has resulted in 30 hours of content, including Secrets of Wild Australia and Arabian Inferno for Love Nature. A new two-year deal between the companies will create 24 hours of natural-history fare.

TALKING IT OUT As a battle-hardened co-pro executive, ZDFE.factual’s Rückauer has learned a number of key lessons about the collaboration process. “Lesson one is, be patient,” he says.

“Co-production doesn’t come quick and easy. You have to convince people to spend a lot of money, and in return, they have to give up control. Lesson two is, it’s worth taking the time and effort to create a bigger, brighter production that will build your reputation. And lesson three is, find the right key personnel on the creative side (producer) as well as on the financing side (broadcasters or platforms). It’s always a matter of trust and understanding and you need to have a very specific ‘can do’ spirit.”

An example of well-executed collaboration, says Rückauer, is The Celts: Blood, Iron & Sacrifice, made with the BBC, among other partners. “It started in a big meeting with around 20 commissioners from Germany and the U.K., all in one room. Trying to find common ground between the British and German audience, we found that good documentaries about the Celts had not been done for quite a while, and that this may be a topic that could attract British, German and international audiences.

With a starting point like that, a fifty-fifty spirit was born, and the BBC and ZDF joined forces; editorially as well as financially.”

For BBC Worldwide’s Reynolds, one tactic that can aid the collaboration process is proper planning. “For example, you can arrange to swap talent in or out to suit the needs of each market. In Expedition New Earth, the BBC version has Stephen Hawking talking about the logistics of colonizing new planets. But our French partner, France Télévisions, used [physicist] Christophe Galfard for their version.”

It’s crucial, he adds, to be clear about what you want from the outset “and that should involve face-to-face meetings where you get around the table and talk about how the project will be executed. You should also build time into the schedule for unexpected developments. Co-pro partners can join halfway through, but that does make it harder.”

NO HOLDING BACK Exploring the ingredients of a successful co-pro, Smithsonian’s Royle says they thrive on “open communication and strong personal relationships. It’s at least a two-way process, and copro partners have to be open to give and take. The best producers understand this—and strive to keep the broadcasters well informed and engaged during production. Some will take the time to send photos from shoots, or occasional video highlights.

This keeps everyone engaged and excited.”

Terra Mater’s Holzer reiterates the point that the key to collaboration is communication. “It’s of utmost importance to converse on the same level about the editorial and cinematographic goals so that in the end everyone is happy and proud of the final product.”

Echoing his peers, NHK’s Sudo notes, “Whenever there is concern or doubt, each party should honestly address the issue and openly discuss the problem. It is crucial to understand the difference in the styles or narrative and to be ready to create different versions respectively. Although these discussions require time, by sharing the vision and goal of the project, the parties can ensure a good result for everyone.”

Summing up, NHNZ’s Murdoch offers up his co-pro do’s and don’ts: “Do keep an open mind, listen, communicate opinions clearly, have regular face-to-face meetings, over deliver. Don’t assume your ideas and ways of working are right for your partner.”

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ational Geographic scored 17 Primetime Emmy nominations this year, including ten for its first scripted series, Genius, two each for Life Below Zero and Wild... and one each for StarTalk, LA 92 and Year Million. The accolades cap two years of significant transformation at the channels group, overseen by Courteney Monroe, the CEO of National Geographic Global Networks.

Monroe was upped to the post in 2015 after serving as CEO of National Geographic Channels U.S. That came as the entire organization went through a restructure following 21st Century Fox’s $725 million deal with the National Geographic Society to form National Geographic Partners. The entity, 73-percent owned

by Fox, encompasses the global channels portfolio, the 129-year-old magazine, digital platforms, the maps and travel businesses and more. Monroe tells TV Real about her strategy for remaining firmly focused on upping the ambitions of National Geographic’s programming team, shifting away from the lower-budget reality series that dominated the service in years past and betting big on high-end, innovative, buzz-generating concepts.

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TV REAL: In the time since we last spoke you’ve taken on oversight of the overall global portfolio. Why was this restructure important for the National Geographic channels?

MONROE: It’s been an exciting development, and it makes a lot of strategic sense for our business. There have been two big organizational changes since we last spoke. One is that we consolidated the management of National Geographic global programming. I now work very closely with the heads of the FOX Networks Groups in Asia, Europe and Latin America, who run the FOX channels businesses, of which National Geographic is a part. They are responsible for the management, the P&Ls, in those countries. National Geographic is such a global brand—we are distributed in 171 countries, in 45 languages. We felt that there was an opportunity to aggregate our programming budgets so we could pursue this more ambitious strategy that I first talked to you about two years ago, where we’re doing fewer but bigger and better. And the brand doesn’t differ around the world. National Geographic has been around for 130 years, and it is very strong in what it stands for. We felt that there was an opportunity to deliver content globally that is more valuable over the long term and create global franchises.

The other big growth is that National Geographic Partners was formed. The television business of National Geographic has always been a joint venture between 21st Century Fox and the non-profit National Geographic Society. And then back in November 2015, 21st Century Fox invested heavily in the National Geographic Society for the formation of National Geographic Partners. It’s basically an expanded joint venture. So all of the commercial and media assets that are part of National Geographic—the magazine, the massive digital footprint, the book business, the travel expeditions business, the kids’ business—are now part of the joint venture between Fox and National Geographic Society. We have this unparalleled portfolio of assets at our disposal all around the world. All of those businesses exist globally. We can harness all of those assets to extend our storytelling. When we launched MARS, for example, it was a really big television series, but it was also a cover story for National Geographic Magazine, two different books and a speaker series. We’re able to create greater impact in the marketplace by eventizing these programming franchises across all of our platforms. We’re also able to have really

interesting and distinct conversations with brands, potential sponsors, all around the world. Rather than just talking to brands about coming on board and sponsoring a television series, we are well positioned to talk to them about true 360-degree cross-platform sponsorships that exist across all of our media platforms, be it magazines, digital or television. That is exciting, and it’s what CMOs of brands are looking for.

In addition, our digital footprint is massive. We are the number one brand in social media. We are the number one non-celebrity brand on Instagram. So the management of this business globally, not just from a content and storytelling perspective but also from a platform perspective, is setting us up for some distinctive advantages.

Finally, the National Geographic Society remains a very important partner. We’re a media company with a real sense of mission and purpose, aligned with a real scientific organization. In fact, this is also a key distinguisher— [National Geographic Partners] gives 27 percent of its proceeds back to the National Geographic Society to fund their mission. No other network even comes close, so we actually practice what we preach.

TV REAL: You had just dipped your toe in scripted two years ago. How has that initiative progressed?

MONROE: We had dabbled in scripted with a few films that were based on best-selling books, Killing Reagan and Killing Kennedy. Those were very successful for us at the time. Genius, which we launched this past spring, was our first truly scripted series and it became our number one series all around the world. It was recently nominated for ten Emmys, which is unbelievable. Getting nominated for best original limited series against the likes of shows from FX and HBO is a tremendous testament to two things: our ability to execute in this space, and that there is an appetite for scripted from us. But we are never going to be a fully scripted network. We are being very selective and highly curated. The lion’s share of our programming will continue to be in the factual, documentary, nonfiction space.

TV REAL: You are attracting amazing talent for your originals in both scripted and non-scripted.

MONROE: Amazing talent. Storytellers have always been the lifeblood and heart and soul of National Geographic. A big part of our shift to this more premium strategy was all about working with best-in-class creative talent. The creative talent that we have behind our current and upcoming programming, scripted or unscripted, is pretty extraordinary. In Genius we had Ron Howard and Brian Grazer, and the incomparable Geoffrey Rush and Emily Watson. We’re working with Darren Aronofsky on a huge unscripted science series, One Strange Rock, along with Jane Root and Nutopia. We worked with Leonardo DiCaprio on Before the Flood. We’re working with Morgan Freeman on the spinoff The Story of Us, Peter Kosminsky on The State, Neil deGrasse Tyson on his series StarTalk and Mike Medavoy on the upcoming The Long Road Home. And two other talents that have huge U.S. appeal and hoping to gain global recognition through their new series: Katie Couric, who brought us Gender Revolution, and Martha Raddatz, author of The Long Road Home, which is our next scripted series that has an incredible ensemble cast featuring Michael Kelly, Jason Ritter, Kate Bosworth and Jeremy Sisto.

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Based on Martha Raddatz’s best-selling book, The Long Road Home is Nat Geo’s latest high-end scripted project.

This talent roster speaks to two things. One is the power of this brand, which is an incredible calling card in the creative community because it stands for quality, it stands for authenticity and people like their storytelling to be associated with a strong, premium brand. That’s number one. And I think it also speaks to the more creatively ambitious strategy that we are pursuing. As we have expanded our drive to work with the very best in front of and behind [the camera], I have found that the very best share a passion for this brand and really want to work with us, which has been incredibly exciting and inspiring.

TV REAL: What are your plans for more documentary feature films, like Before the Flood with Leonardo DiCaprio?

MONROE: Following the success of Before the Flood (which was seen by over 60 million people), we launched National Geographic Documentary Films. Since then, we’ve released four films and have two more in the works. With our feature docs, it’s the same approach from a creative talent perspective as all of our shows. We want to work with the very best filmmakers in the business, the visionaries of documentary filmmaking. We worked with Alex Gibney’s Jigsaw Productions and award-winning director Marina Zenovich on Water & Power, an exposé on California’s water crisis, which premiered at the Sundance Film Festival. We released three films at the Tribeca Film Festival, including From the Ashes, which looks into the complexities of the coal industry. We also had Hell on Earth from Academy Award-nominated filmmaker Sebastian Junger and his Emmy-winning partner Nick Quested, which presents a gripping, disturbing look at the fall of Syria and the rise of ISIS. We also did LA 92, with [producers] Simon and Jonathan Chinn, and [directors] TJ Martin and Dan Lindsay. It was a look back at the riots that happened in Los Angeles in the wake of the Rodney King verdict 25 years ago. It won an Emmy for exceptional merit in documentary filmmaking. No talking heads. All pieced together from archival footage and camcorder footage and news and radio broadcasts. Brett Morgen has been called the “mad scientist of documentary filmmaking.” His credits include Kurt Cobain: Montage of Heck, Crossfire Hurricane, about the Rolling Stones, and The Kid Stays in the Picture.

With JANE, we discovered over 100 hours of never-beforeseen footage in the archives of National Geographic about Jane Goodall’s life and expeditions from the 1960s. Brett did

an incredible job putting a film together with this archival footage and mixing that with present-day interviews with Jane reflecting on her life and her work. And then we’re also working on Solo, which is from Parkes/MacDonald—Walter Parkes and Laurie MacDonald, who are big Hollywood producers— and the directors Jimmy Chin and Elizabeth Chai Vasarhelyi. It is about Alex Honnold, who is the best free solo rock climber in the world. Recently he completed the first-ever solo climb of El Capitan, without any ropes, without any nets. We have been filming with him for the past year.

Our strategy overall with these is to do a few a year that are aligned with our brand, that are from the very best filmmakers. Feature documentaries were something that National Geographic did a while ago.

We produced Restrepo with Sebastian Junger and it won the [Grand Jury: Documentary prize] at Sundance, was nominated for an Oscar, and it did incredibly well from a ratings perspective. For whatever reason, we abandoned the space. But as part of our quest to become the world’s leading destination for premium content around science and adventure and exploration, feature documentaries have a rightful place in our strategy. We’re excited that we’ve been able to drum up interest in the filmmaking community to come work with us.

TV REAL: What most excites you about what’s happening in the documentary space today?

MONROE: It’s the best time in the world to be a documentary filmmaker. There are so many outlets for it. I also think that the world is sort of a crazy place and it’s great to create entertaining programming. There’s a place for really important, provocative storytelling that you do through documentaries. That’s why I believe National Geographic should be pursuing it. There are so many filmmakers and so many people within the creative community, even talent whose background has predominantly been in scripted, who are interested in telling documentary stories. That is tremendously exciting.

TV REAL: What are some of your other upcoming highlights?

MONROE: There are a couple of new shows that I’m super excited about. The first is our next scripted series, The Long Road Home. Another one is One Strange Rock, which is Darren Aronofsky’s first foray into unscripted and into television. We’ve paired Darren, who is the creative visionary for One Strange Rock, and his company Protozoa Pictures, with Jane Root and Nutopia. She has assembled some of the best natural-history and science storytellers in the world to tell this story, which, at its heart, is really about how incredibly strange this rock that we call planet Earth is. So it’s earth science meets natural history, and it’s visually breathtaking. As you can imagine with Darren Aronofsky at the helm, it’s a visual tour de force. I’m super excited about the return of MARS and Genius. For Genius we’re profiling the life of Pablo Picasso. And the other series that I’m excited about is Chain of Command.

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