Realscreen Jan/Feb 2022

JAN/FEB 2022

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TRAILBLAZERS Banijay’s Cris Abrego on breaking barriers and building ladders in unscripted TV

ALSO: DIVERSITY AND INCLUSION FOCUS MAKING ARCHIVE SING IN MUSIC DOCS

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CONTENTS

JANUARY + FEBRUARY 2022 9 FIRST LOOK

The rise of the celebrity doc; Fireside’s Falon Fatemi on plans for the interactive entertainment app

17 TRAILBLAZERS

Realscreen salutes three industry execs making an impact in 2021 and beyond

23 YEAR IN REVIEW

The trends that were worth watching in the non-fiction and unscripted business

EQUITY AND 26 DIVERSITY, INCLUSION FOCUS

Network and production executives weigh in on the work ahead for creating an inclusive industry

32 ARCHIVE REPORT

How archival footage is driving the new wave of music documentaries

38 THE FINAL CUT

What the Realscreen staff loved to watch in 2021

JAN/FEB 2022

Billie Eilish was the subject of one of 2021’s acclaimed celebrity-driven docs.

9

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TRAILBLAZERS Banijay’s Cris Abrego on breaking barriers and building ladders in unscripted TV

ON THE COVER Cris Abrego, chairman of the Americas for Banijay, talks with Realscreen about his ascent in the unscripted business and his thoughts on elevating new talent.

ALSO: DIVERSITY AND INCLUSION FOCUS MAKING ARCHIVE SING IN MUSIC DOCS

US $7.95 USD Canada $8.95 CDN Int’l $9.95 USD

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his past December, audiences, critics and media pundits alike engaged in provocative and passionate discussions around a film that explored issues surrounding climate change and science denial.

That film, however, wasn’t a hard-hitting documentary à la An Inconvenient Truth. It was a Netflix comedy, crammed full of A-listers.

Don’t Look Up, featuring Leonardo DiCaprio and Jennifer Lawrence as astronomers trying to warn the world about impending doom from an Earthbound comet, garnered huge buzz and considerable press upon its release. As of press time, the streamer has confirmed that the Adam McKay-directed film has racked up over 263,000,000 “hours viewed” in its first 11 days on the service. But besides those metrics, the film has touched a cultural nerve that has been rubbed raw by two years of coping with and clashing over COVID-19, and four previous years that saw unprecedented socio-political polarization in various countries.

Back in that period — in 2017, to be exact — another program prompted an international outcry about climate change and environmental catastrophe. But Blue Planet II, which focused considerable attention on plastic pollution in the world’s oceans, was anything but a comedy. It was a serious, unblinking look at an issue that, by the factual production industry’s own admission, had been practically anathema for programmers prior to that point.

Over the past 18 months, we have seen several important docs emerge that have offered unforgettable perspectives on the frontline war against COVID-19 — 76 Days and The First Wave among them. But as we collectively stumble through the reality of the pandemic, one wonders if the pendulum is swinging back towards content that takes us away from where we are, rather than immersing us deeper.

Here at Realscreen, when we’ve talked to programming execs across genres over the course of the past 18 months about their wish lists for programming, the key words have been “escapist,” “feel-good,” and “family-friendly.” So, while a film such as My Octopus Teacher may prompt conversations among viewers and critics about conservation and other environmental concerns, it does so through a story of empathy and interconnectedness.

Such lighter approaches to weighty subject matter might be all the more important in our current social and political climate. And with global audiences having been fed a consistent diet of bad news over the course of the past two years, factual producers and programmers might find it even more challenging to craft content that addresses the big issues — topics that are now more prone to rancorous diatribes than constructive debates — while negotiating that allimportant balance of information and entertainment.

Although the subjects needing investigation are serious — some would say deathly serious — they may need to be portrayed through a more, dare we say it, optimistic and proactive lens.

Even if we can’t yet see the end of this tunnel, after two years in which many of us have felt powerless against an unseen enemy, we should be able to find some kind of warmth from a light in the middle.

EDITOR’S NOTE

Light in the middle of the tunnel January + February 2022 Volume 25, Issue 2

Realscreen is published 4 times a year by Brunico Communications Ltd., 100- 366 Adelaide Street West, Toronto, Ontario, Canada M5V 1R9 Tel. 416-408-2300 Fax 416-408-0870 www.realscreen.com

SVP & Publisher Claire Macdonald cmacdonald@brunico.com Editor and Content Director Barry Walsh bwalsh@brunico.com Art Director Mark Lacoursiere mlacoursiere@brunico.com Associate Editor Andrew Tracy atracy@brunico.com News Editor Andrew Jeffrey ajeffrey@brunico.com Senior Staff Writer Justin Anderson janderson@brunico.com Contributors John Smithson Conference Producer Jennifer Fitzgerald jfitzgerald@brunico.com Associate Publisher Joel Pinto jpinto@brunico.com Senior Account Manager Kristen Skinner kskinner@brunico.com Marketing & Publishing Coordinator Suhail Sawant ssawant@brunico.com

CORPORATE

President & CEO Russell Goldstein rgoldstein@brunico.com EVP & Editorial Director Mary Maddever mmaddever@brunico.com Director, Finance and Administration Michelle Plaskon mplaskon@brunico.com Creative Services & Distribution Manager Adriana Ortiz aortiz@brunico.com Manager, Customer Experience Christine McNalley cmcnalley@brunico.com All letters sent to Realscreen or its editors are assumed intended for publication. Realscreen invites editorial comment, but accepts no responsibility for its loss or destruction, howsoever arising, while in its office or in transit. All material to be returned must be accompanied by a stamped, self-addressed envelope. Nothing may be reproduced in whole or in part without the written permission of the publisher.

ISSN number 1480-1434

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Be well, Barry Walsh Editor and content director Realscreen

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A LETTER FROM THE PUBLISHER

I UPCOMING ADVERTISING & SPONSORSHIP OPPORTUNITIES

March/April Editorial features include: • Realscreen’s Global 100 • MIPTV Picks • Format Focus • Streaming Who’s Who Bonus distribution: • MIPTV • HotDocs • LA Screenings Booking deadline: March 2, 2022 Digital advertising: Daily newsletter and realscreen.com Contact Realscreen sales: For information on these opportunities, or if you’re interested in sponsorship or private meeting space at Realscreen Summit June 6-9, 2022 in Dana Point, email us at sales@realscreen.com or call 416-408-1376

Rising to the challenge

think that it is safe to say that we’ve all had enough of COVID-19. It’s hard to believe that it’s been almost two years since we learned about the existence of the virus. In fact, the last time our industry gathered at the Realscreen Summit in New Orleans at the end of January 2020, it was right before it became clear that this was something big.

The pandemic was officially designated as such by the World Health Organization on March 11, 2020, and at that juncture we all thought we’d have to keep a close eye on things for maybe a couple of months. And here we are now, two years in, and while the face of this coronavirus has changed, it continues to wreak havoc on our lives, both personally and professionally.

Each one of us has been affected by the pandemic in myriad ways. And while some have managed to thrive and create opportunity, others have struggled to remain gainfully employed and have had no choice but to leave the industry out of self-preservation.

I’m writing this two weeks after making the painful but necessary announcement that the Realscreen Summit, which had been scheduled to take place in Austin at the end of this month, has had to be postponed, and that we’ve co-opted the venue and time reserved for Realscreen West in June. We had taken a calculated risk in originally choosing to forge ahead with a live event in January. In the early fall of 2021, when we had to decide whether to commit or “abort mission,” the indicators were good that we’d be able to put on a great program and host a vibrant market. And that is how things looked until Omicron reared its ugly head in November, forcing us to re-evaluate and postpone.

We’re blessed that we’ve developed a powerful online platform that not only allows us to deliver panels and keynotes, but also offers an opportunity for creators and buyers to connect before, during and after our events, and that we had already planned a virtual complement to the January event. Realscreen Summit LITE, which takes place February 7-11, is an event all its own, and access is included with a pass to the now-summer Summit in Dana Point, California, which will take place June 6-9. Highlights of the February slate include a keynote conversation with Amazon Studios head Jennifer Salke, conducted by Bizarre Foods host and executive producer Andrew Zimmern.

And then there’s what I hope will be COVID’s final swipe at Realscreen. You are reading this issue online because supply chain problems are such that our printers could not source the appropriate paper stock to print the physical magazine. That problem, coupled with the fact that distribution to the Realscreen Summit, NATPE and Sundance was voided in the absence of live events in January, made printing untenable.

It’s tough to know which “experts” to believe now, but I’m going to take the optimistic track and hope that Omicron is indeed the final wave of this paralyzing pandemic, and that we can all soon get back to normal… whatever that might be.

‘Til next time, go well, Claire Macdonald SVP & Publisher Realscreen

007

FIRST LOOK

By Andrew Jeffrey

Celebrity-driven docs and series are in demand from viewers and buyers alike.

But dealing with A-list talent, either as subjects or creative partners, can come with its own set of rules.

STARSTRUCK Director R.J. Cutler profiled pop star Billie Eilish in an acclaimed Apple TV+ doc.

THE CLOSE-UP

POINTED ARROW

Fireside’s Falon Fatemi sheds light on the newly launched interactive entertainment platform

John Smithson on “the great coming together”

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the zeitgeist.

Or so Sirens Media president Miosh Hill suggests. In her career, she’s worked with major names including Drew Barrymore, Sean Combs and Diane von Furstenberg. Now that unscripted entertainment has become not just a TV staple but an increasing part of streamers’ content offerings, celebrity interest in the genre is also ramping up.

“There’s not a lot of ‘Wild West’ frontiers in entertainment anymore,” Hill says.

“When unscripted started to really shed its stigma and emerge as one of the new frontiers to have meaningful storytelling that can be impactful, then people were [thinking], ‘This is a world that allows me a whole new creative muscle to expose myself to a different demographic of people.’”

Even as the COVID-19 pandemic has stalled production and release dates on feature films and TV series, the non-fiction industry has weathered the storm.

And in large part, celebritydriven series and films have led the charge.

Two of the most high-profile docuseries in 2020 were the Netflix and ESPN series The Last Dance about Michael Jordan and the Chicago Bulls’ NBA dynasty of the 1990s, as well as the Hulu documentary Hillary, which profiled U.S. politician Hillary Clinton.

Celebrity involvement figured largely in several non-fiction projects this year as well. One of Hollywood’s biggest stars, Will Smith, continued his foray into unscripted via the Disney+ series Welcome to Earth from Nutopia, and acclaimed documentarian R.J. Cutler shot a film around one of the hottest pop music acts in the world for AppleTV+.

The end result, Billie Eilish: The World’s a Little Blurry, has been shortlisted for an Academy Award. Meanwhile, HBO debuted its Music Box documentary series, featuring several films about popular musicians such as Alanis Morissette and Kenny G. When evaluating whether to bring a celebrity onto a project, Anvil 1893 CEO Eric Schotz, who has worked with talent ranging from Tiffany Haddish to Lance Armstrong, points out that there’s a big upside to the attention that a series or film’s profile can receive through attaching the right star.

Iconic film star Will Smith beamed on board as presenter of Nutopia’s Welcome to Earth for Disney+ and Nat Geo.

“Alternative is not necessarily always the ugly stepchild anymore. And I think it’s a place where if you have the right show with the right idea, and perhaps the right celebrity, you can do very well,” Schotz says.

However, it’s not always easy going. The past year has demonstrated some of the perils that documentary filmmakers in particular can face when working with celebrities. Before the Toronto International Film Festival premiere of Jagged, a doc about the life and career of musician Alanis Morissette helmed by Alison Klayman, the singer released a statement saying she wouldn’t be in attendance because her vision for the film had “painfully diverged” from that of the filmmaker. Morissette’s high profile made it so her disagreement with the film created substantial controversy around its TIFF debut.

Another challenge that can face directors and producers when working with celebrities, Hill says, is that some A-listers need to be encouraged to be authentic when working on unscripted projects.

“When you’re turning the camera onto someone who’s an award-winning actor, it’s almost muscle memory to go into playing a role,” Hill says.

When working with celebrities in an executive producer or creative role, Hill says more meaningful discussions about a project’s ultimate direction can be had. But there isn’t any room for fawning.

“The kiss of death is if you’re starstruck,” Hill says.

“You want to go in confident you have a role to play. You’re an executive producer on that as well, and it’s your job to make sure that the project

FIRST LOOK

If

there’s one thing celebrities are eager to embrace, it’s

“When you’re turning the camera onto someone who’s an awardwinning actor, it’s almost muscle memory to go into playing a role.”

011

FIRST LOOK

Aufderheide

Hill

Schotz

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JANUARY / FEBRUARY ‘22

that you all are on together is as good as controlling their image. One respondent it can be.” argued that letting celebrities, or other “There’s a lot of pampering and a lot high-profile subjects, have input would of kid-gloves stuff that goes on because threaten the final product’s credibility. they’re celebrities. I take a different tack, While there is pushback within the business and try to keep it professional,” Schotz says. to adopting industry-wide ethical standards “Treat them with respect.” and practices, Aufderheide says she expects In addition to whatever challenges that there is still more of an expectation for unscripted producers may encounter when public broadcasters to follow such standards, working with major stars, there have long as ensuring viewers trust the accuracy of been ethical challenges that documentary their documentaries is vital to their service filmmakers face when working on projects mandates and funding. PBS, for one, has an revolving around extensive set of editorial celebrities. A 2009 standards that viewers study published can find online. by the Center for Other commercial Media & Social broadcasters working in “There’s a lot of Impact titled Honest the genre and seeking Truths: Documentary the prestige association pampering that goes Filmmakers on Ethical a celebrity documentary on... I take a different Challenges in Their provides should also Work summarized be concerned with tack and try to keep responses from 45 applying rigorous it professional.” long-form interviews ethical standards to with U.S. filmmakers. their work, Aufderheide The study’s results suggests. But a general showed a need for a more public and focused lack of trusted journalistic guidelines is an conversation about ethics in the industry, issue across the industry. and that documentary filmmakers reported “The urgency of what we heard from the they routinely found themselves having to people we interviewed in that report comes balance ethical responsibilities against practical from their feeling that they’re on a runaway considerations. And celebrity-driven docs are train, and nobody’s coming to help to try especially prone to questions around access to stop it. They’re being asked to do things and creative control. that make them uncomfortable, that they Pat Aufderheide, an author of the report don’t want to do,” Aufderheide says. and founder of the Center for Media & As more celebrities look to get involved Social Impact, says little has changed since in non-fiction and unscripted projects on a the report was published. creative level, that train won’t be stopping “One way to approach the ethics of this any time soon. Thus, to make the most is to [ask], ‘Are you being transparent with of their work with celebrities, directors the viewer about how you were able to do and producers need to be prepared — this film, and what were the conditions or establishing ground rules regarding creative limitations on what you could and couldn’t control as needed for the project and do?’” she says. “Are there some things that being adaptable to shifts that may come this person took off the table to be able to in scheduling and production, Schotz says. talk about? If you could talk about it, would He added that while he’ll offer talent the it really change [the viewer’s] opinion of how chance to view cuts of projects they’re this person behaves?” working on, creative control remains with According to the study, filmmakers the production company. reported they often didn’t extend “I think the biggest thing in dealing with decision-making power to celebrity celebrities is trust. Do they trust you? Do subjects, and frequently found such they know that you know what you’re subjects to be aggressive and powerful in doing?” Schotz says.

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THE CLOSE-UP:

FALON FATEMI

CEO AND CO-FOUNDER, FIRESIDE

You’ve recently wrapped the ‘beta’ period for the platform, and had it tested by 500 creators. Are there particular types of creators that you are honing in on as early adopters, and what has been the feedback so far?

We’ve seen a tremendous amount of growth and inbound interest from really amazing professional creators on Fireside, and already have had people like Jay Leno, Deepak Chopra, Bob Saget, Lisa Lampanelli and other comedians, authors, podcasters, and filmmakers launch innovative shows. The ability to hear and feel how the audience reacts in real time is game-changing for these creators, particularly those that have performed in front of live audiences in the past, and our participatory tools are unlocking entire new formats of entertainment you’ll be hearing about in the coming months.

F

or the recently launched interactive storytelling app Fireside, it might be the boldface recognition factor of co-founder Mark Cuban that’s drawing the most attention to the start-up.

But for those in the entertainment business who have been watching the tech space, the name of the company’s other cofounder is also significant.

In 2005, Falon Fatemi was hired by Google to help with its global expansion ambitions. She was 19 at the time. After staying there for six years, she moved on to set up the AI data-analysis service company Node, where she served as CEO. With that company, Fatemi aimed to bring an innate quality she possessed — that of “the connector,” to use Malcolm Gladwell’s terminology in The Tipping Point — into an AI business environment, to effectively “connect the dots” between companies, people and products and help clients find new, lucrative business relationships. Cuban was an early investor in that company, which was acquired by SugarCRM in 2020.

Now, Fatemi and Cuban are turning their attention to what they’re billing as “the first tactile entertainment platform.” While initial media reports tagged it as a competitor to “social audio” platform Clubhouse, Fatemi tells Realscreen its sweet spot is firmly in the nexus between tech and entertainment.

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JANUARY / FEBRUARY ‘22

“The power of Fireside really comes down to removing the middleman, giving creators a path to true ownership of their content and providing a next-gen creation suite that empowers professional creators to invent the future of entertainment with the tap of a button,” she explains via email. She says the aim of Fireside is to streamline the process of creating, distributing and monetizing content by providing a “virtual production studio” for creators to produce live video or audio content “with an in-studio audience which is also available on demand.”

She adds that not only is Fireside aiming to be medium-agnostic, but it’s also designed to be platform-agnostic (“Web 2, 3, and Metaverse compatible”), and will make it easy for creators to simulcast their programs to the social networks of their choice and distribute them as podcasts to Apple, Spotify, and other podcasting services. As for monetization capabilities, Fatemi points to ticketed shows, advertising, branded entertainment and NFTs as all part and parcel of the Fireside package.

Thus far, content has ranged from a Jay Leno livestream from the SEMA Car Show in Las Vegas to Mindful Moments, featuring Deepak Chopra. With the app currently available for iOS, those wanting to investigate can request access via f.chat/ download or www.firesidechat.com.

Traditional screen media is having its challenges when it comes to measuring audience engagement in a meaningful way in the current content ecosystem. How does Fireside address this? How granular is the data going to be for creators?

Not only do creators get real-time feedback from their audiences to best determine what they say next when recording their show live, we already give them hit-prediction insights at the end of every show so they can understand the value of every piece of content. They have the tools today to get extremely granular and, for example, understand when they said that joke, did the audience laugh, cry, leave — all of this is critical to understanding how you create content the next time. We’re also seeing a lot of interest from many creator-led organizations in leveraging these insights as a development tool to pilot projects and leverage insights to inform whether to allocate resources more heavily into production.

What’s the next step in the development and rolling out of the platform?

We have some very exciting shows premiering in the next several months with some game-changing features for both creators and audiences. Barry Walsh

POINTED ARROW A PRODUCER’S PERSPECTIVE

FIRST LOOK

By John Smithson

H

ow we are going to cope with what could be another year of working under COVID restrictions is dominating the foreground of everything we do.

Still, something that has a greater resonance is going on all around us, yet the pandemic has pushed it into the background. It’s the great coming together of two very different worlds, united by one thing — content creation.

On one side is the world of TV, be it terrestrial or cable, but all living a linear life.

On the other side we have the new kids on the block — the SVOD players.

For giants like Netflix or Amazon, coming together is not really a problem. Streaming is what they do, and it’s all about growth, subscriptions, and consolidating the power they’ve accumulated as of late.

Where it gets interesting is with the hybrid groups, where the “old” TV networks fuse with either a newly created or acquired streamer to create a content conglomerate.

This is where there can be a cultural divide. Television has unique rituals and routines which have evolved over the long and proud history of broadcasting. They are singular skills: the subtle art of scheduling, the constant surfing of the zeitgeist as public tastes evolve, or the adrenaline of being bound to the daily schedule, and that “morning-after,” nerve-tingling wait for the overnights.

Streamers do it all differently. Creative decisions are, in part, data-driven, with great intel on who watches what, when, and for how long. Complex algorithms come into play. Audiences are built in a very different way. In the best possible sense, it’s Moneyball for commissioning.

Now they are all being brought under one corporate roof and, in front of them, is a giant jigsaw. How do you put together all the pieces? Who does what? If you commission, is it for just a TV network, just a streamer, or both? How do you get synergy? What is the priority?

It gets even more complicated when you bring together big, powerful and prestigious names such as HBO and Discovery, with each having their linked streamers.

And just to add to the challenge, COVID means that the moving around of all the pieces is being done by people sitting in front of their computer screens, red-eyed, in their spare bedrooms or on the kitchen table rather than in the buzzy creative vibe of a fully functioning office.

For tens of thousands on the inside of the great coming together, change is really beginning to bite. And how it will all resolve impacts us all.

It’s not just a U.S. thing. While it is largely playing out in Los Angeles and New York, much of it is also replicated in London and other major media hubs.

Beyond the lurid headlines of streaming wars, this is a game of super-high stakes, and on the shop floor there is real pressure to find the shows that deliver viewers and subscribers.

“It’s especially tricky when a streamer has a different view of the content it needs than the TV network it links to.”

At least there are the resources to enable the ambition — content budgets are in the multi-billion territory. For producers, however, it’s a challenge. How do you make sense of how it all works? It’s especially tricky when a streamer has a different view of the content it needs than the TV network it links to.

There are places where integration is working. In the UK, for example, both the BBC and Channel 4 are increasingly making streaming potential the decisive factor in ideas you pitch. Suddenly, there is a significant box-set opportunity on iPlayer and All4.

Ultimately, the coming together will sort itself out. It has to. There are too many talented people and too much at stake for it to be a fractured divide. Hardened TV execs will embrace the streaming world, and vice versa.

But it’s not clear how long this will take, and we can certainly expect more turbulence along the way.

John Smithson is the creative director of Arrow Pictures, a feature and high-end factual label created out of Arrow, the UK-headquartered indie which he co-founded in 2011.

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TRAILBLAZERS

As 2022 begins and 2021 recedes into the rear-view mirror, Realscreen looks at three executives who have been forging new paths within the non-fiction and unscripted screen content industry — not only over the course of the past year, but also throughout their careers. Through a deft mix of strategy, innovation and risk-taking, these execs not only serve as transformation agents for their own companies, but also for the business itself.

TRAILBLAZERS

017

Three Cheers for Magnolia Network — Now on Cable!

We’re proud to have been part of the premier lineup of original series that makes Magnolia Network a bright new destination on television.

At Blue Chalk, we value Magnolia’s commitment to authentic non-fiction storytelling that both entertains and informs.

We’re excited to watch as new cable audiences discover the Magnolia brand and its programming that touches both the head and the heart.

Brooklyn | Portland bluechalk.com

CRISABREGO CHAIRMAN OF THE AMERICAS, BANIJAY GROUP

When you started your career at Bunim/ Murray, did you foresee just how big unscripted TV would eventually become?

No — in fact, it was the complete opposite. We felt like we were living on our own very little island at Bunim/Murray. Obviously, Jon [Murray] and Mary-Ellis [Bunim], I consider them truly the pioneers of the genre. And not just from the content side of it, but also from a process side — how to take a documentary process that people were familiar with from as far back as the ‘60s and ‘70s [and] turn it into a serialized series and get it done, even down to the microphones in the house.

TRAILBLAZERS

Cris Abrego isn’t shy about the fact that he started his television career from the bottom.

“The very, very bottom,” he says with a chuckle. “I don’t think there’s [anything] more bottom than where I started.”

Despite growing up just around the proverbial corner from the hub of television production, Abrego felt like a stranger in a strange land in the early days of his career.

“I actually grew up just 28 miles from Hollywood here in Southern California, in the city of El Monte.

And as I joke, it might as well have been the moon, because I had no connection,” Abrego tells Realscreen. “I didn’t know anyone who worked in television, or anyone who even knew someone who worked in television.”

Abrego began his career at Bunim/Murray Productions, the unscripted pioneer prodco behind The Real World and Road Rules, which Abrego worked on. He went on to co-found 51 Minds Entertainment, one of the original purveyors of the celebreality genre with such hits as The Surreal Life and Flavor of Love. At its height, the company was producing more than 150 hours of programming annually for VH1 alone.

After selling 51 Minds to Endemol in 2008, Abrego joined Endemol Shine North America in 2014. He’s currently the chairman of the Americas for Banijay and president and CEO of Endemol Shine Holdings, where he’s in charge of Banijay’s North American and Latin American divisions.

Abrego now oversees a raft of production studios that include his old stomping grounds, Bunim/ Murray, as well as 51 Minds, Endemol Shine North America, and other labels.

As one of the highest-ranking Latinos in the television business, Abrego has made diversity and inclusion a priority for his team, as well as within the broader industry. And he’s put his money where his mouth is, developing programs that a young Cris Abrego would have benefited from. He created a scholarship program at his former high school, and also teamed with his former boss Jon Murray and other industry notables to launch the Television Academy Foundation’s $1 million Diversity and Inclusion Unscripted Internship Program.

Diversity and inclusion are obviously big priorities for you at your companies. What has your experience been like coming up in an industry that hasn’t always been very diverse?

It becomes hard, because you don’t feel like there’s any value to your story. It’s already one thing to not see yourself represented on screen, but then when you start to make your way behind the scenes, it’s even less representative, and then you have this disconnect.

But the truth is, I look back now [being] more mature and more experienced, and it’s actually my strength – the diversity and the differences and bringing those to the table for different stories.

It really goes back to shows like The Surreal Life, Flavor of Love and Rock of Love. It really contributed to my success in those areas because I connected with that casting pool, and then that audience, in the end, because of my background.

So now that you’re in a leadership role, what kind of things are you doing to try to throw the ladder down after you to help those following your path?

I’m so excited, first and foremost, about how so many are now driving towards this initiative of inclusivity. It’s obviously something that I have been doing every step of the way of my career.

So every time I’ve stepped on another rung of the ladder after I jumped on from the very bottom, I’ve brought others along and I continue to do that, but more so now from where I sit. To answer your question more directly, I’m doing it with much more reach, with more scale.

People always say that the hardest thing in this business to do is to win an Emmy. The truth is, it’s even more difficult getting access, if you’re not from the right place, to this industry. And that’s my work now, especially now as the chairman of the [Television Academy] Foundation... with the Academy’s help, to truly try to make it the largest kind of pipeline and resource that creates access for young people and the next generation of content makers. Justin Anderson 019

TRAILBLAZERS

Rob Wade came to Fox Entertainment in 2017, in a role that hadn’t been filled since Mike Darnell abdicated the presidency of the alternative department at Fox in 2013. In those four years, while there were other executives given oversight for the U.S. broadcaster’s unscripted slate, Fox brought an end to the lenghty run of American Idol on its network (with the competition series resurfacing on ABC) and was in need of a massive unscripted franchise.

Enter Wade, fresh from showrunning Dancing with the Stars and with stints producing The X Factor and America’s Got Talent, as well as heading up TV for Simon Cowell’s SyCo Entertainment. At the time of his hire, the press statement from Wade carried a whiff of premonition: “Fox has always been a pioneer in unscripted television, delivering its boldest and most innovative hits. I am thrilled to be given the chance to work with the best talent in the business, and hope I can add to that legacy.”

In January of 2019, The Masked Singer — an American adaptation of the Korean format King of Mask Singer, brought to Fox by Craig Plestis — made its debut and swiftly sailed to dizzying ratings heights, with the premiere episode being the highest-rated unscripted premiere since The X Factor in 2011. Now in its sixth season, the series has spawned spin-offs, international adaptations, and has galvanized the push for bold and loud formats, not only on Fox but across the broadcast spectrum.

In the fall of 2021, Wade — now also heading up Fox’s in-house studio, Fox Alternative Entertainment — unveiled a US$100 million global unscripted development fund designed to identify and develop future reality hits for the international and domestic markets. The year also saw Fox Entertainment acquire celeb gossip brand TMZ and Gordon Ramsay’s Studio Ramsay shingle. Coupled with new programming that Wade is decidedly bullish about — there are high hopes for a new cooking competition featuring Ramsay, Next Level Chef — Fox’s unscripted boss sees a bright future for the genre on his network and in general.

“All in all, we’ve made some incredible acquisitions and some brave bets with shows,” he says. “But the next stage over the next three years is going to be a real expansion into creating brand-new IP and hopefully finding hits.”

ROBWADE PRESIDENT, ALTERNATIVE AND SPECIALS, FOX ENTERTAINMENT

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What were some of your personal highlights from the past year?

Just getting new shows on the air was a huge achievement this year. We’re really proud of the teams and the people working in the industry, from the beginning of the pandemic through to this year, for having the strength of character and skills to create new formats and get them on air. It was very hard to get old formats on air. It doesn’t sound like a huge goal normally, but honestly, just getting new shows on TV was really miraculous this year, and I’m proud that Fox contributed to that.

Tell us more about the impetus and hopes for the global unscripted development fund.

The challenge we have on network television in the U.S. is that it’s limited to primetime, and there aren’t as many slots as you’d like to have to try new things. I think that in opening up the floodgates for creative ideas from around the world and giving producers and networks an opportunity to perhaps try more outlandish and riskier programming, hopefully we’ll be able to reap rewards not only in the U.S. but also in the international market in general.

We don’t have anything formally to announce now [in terms of new projects from the fund], but we are working with a number of different broadcasters on new IP and new ideas that we’re hoping to bring to bear on the networks in the coming year.

Any chance to take low-cost programming is going to be accepted whole-heartedly.

What are you looking forward to for 2022?

We’re really very excited about our new Gordon Ramsay show, Next Level Chef, which is premiering in January. It’s the first time Gordon’s done a new cooking competition show in 12 years. We’re looking forward to bringing back Joe Millionaire.

We’ve been very fortunate in that I Can See Your Voice launched very well, we’re going into a second season for that, and we obviously have more Masked Singer to come. But overall I’m just really looking forward to being able to get into some sort of normality sometime next year, and being able to get into the studio and make shows.

Barry Walsh

TRAILBLAZERS

ELLEN WINDEMUTH CEO, WATERBEAR NETWORK Launching a new streaming platform in an increasingly competitive market isn’t easy, and doing so in the middle of a global pandemic adds an entirely new set of challenges atop finding an audience and developing that platform in the first place.

This is what Ellen Windemuth has faced as the CEO of the WaterBear Network, which celebrated its first anniversary in December 2021. With backing from ZDF Enterprises and Off the Fence (the Amsterdam-headquartered producer/distributor she founded in 1994) , WaterBear launched with a goal of offering content that empowered its audience to take direct action in supporting NGOs through awareness, education and action.

In its first year, WaterBear has expanded its reach to 194 countries, built a network of more than 140 NGOs and brand partners, provided access for its members to more than 300 campaigns, produced more than 50 original titles and curated more than 1,000 documentaries.

Even as an experienced corporate executive and producer (one of her more recent credits is the Oscar-winning My Octopus Teacher), taking on WaterBear has been a new challenge for Windemuth, after mostly working in content and production. But she says one of her hopes with WaterBear is that it could inspire similar multi-faceted platforms in the industry.

“People should start to think of an app as an entertainment platform in whatever genre they want to be entertained,” she says.

“But I think you’re future-proofing yourself if you also become a tool for the audience, and that’s what I think we’re doing.”

One year in, how does the vision and initial plan for WaterBear compare to the reality of how it’s progressed?

Due to COVID, there have been a lot of things that have worked out well for WaterBear, and other things that, of course, we could never have imagined, that have changed the vision of WaterBear.

Where we’re doing really well is 60% of our viewers are North American, even though we’re headquartered in Amsterdam. I think that’s really unusual, wonderful news, and maybe if we hadn’t had COVID, people wouldn’t have paid that much attention to us overseas. So I think that’s a super-positive outcome. The other very positive outcome is we learned how to remote-produce. We have, in record speed and in record time, built up a global network of impact producers, directors, talent, influencers. It’s a very different workflow from what we imagined.

What are the main challenges WaterBear faced in its first year?

A challenge that we’ve had to deal with is speed while working from home. Our plan included launching to 194 countries this year with the app, and we’ve done that. We’ve had to work from home with each other at breakneck speed, so that’s one thing.

The other thing is we’ve had to technically adapt the app to go on [different platforms]. We’re on Apple TV right now and we’re on Roku Global right now, and we are going to launch on five more platforms early in the new year. So we’ve had to do a lot of technical wrangling, and that is not something that is second nature to me, because I am a content person. I’m a filmmaker and I ran a distribution and production company for many years. So at breakneck speed, I’m learning tech and our tech team is educating me incredibly well, and it’s great fun, but certainly challenging.

What are some other aspects of the learning curve you’ve faced going from working predominantly with content to overseeing WaterBear?

The wonderful, wonderful thing about WaterBear is that we have the ability to speak directly with an audience about the 17 U.N. Sustainable Development goals. We have the ability to talk to people all over the world through our WaterBear platform and through the different locations where you’re going to be able to find us, on platforms, on boxes, on FAST channels. We have the ability to tell stories to people who are interested in our future on this planet, and that are devoid of the challenges that come with making content for television, like ratings. We don’t have to worry about any of those things, and we get to experiment firsthand directly with audiences all over the world. Andrew Jeffrey

021

Media and Entertainment M&A Specialists ACF is an international investment bank specializing in selling, buying, fundraising, and pre/post deal services for brands, and businesses in intellectual property, content creation, and international distribution. The team have completed 100 Media and Entertainment deals with a total deal value over $5 billion.

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ACF acted as Investment Banker to Nordic Entertainment Group

ACF acted as Investment Banker to Broke & Bones

Bear Grylls Ventures

Plimsoll Productions

Leftfield Entertainment

New Pictures

Pilgrim Studios

Sale to Banijay

(Lloyds Development Capital)

Sale to ITV plc

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TV Production

Sale to Hearst

ACF acted as Investment Banker to Bear Grylls Ventures

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Magical Elves

The Immigrant

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Love Productions

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Investment from LDC

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ACF acted as Investment Banker to Left Bank Pictures

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ACF acted as Investment Banker to Jupiter Entertainment

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A. Smith & Co Productions

Tarsus

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Paddington and Company

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Orion Entertainment

Sale to the Tinopolis Group

Acquisition Finance

Fundraising

Sale of Intellectual Property Rights to Studiocanal

Acquisition of Sirens Media

Sale to Red Arrow

ACF acted as Investment Banker to A. Smith & Co Productions

ACF acted as Debt Advisor to the Tarsus Management Team

ACF acted as Investment Banker to Jerry Bruckheimer Television

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2021

YEAR IN REVIEW

YEAR IN REVIEW

While there were elements of the past year that seemed like a reprise of the tumult of 2020 — variants of the COVID-19 virus among them — there were many signs of recovery and even growth for the global unscripted and non-fiction screen content industry.

Here’s an overview of some of the major industry trends of the past year.

By Barry Walsh

M&A: THE BIG GET EVEN BIGGER Corporate mergers and acquisitions gained traction in 2021, with scale, IP and the evolving content distribution ecosystem as the prime motivators for the biggest deals.

In a move that seems set to significantly redraw the entertainment media landscape, Discovery Inc. and AT&T’s WarnerMedia announced plans in May to merge and “create a premier, standalone global entertainment company.”

The deal combines WarnerMedia’s premium entertainment, sports and news assets with Discovery’s non-fiction and international entertainment and sports portfolio, bringing together under one umbrella such television properties as Discovery Channel and its sister cable nets with HBO, CNN, TBS and TNT; as well as streamers such as HBO Max and Discovery+, and the Warner Bros. film studio.

David Zaslav, Discovery Inc. president and CEO, will lead the new company, to be named Warner Bros. Discovery. The initial wordmark for the new entity is a nod to Warner Bros.’ past, specifically, the 1941 film The Maltese Falcon: “the stuff that

dreams are made of.”

The merger is expected to close this year and needs to go through the usual regulatory approval process.

At press time, it hasn’t been a clear road, with a number of Democrats in the U.S. Congress claiming the deal “raises significant antitrust concerns.”

In 2021, global streamers also moved more aggressively into the M&A space, with a range of targets — from traditional content giants to emerging tech companies — in their sights. A mere week after the Discovery/WarnerMedia

announcement, Amazon revealed it was buying MGM Studios for a reported US$8.45 billion.

Netflix, meanwhile, made several big buys, ranging from established service providers (Vancouver’s Scanline VFX) to gaming developers (Night School Studio). But the mighty streamer’s biggest acquisition was an IP play: Roald Dahl Story Co., bought for a reported $700 million.

Indeed, the battle for IP has driven up the stakes and the prices in the M&A game for both traditional content companies and the tech firms building their entertainment divisions. Amazon’s MGM buy gives it a catalog of 4,000 films and 17,000 television programs, beefing up the tech behemoth’s content portfolio along with Amazon Studios’ offerings.

Meanwhile, at the time the deal was announced,

the architects of the Warner Bros. Discovery pact boasted that the combined company “will own one of the deepest libraries in the world with nearly 200,000 hours of iconic programming and will bring together over 100 of the most cherished, popular and trusted brands in the world under one global portfolio.”

On the digital front, consolidation was also in the cards. In December, Vox Media signed an agreement to acquire Group Nine, owner of multi-platform media brands including The Dodo, NowThis, PopSugar, Thrillist and Seeker. The deal will see Group Nine join Vox Media’s editorial brands such as SB Nation, New York Magazine, The Verge, Vox, Eater, The Cut, Vulture, Polygon and The Strategist, along with its expanding podcast and studios business. Earlier in the year, BuzzFeed announced it was acquiring global youth entertainment mediaco Complex Networks.

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In addition to bulking up catalogs of existing IP via mergers and acquisitions, major media players also racked up sizable costs in buying and producing content — a trend that is set to continue in 2022.

In November, the Walt Disney Company revealed through its annual report filed to the U.S. Securities and Exchange Commission that it’s planning to increase its annual content spend to US$33 billion in 2022, an increase of $8 billion from the 2021 fiscal year’s spend of $25 billion. According to the report, the increase “is driven by higher spend to support our DTC expansion and generally assumes no significant disruptions to production due to COVID-19.”

Elsewhere in the report, the global media giant further detailed how it expects to divvy up its content spend.

Disney’s General Entertainment division is set to produce or commission 60 unscripted series and 15 docuseries or limited series in 2022 across the company’s linear and streaming distribution platforms.

The $33 billion spend serves as the most recent big chunk of change being invested in the

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JANUARY / FEBRUARY ‘22

content “arms race,” through which media companies are throwing significant resources behind acquiring and commissioning programming. A report from UK-based research firm Purely issued early last year estimated the content spend for global streaming services and their parent companies would hit more than $250 billion in 2021, with Netflix having set a benchmark for a $17 billion content spend for the year, and the two companies behind the media behemoth-to-be, Warner Bros. Discovery, spending a combined $20 billion on films and programming for their linear and streaming services.

As the streaming market matures and continues to splinter off into a variety of acronyms — SVOD, AVOD, FAST — it also faces the daunting task of weathering churn. Deloitte Global predicts that in the year ahead, “at least 150 million paid subscriptions to streaming video-ondemand (SVOD) services will be cancelled worldwide, with churn rates of up to 30% per market.” How the big bankrolling of new content will counter that trend is, perhaps, the $33 billion question.

COMING BACK WITH CAUTION From production and commissioning perspectives, unscripted and non-fiction screen content continued to effectively weather the disruption of the pandemic.

Strong projects came from all corners and myriad genres, ranging from acclaimed docs such as Hulu’s Summer of Soul and Apple TV+’s Billie Eilish: The World’s a Little Blurry, to categories such as food, with CNN’s Stanley Tucci: Searching for Italy garnering raves, and established hits such as Fox’s The Masked Singer and NBC’s The Voice continuing to perform well.

While there might not have been a Tiger King-sized phenomenon in 2021 (although there were more than enough derivatives of that series on various platforms), Framing Britney Spears (Hulu, FX) did seem to light up almost as many virtual watercooler conversations as Netflix’s Squid Game.

Still, ever-changing guidelines set in seemingly constant motion by the stillevolving pandemic didn’t make production any less

celebrating 60 years of DISTRIBUTING GROUNDBREAKING content

challenging in 2021, and the Omicron variant, rapidly picking up steam at press time, will most probably throw wrenches into shooting schedules as 2022 kicks off..

“Long-term, there’s a very healthy future for shiny floor,” Fox alternative head Rob Wade told us in the summer of 2021. “Short-term, we might see a few more swings that live outside of the studio.”

And for other genres, the uncertainty prompted by a new variant means that creative approaches will remain key.

For audiences who may be chomping at the bit for escape, perhaps that thirst can still be quenched in different ways. As chef, host and CEO of Intuitive Content Andrew Zimmern told us in June, pre-Omicron: “I can’t wait to get going and travel 10,000 miles away to shoot an episode, but the real thing is being able to quantitatively prove to our buyers that there are a million travel stories that can be told closer to home.”

(With files from Justin Anderson, Jillian Morgan)

®

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DIVERSITY, EQUITY AND INCLUSION FOCUS

C

alls for greater diversity in the nonfiction film and television industry are hardly new, but in the wake of George Floyd’s death in 2020 and the ensuing protests both in America and around the world — during a pandemic no less — it felt like a genuine turning point, with a growing sense of urgency around creating real, tangible change.

So… is it happening? On one hand, buyers and suppliers of unscripted entertainment are being far more proactive in addressing issues of representation, internally within their own companies and externally via their content development. But addressing the issues at play is one thing — making concerted efforts to create change is another.

“Of course George Floyd’s death was the unifying moment for change — it made all of us take a really hard look at the world we have created and the culture of inequality, and ask whose voices were being heard and whose weren’t, and how we change that,” says Beejal Patel, a commissioning editor for the BBC’s documentaries department.

“We [have] really set out to diversify everything about our organization, including what we do on air, what we do within the walls of our company, and how we interact and engage with suppliers,” says Rob Sharenow, president of programming at A+E Networks.

Such moves are being made across broadcast groups internationally, and increasingly on a global scale. In October, ViacomCBS announced it was broadening its Content for Change initiative, first employed by BET, to become a companywide, data-driven program geared towards three objectives: to evolve and transform storytelling within the network group; to support content creators from underrepresented communities with early access, apprentice and mentorship programs; and to impact company culture by targeting a global hire and promotion rate of 55% for female senior vice presidents and a U.S. hire and promotion rate of 40% for ethnically diverse vice presidents by the end of 2021, with the aim to update long-term targets by the end of 2022.

For many production PUTTING PLANS companies and INTO MOTION networks alike, greater “We’ve always taken our diversity both onscreen responsibility as a brand to and within the teams represent the diversity of the commissioned to world very seriously, but the produce content means events of the past 18 months better programming.

By Justin Anderson put a much sharper focus on “Having diversity this for us,” says Eli Lehrer, throughout the entire executive vice president and head of programming program-making team improves the content at every for A+E’s History Channel. “It’s led to a targeted single stage of the production,” says the BBC’s Patel. and sustained plan for how we address these issues, “It allows us to tell people’s stories authentically and which has not always been the case in the past.” to ensure that what we are showing on screen fully A+E hasn’t been alone in making such plans. represents the audience. It’s not a tick-box exercise for One solution enacted by several big companies us; we are passionate about it.” is supplier diversity programs, where the Patel says the BBC has made a huge investment commissioning broadcaster requires the content in on and off-air inclusion, with the broadcaster suppliers it hires to have certain diversity levels committing to spend £100 million of its existing within their organizations. So if a team or company commissioning budget on diverse content and is made up entirely of straight white guys, they asking production companies to commit to at probably won’t get the job. least 20% of their production teams coming from Some network groups, such as A+E and Discovery, minority ethnic backgrounds. have such programs expressly to ensure that the Programs and initiatives aimed at encouraging companies they work with are committed to DEI suppliers to be more diverse not just in terms of who principles that they’re setting into policy in their own is featured on-camera but also in how they staff business structures. their companies are relatively new developments

The killing of George Floyd in May of 2020 and the global reckoning around issues of systemic racism made diversity, equity and inclusion focal points for the entertainment industry. But in the unscripted and nonfiction content production sphere, what has changed since then, and what needs to happen next?

Abrego

Corn

Hsue

Johnson Lehrer

Patel

Sharenow

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DIVERSITY, EQUITY AND INCLUSION FOCUS

028

I’m an eternal optimist... there is a genuine interest in increasing diversity in all facets of the industry. I’m also a realist and know that some feel unnecessarily threatened by the prospect.”

and a welcome one. But will they foster lasting change?

“I would have answered this question very differently two years ago,” says Eric Johnson, SVP of sound and engagement for North Carolina-based Trailblazer Studios, when asked about diversity guidelines set forth by the companies that work with Trailblazer.

“Now, I think [the move towards a more inclusive company environment] is extremely common, but as we look at most of the production and postproduction companies here in the U.S., it’s clear that we have a long way to go — especially as you look at the more technical positions in post or executive positions in production.”

EFFORT AND IMPACT “It’s a little too easy for all of us to say ‘We must do better’ and then call it a day. We think it’s going to take concrete measures from both the producers and the buyers, up and down the chain, to

effect change,” Stan Hsue and Allison Corn, co-presidents of Lion Television US, told Realscreen.

But for some, change can be uncomfortable.

“I’m an eternal optimist, and I feel that the eyes of some of my white brothers and sisters were opened over the last year and a half and that there is genuine interest in increasing diversity in all facets of the industry,” Johnson says. “I’m also a realist, and know that some feel unnecessarily threatened by the prospect of more diversity in the industry. But there is enough work to go around, and the shows and films only get better with diverse storylines, talent and crew, leading to success for everyone.”

Cris Abrego, president and CEO of Endemol Shine Holdings and chairman of the Americas for Banijay, says resistance or apparent reluctance to get on board with far-reaching DEI programs can sometimes be tied to resources.

The trick is not looking at one element at a time, but looking for every opportunity to see what else we can be doing.”

“This is where a lot of these initiatives fall short, because they require money and they require time. And in some places, some might be interested in committing some time to it, but the money situation becomes more difficult. You have to really have a concerted effort if you want to have impact,” he says.

Abrego adds that while moves are being made to address diversity on screen and at production companies, creating change at the higher levels in organizations is proving more difficult. “How do we get those people into executive roles, where they’re the decision-makers that sit in the positions of gatekeepers?”

For some organizations, such as the BBC, programs are in place to not only recruit but also elevate people from diverse backgrounds within the company.

“Initiatives such as the [BBC’s] Assistant Commissioner development program, the Elevate initiative for disabled production talent, and the Series Producer program are creating a pipeline of talent that are directly involved in the decisionmaking process, and we are always looking at and supporting talent to see who else we can grow at all levels,” says Patel. “For me the trick is not looking at one element at a time, but looking for every opportunity to see what else we can be doing.”

“This is a multi-step process that is going to play out over years,” says History’s Lehrer. “There’s no magic bullet that will solve these issues overnight or with a single show or hire.”

With files from Barry Walsh

It’s a little too easy for all of us to say ‘We must do better’ and then call it a day. It’s going to take concrete measures from both the producers and buyers, up and down the chain, to effect change.”

029

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With over 460 million video, still and audio assets — and a new production team to help make sense of it all — Getty Images is ready to help filmmakers turn their creative visions into reality.

By Brendan Christie

Stories from the source Getty Images is one of those companies that have transcended the industry. You don’t even have to be a filmmaker or a creative to know the name.

But the ‘Images’ moniker no longer really tells the whole story. Getty Images does so much more. In fact, in the last few decades it has grown to be one of the largest and most comprehensive sources for film and video covering creative, editorial and archival content.

Getty Images was founded 26 years ago by Mark Getty and Jonathan Klein. Since then, the collection has grown to include over 460 million assets (of which more than 330 million are digitized), encompassing just about every topic and era you can imagine. New content is being added daily, with approximately 8 to 10 million new assets added each quarter.

On the moving images front alone, Getty Images’ online video collection now contains more than 18 million clips and is growing rapidly.

To help that growth along, Getty Images employs over 125 staff photographers and videographers, and works with more than 390,000 contributors. In fact, the company pioneered the content partner model, and now serves as distributer for 300-plus outlets — think Sony Pictures Entertainment, Universal Studios, NBC News Archives, Paramount Pictures, ITN and BBC Motion Gallery. Or, consider media names such as Bloomberg, Sky News and AFP. The Getty Images editorial teams aim to be the leading source for content from live events,adding footage and images from more than 160,000 news, S30

sports and entertainment events every year.

“We’re constantly evolving and growing in terms of what we have,” observes Lee Shoulders, Director of Content Partnerships. “So, although somebody may think that they know what we have, that could change at any time as we bring on new content.”

Sometimes, she notes, that’s the everyday — maybe it’s something like street scenes from London in the 1960s that have never been seen before, or a new and better transfer of existing materials. It might be footage that was specifically created for stock use by one of Getty Images’ creative partners, or material originally crafted for a different purpose which the owners hadn’t considered monetizing before.

Regardless of where the material comes from, Shoulders says Getty Images’ doors are wide open and the team is eager to work with footage-holders. It’s about finding the most creative and interesting stories, she explains, no matter the origin.

“Sometimes, footage owners are sitting on content and haven’t even considered that there’s another life beyond what it was meant for originally,” she says.

“We can help bring new life to that content — we can help our users or customers re-contextualize it. We can help it get out there into the world.”

A recent example underlines her point. Getty Images has been representing material on behalf of the Harold Anderson family for decades. Based in Tulsa, Oklahoma, Anderson captured everyday life in the Greenwood district, otherwise known as Black Wall

Street. Filmed between 1948 and 1952, Anderson’s footage stands as a rare time capsule and the only known footage to exist of Greenwood’s vibrant rebirth following the Tulsa Race Massacre of 1921.

“We had that content for about 20 years, and the original film is at the Smithsonian,” says Shoulders.

“But, in the past year, we received a call from the family.

They had found some more film in the back of their closet. So we did a film transfer because it was on 16-millimetre film. And, because we’re in touch with the family, we were able to do a write-up of the back story.

“You would think people would be checking their basements and attics all the time, but surprisingly, things are still sitting there waiting to be discovered.”

FORMING A CREATIVE PARTNERSHIP

In fact, there’s so much new and existing material being created and uncovered that Getty Images launched a North American Production team this past year to help filmmakers navigate the archive’s offering and fully flesh out their creative ideas.

“We’ve seen an escalation in terms of volume — increases in the sheer numbers of projects,” says Lyndon Umali, Director of the North American Production team. He surmises that a lot of it has to do with the rise of streamers and the massive volume of content required to feed those digital platforms. Then there was the impact of the pandemic, shutting down film shoots for more than a year.

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Regardless of the cause, Getty Images wanted to be in a place to help with the need.

“The uptick really pointed to the need for us to organize ourselves in a way where we could best meet the demands and service all these productions,” he says. “We just want to provide the best possible working relationship and experience with Getty Images for this community of filmmakers and creators.”

The new division brings together Getty Images’ most seasoned experts in the licensing, creative research and product space. Between them, Getty Images aims to set itself up to be more of a creative partner instead of a supplier.

Umali underlines that the main focus for the teams starts and ends with the story — they focus their efforts on ensuring that the narratives of any given project are told accurately and thoroughly, and the team’s approach starts from a place of creativity and accessibility.

“It really becomes more like a working partnership with our team,” he says of the offering, “like we’re an extension of the production, functioning to deliver on the content needs of the show.

“We have product specialists and a research team gathering material based on cues from the production,” he adds. “You might have specific needs for a particular sequence or it could be more expansive research on an overall project – like a documentary series on a particular subject within a time frame. Our team becomes an extension, working on behalf of those cues and requests coming from the team.”

And sometimes, he notes, it’s the unexpected threads that wield the best results — a client comes in looking for specific footage or to fill a certain need, but the research uncovers something related but unexpected in a complimentary collection. That’s the kind of thing that can happen when researchers are vested in a production and not just filling requests.

“We’re always most impactful when we’re able to have more high-level discussions around specific projects or full production slates at the outset, rather than it being an afterthought in terms of, ‘This is a gap we’re trying to fill in post,’” he notes.

Therefore, his advice for filmmakers who are considering working with the archive is to start conversations as early as possible. You just never know what creative gems lurk within Getty Images’ more than 460 million assets — but now there’s a dedicated team in place who can help.

“We’re trying to tell stories with our content,” sums up Shoulders. “We want to let people know what we have.”

1175706913 – Fire in peatland, Indonesia

932169076 – Iguana amongst greenery, Gulf Coast

1167529983 – Icebergs, Ilulissat, Greenland

102687752 – Mountainscape, Argentina

1326392446 – Aerial view, San Gabriel River, Azusa, California

450032212 – American Flamingoes

mr_00029981 – Firefight, South Vietnam, 1967

1289865418 – Black Lives Matter march, Vancouver, WA, 2020

353428802 – Lava flows, La Palma, Spain

1351421809 – Oil fields, Kern County, California

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By Barry Walsh

MUSIC TOO

As the documentary genre continues its upward trajectory, music docs are enjoying their own moment in the sun, across platforms. And that’s good news for archive producers, artists and fans alike.

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JANUARY / FEBRUARY ‘22

If

the critical accolades, award nominations and honors are anything to go by, 1969 might have given us the “Summer of Soul,” but 2021 might go down as the year of the music doc.

Summer of Soul (Or... When the Revolution Could Not Be Televised) is Ahmir “Questlove” Thompson’s directorial debut. It sees the music aficionado and drummer for modern R&B powerhouse The Roots put his extensive historical knowledge about the genre to good use while also treating previously unearthed footage of the Harlem Cultural Festival in 1969, featuring a plethora of iconic soul music stars, with the reverence it warrants.

The end result connected with audiences and critics alike. The film’s Sundance premiere in January of 2021 was buoyed by a Grand Jury Prize win and an Audience Award for documentary, and a slew of honors has followed, with six wins at the Critics Choice Documentary Awards alone, including for best documentary feature, best editing, best archival documentary and best music documentary. Streaming on Hulu, as of press time the doc has grossed US$3,671,773 worldwide theatrically.

But Thompson’s ebullient effort wasn’t the only music doc making headlines in 2021. Another archive-heavy project that brought new life, and probably a substantial new audience, to a major event of the 1960s — the last kick at the can from what was then the world’s biggest rock band — also figured largely in one streamer’s schedule.

Peter Jackson’s The Beatles: Get Back saw the director and his team apply the same meticulous, state-of-the-art restoration process to an archival treasure trove — in this case, 60 hours of film and 150 hours of audio from the recording sessions of the Beatles’ Let It Be album — that he did for his examination of the First World War, 2018’s They Shall Not Grow Old. While Disney+ has not, as of yet, released viewership data for the eight-hour docuseries, one can hazard a guess that at least for one demographic, the project prompted a flood of subscriptions this past fall.

Not to be outdone, in 2021 HBO unveiled a strand devoted to music documentaries, ‘Music Box,’ created by Bill Simmons,

ARCHIVE REPORT

C OOUREYES former sports analyst and founder of sports and pop culture website The Ringer. The first season featured such films as Penny Lane’s Listening to Kenny G; Alison Klayman’s Jagged, which explored the making of Alanis Morrissette’s Jagged Little Pill album; and John Maggio’s Mr. Saturday Night, an archive-heavy look at the life and career of music impresario Robert Stigwood.

Also streaming on HBO Max, the strand has been renewed for a second season.

All of this music-centric programming is a boon to fans. But it also serves as a welcome trend for documentarians, already enjoying the benefits of a renaissance for the genre bolstered in part by content-hungry streamers; the archive producers who comb the vaults to bring the stories to life; and the music labels that house the recorded legacies of the artists being featured.

“We used to do one project a year, or have one starting when another was finishing,” says Nigel Sinclair, co-founder with Guy East of Los Angeles-based prodco White Horse Pictures. “Now we have eight projects on the go, which is fun, but rather overwhelming.”

In addition to its slate of big-budget narrative films, White Horse has carved out a reputation as a top producer of major music documentaries, many of which feature A-list directors weaving intricate histories through the use of exhaustively researched archive material. Examples include No Direction Home: Bob Dylan, a look at the iconic singer/songwriter’s meteoric rise from 1961 to 1966, helmed by Martin Scorsese; George Harrison: Living in the Material World, also directed by Scorsese; The Beatles: Eight Days A Week — The Touring Years, directed by Ron Howard; The Apollo, Roger Ross Williams’ loving look at the storied Harlem nightclub; and Pavarotti, another project from Howard celebrating the famed Italian operatic tenor.

“I’ve been doing this since 2005, and the idea of taking highend, feature film narrative directors like Martin Scorsese or Ron Howard wasn’t generally followed back then,” says Sinclair when asked about how music docs have evolved as of late.

“Documentaries were made by documentary filmmakers. But that’s in the past, and now the people licensing the footage

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ARCHIVE REPORT

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realize they have a unique commodity, without which the film cannot be made.”

Enter the major music labels. While considerable amounts of footage can often be licensed through various news organizations and archive specialists with specific collections (White Horse entered into a production partnership with one such speciality shop, Reelin’ in the Years, in 2019), the labels that have shepherded the artists’ recording legacies are building upon those considerable assets with visual material, and in several cases are establishing film divisions to coproduce projects featuring their stars.

Recent music docs made with the participation of such divisions include The Bee Gees: How Can You Mend A Broken Heart, directed by Frank Marshall and produced with White Horse Pictures

for Polygram Entertainment, which aired on HBO; and The Velvet Underground, the highly touted doc from Todd Haynes acquired by Apple TV+ and produced with Universal Music Group. In 2021, two more label groups with considerable catalogs unveiled special content divisions and deals with production studios: Concord Music, which has such legendary artists as Creedence Clearwater Revival, James Taylor, Phil Collins and the Stax Records roster in its stable; and Universal Music Group’s content wing, Mercury Studios, which houses the Mercury Records portfolio, and is partnering with BBC Studios’ documentary unit for upcoming projects.

“Now that we have more profile within the industry, we are getting a lot of pitches and ideas coming in from the outside,” says Sophia Dilley, senior vice president of

IN PARTNERSHIP WITH:

Sinclair

Dilley

Concord Originals. “It really depends on the artist and the catalog we’re looking at. In a lot of cases, we’re looking for partners on projects that we have under our roof as well.”

Concord and White Horse are currently in production on a doc project featuring renowned keyboardist Billy Preston. The famed sideman and solo artist passed in 2006, but is once again in the public eye

via the Get Back docuseries, as it was Preston’s entry into the Beatles’ orbit during their recording sessions in 1969 that galvanized the band to move forward with what would be their final release.

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ARCHIVE REPORT

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Dilley says Concord currently has somewhere in the neighborhood of 900,000 copyrights under its roof. Besides the Preston project, Concord is also working on a narrative “genre thriller” that will incorporate the Robert Johnson catalog, and is teaming with Jennifer Lopez’s Nuyorican Productions to develop projects based on the label’s portfolio of musicals.

“We hope that we can add value in that way and hopefully provide a filmmaker with the ability to go in and objectively tell a story with a unique perspective by utilizing the assets we have,” says Dilley. However, she cautions that there are still hurdles for documentarians to clear when working on music docs, particularly projects featuring artists who recorded for multiple labels. “It’s never not complicated,” she says with a laugh.

White Horse’s Nigel Sinclair agrees that the increased interest in music docs has created new challenges for filmmakers as well as opportunities. On the one hand the YouTube era, which allows anyone to upload rare material at any given time, makes footage easier to come by; conversely, Sinclair says the cost of licensing is going up.

Such considerations might make the music labels, with their wealth of resources — financial and otherwise — increasingly important partners for music docs going forward.

“For the first time they’re beginning to see that a documentary is a lot more than a promotional piece,” Sinclair surmises. “This is a chance to create a piece of art for that band or artist which can stand with the records as part of their legacy.”

White Horse Pictures, Homegrown Pictures, Concord Originals and Impact Partners are teaming up for a documentary about the life of “Fifth Beatle” Billy Preston.

(Photo courtesy of Preston Music Group)

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THE FINAL CUT

At the close of each year, we poll members of the Realscreen team to find out what non-fiction and unscripted programming drew them in, and this year is no exception.

And as with 2020, we probably all had a little more time on our hands to check stuff out. To find out more about our top picks for 2021, read on…

WHAT WE L VED LISTENING TO KENNY G Penny Lane’s Listening to Kenny G is a fun and engaging documentary that felt almost tailor-made for me — not because I love Kenny G (I honestly have no strong feelings one way or another), but rather, because a feature-length exploration of the question “What makes art good or bad?” could not be more in my wheelhouse.

Documentaries about pop culture are very much my jam, and Listening to Kenny G is an excellent one. It’s about subjectivity in art, which could easily be a heady subject, but by tying it to Kenny G (someone who has been incredibly successful for decades while also being seen by many as a punchline pretty much the entire time), Lane makes it a fun and easy watch without sacrificing her themes.

The film is funny and insightful while also touching (however briefly) on issues such as white privilege — in one scene, we watch as a rich and successful white man reckons with his own privilege in real time and it’s one of the most fascinating things I’ve seen in a documentary in a while — a truly genuine moment.

For her part, Lane also deserves credit for not taking the easy way out and simply casting the light jazz icon as a figure of ridicule. As someone who grew up in the ‘80s and ‘90s, I can tell you how easy that would have been; to be fair, the film does have a lot of fun with the seemingly guileless musician, but it never comes across as mean-spirited. Instead, Lane actually tries to get at the person under that signature mop of curls, and while your mileage may vary on how successful she is at getting to “the real Kenny G,” it’s a tremendously entertaining effort.

Justin Anderson, Senior Staff Writer

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JANUARY / FEBRUARY ‘22

THE RESCUE Heading into this year, Elizabeth Chai Vasarhelyi and Jimmy Chin’s follow-up to Free Solo was already one of the most anticipated docs of 2021. But the timing of The Rescue’s release, opening to theaters in October after many cinemas around the world had remained closed for much of the COVID-19 pandemic, did wonders for the experience of watching their new film. What was already a gripping feature was made all the more exciting by the chance to see it on the big screen this fall.

In fact, to my eyes The Rescue is an improvement on their Oscar-winning effort about rock climber Alex Honnold performing a free solo climb. The Rescue combines the same skill that Vasarhelyi and Chin showed previously at tense, dread-inducing filmmaking, but now with an even more engaging story.

The Rescue covers the 2018 rescue of 12 kids from a junior soccer team and their coach from a flooded cave in northern Thailand. The Tham Luang Nang Non cave rescue mission was a massive operation and a major global news story at the time.It has even inspired a Ron Howard-directed dramatization starring Viggo Mortensen and Colin Farrell, which is scheduled for a 2022 release.

Although we ultimately know the outcome of the story, it’s a testament to Vasarhelyi and Chin’s abilities as suspenseful, dramatic documentary filmmakers that their film’s race-against-the-clock narrative is able to amp up the suspense, despite the rescue being widely covered only three years ago.

The heroes at the center of the story are compelling, and Vasarhelyi and Chin’s filmmaking is once again breathtaking, making The Rescue a spectacular cinematic experience — something that was sorely lacking with theaters closed through much of the pandemic.

Andrew Jeffrey, News Editor

AND....

As a longstanding Beatles nerd, it was a given that I’d be blocking off eight hours to immerse myself in Peter Jackson’s three-part docuseries for Disney+, Get Back (pictured).

Drawing from the original 1970 Let It Be doc from Michael Lindsay-Hogg, Jackson’s labor of love reframes the established narrative of intra-band acrimony; here, barring a big squabble in Part 1, the lads seem to genuinely enjoy each other, and ultimately share a determination to do the impossible by writing, rehearsing and recording a new album in a matter of days and filming it all for a TV special. With 60 hours of visual footage and 100 hours of audio to sift through, edit and digitally restore, Jackson and team had a similarly herculean task, and they’ve also emerged victorious.

Another music doc on my list — this time from first-time director Ahmir “Questlove” Thompson — makes incredible use of newly discovered archive to give a one-time musical event its rightful place in history. Summer of Soul (...Or, When the Revolution Could Not Be Televised) unearthed film shot at the Harlem Cultural Festival in 1969. Despite the fact that the series of concerts boasted such luminaries as Stevie Wonder and Nina Simone, among many others, and 300,000 caught the shows live, the event known as “the Black Woodstock” has flown criminally low under the radar. Thanks to this project, that has mercifully changed.

The final archive-based doc of my top trio is decidedly heavier going. Attica, Stanley Nelson’s exploration of the deadliest prison riot in U.S. history for Showtime, packs a punch that lingers well after the final credits. With access to footage shot by prison guards during the uprising, as well as a wealth of material shot by news reporters given access to the grounds during the event and present-day interviews with surviving parties, Nelson offers an unrelenting look at those days in September, 50 years ago, that shone a harsh light on the brutal realities of prison life, racism, and what those in power occasionally regard as “justice.”

Barry Walsh, Editor/Content Director

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