Agency Credentials tpr media consultants – creative, intelligent campaigns
tpr media consultants www.tprmedia.com
About tpr tpr media is a Londonbased communications agency committed to creating intelligent campaigns for the creative industries and projects with a social impact. We are experts in strategic PR consultancy and branding and work with British and international clients – from LA to Nigeria, Sweden to Japan. We are passionate about compelling storytelling and love to stimulate debate in the media, offering profile and positioning that sets our clients apart from the crowd. Social impact: Making a difference is at the core of our ethos. We have worked extensively with charities and NGOs committed to making practical change to the world we live in, raised their profile and helped with fundraising: from Age UK to Keep Our NHS Public. Documentary: we have worked with some of the world's most outstanding documentary filmmakers. Among these are Nick Broomfield, Kim Longinotto, Morgan Matthews and Brian Hill. We have successfully launched a broad range of cuttingedge drama, featurelength documentary, arts and current affairs programming for Channel 4, More4, the BBC and Sky. Reputational: We have represented some of the world's most influential and creative broadcast, media and arts organisations. These include Associated Press, Reuters and Doc Society. More recently, we have led the communications for the King's Head Theatre, London's first pub theatre, and Union Chapel, the iconic music venue, supporting them through the Covid19 crisis ensuring they have a voice. Festivals: We have managed the PR for Raindance – Europe's largest independent film festival – and represented dozens of films on the international festival circuit including the BFI London Film Festival, BFI Flare, Sheffield Doc/Fest and IDFA. tpr proudly sponsors the new SMART film festival – London's first international festival for smartphone filmmaking and also launched the science and culture festival – The Great Exhibition Road Festival in 2019. Publishing: We have carried out multiple impactful PR campaigns for books and publishing projects including Wildflowers for the Queen (Hugo Rittson Thomas) and The André Simon Food and Drink Book Awards which we have promoted for the last six years. We understand how to create engaging publishing campaigns to both drive sales and engage in relevant debates.
We're grateful for our clients for entrusting us with their projects. Here's what some of them have said about us...
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tpr are brilliant, original and manage to obtain coverage and promotional opportunities in unexpected quarters.” Jon Snow, anchor, Channel 4 News
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I loved working with tpr and we achieved amazing publicity." Nick Broomfield, awardwinning director
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tpr did a wonderful job on the publicity campaign for Britz – the most comprehensive I have known. I can recommend them without reservation." Peter Kosminsky, awardwinning director
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tpr manages to reach parts of the media that no one else can. The company is a joy for any film-maker to work with." Alain de Botton, author and philosopher
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tpr media are an intelligent, thoughtful and incredibly well-connected agency who worked tirelessly to promote the launch of my book. Their strategy was expertly executed and felt tailor made." Hugo Rittson Thomas, photographer, Wildflowers for the Queen: A Visual Celebration of Britain’s Coronation Meadows
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Working with tpr media on my documentary film was a real pleasure. They left no stone unturned, pursuing traditional press while also reaching out to any audience that would bring attention to the film. Sophie and Electra go above and beyond what is expected of a PR firm and treat their clients' projects as if they were their own. And they do it all with a positive cando spirit that is contagious." Joe Gantz, Emmy awardwinning director
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The tpr team totally understood what we were trying to do, took our message and amplified it. We have never had so much useful coverage." Elliot Grove, director, Raindance Independent Film Festival
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tpr are extremely dynamic and work sensitively with top artists. Brilliant coverage." Jan Younghusband, BBC TV Head of Music
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tpr media have done a fantastic job at raising the profile of the King’s Head Theatre over the past 18 months with a series of strategicallypositioned pieces across a wide variety of media outlets. Their expertise, precision and genuine enthusiasm have been invaluable throughout the pandemic, helping to ensure our voice remained alive whilst our doors were closed” Fiona English, Executive director
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Sophie and her team did a brilliant job at promoting our feature-length documentary, Under The Knife, helping it to reach a wide audience and fill over 60 screenings around the country." Pam Kleinot, Under The Knife, Pam K Productions
tpr media’s approach Strategy No two projects are the same, that's why we believe in a personal approach. We will initially ask lots of questions to define a clear strategy, identifying aims, campaign objectives, target audience and challenges. From this point, we'll set clear goals and propose an activity plan. We'll also let our client know exactly what we need to maximise the impact of the campaign, and what the results might look like.
Storytelling Once our client is happy with the strategy, we'll define and then simplify the key messages. We'll create engaging press copy and targeted pitches to communicate the story as clearly and creatively as possible in exciting, engaging ways.
Research We believe in doing intensive research so we can explore all possible avenues for our clients. We will thoroughly research both the project's subject topic and relevant media to ensure we are covering all bases.
News Agenda We follow the news agenda closely to ensure we are linking projects we work on to what's happening in the world, where possible.
Dynamic Media Marketing We understand the media landscape: from consumer, to trade, print to radio and have hundreds of personal contacts. In addition to our network built over more than two decades, we also have access to a stateoftheart media database which allows us to find the right journalist for each project. We'll work out who the audience is and how best to reach them, presenting each campaign in a way that grabs their attention.
Evaluation We'll closely monitor and analyse the impact of our campaigns and provide a breakdown of the successes and achievements alongside media cuttings, statistics and graphs. We will also use this as an opportunity to reflect on the PR campaign and make constructive suggestions for future projects. Our evaluations are often used by our clients to pitch for more work and secure further commissions. See examples here.
Union Chapel Date: from May 2020 May 2022 About: From Elton John to Amy Winehouse, the Union Chapel in Islington is an internationally renowned music venue. Few people, however, realise that all its profits support the venue's charitable work, including the Margins homelessness project. At the start of the pandemic, Union Chapel, together with a number of local NGOs, became the country's first COVID19 Task Force, transforming its iconic performance space into a foodbank and setting up a befriending service. In June 2020, Union Chapel made music history when it hosted the firstever live streamed gig by singer/songwriter, Laura Marling, for thousands of paying fans across the UK, Europe and the US. We worked on various aspects of Union Chapel’s online offering, In Union. Project: tpr media began working with the Union Chapel in May 2020 to create and implement a PR strategy to raise awareness of the venue's iconic cultural and social action work and Crowdfunder campaign. Engaging Union Chapel in national conversations about the arts and social justice taking place at this time of crisis was also crucial. CEO, Michael Chandler, was interviewed on BBC London's Robert Elms show alongside representatives from other major London venues in a wideranging discussion both during the first lockdown in 2020 and as restrictions were beginning to be lifted in April 2021. When Union Chapel's crowdfunding campaign reached almost double the initial target of £50K, a story surrounding Frank Turner’s support led to a number of pieces. Laura Marling's ground breaking live streamed concert generated enormous interest and tpr made sure that Union Chapel was featured as much as possible. Coverage ranged from ITV news and the BBC Travel Show. Michael Chandler was also interviewed in music trade magazines IQ and TPi. Other media highlights include The Bookseller piece for Max Porter’s reading of Grief is a Thing with Feathers, a comment piece by Michael Chandler on the Police and Crime Bill for Big Issue, and an interview with Reverend Vaughan Jones on Union Chapel’s commitment to the LBGTQI+ community on BBC London. See more coverage here. Statistics: News value – £1.4 million, reach – 12.89 million
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BBC Travel Show interviewed Laura Marling at Union Chapel for a feature on how COVID19 has impacted live music worldwide. The item was broadcast on the weekend of July 25 and 26. It was shown on BBC World Service, BBC News and BBC One to an audience of 90m people and is on their facebook page.
ITV London TV piece Friday 12 June at 6pm and 10pm interview with Adam Lilwall at Union Chapel on how the live music industry will have to reinvent itself and the financial impact of socially distanced gigs.
Sunday 19 July Sunday Live BBC One religious programme interview with former Union Chapel ambassador, Emy the Great.
try events magazine s, IQ (Live Music ma ran major features on gazine) and TPi (Total the Laura Marling con Production Internation cert and both intervie coverage in NME and al) wed Michael Chandl Music Week both out er. We had extensive lets ran several articles . Below is a snapshot. The leading interna tional live music bus iness.magazine, IQ, Chapel to tie in with ran a front cover of their major feature. Laura Marling at Uni tpr arranged the inte on rview with Michael Cha https://issuu.com/gr ndler see p. 24: egiq/docs/iq90
90 An ILMC Publicatio n JULY 2020 | £25 | €25
GREEN GUARDIANS GUIDE 2020 INDIA
MARKET REPORT
F O G N I M A E R T S Y O U, M Y L O V E
NME: Laura Marling and gig directors explain what it takes to put on a ticketed livestream show (6/08/20)
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tpr media consultants
– October 2020
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tpr media consultants – October 2020
King's Head Theatre Date: from December 2019 – December 2021 About: The King's Head Theatre, London's first pub theatre, had planned to move to a new, purposebuilt space literally next door, moving from 115 to 116 Upper Street – on their 50th anniversary year (2020). When the Covid19 crisis struck, like thousands of theatres across the country, the King's Head Theatre went dark. Longing to connect with its community – near and far – on the first Monday of lockdown, they launched #KHTOnline – a weekly programme to connect artists with audiences. The theatre is a cultural hub, particularly important to the LGBTQI+ community, and has been supported by many, including actors Mark Gatiss and Ian Hallard during this difficult time. Project: tpr media was originally commissioned to create and implement a PR campaign highlighting the King Head Theatre’s 50year history ahead of their move. Our initial campaign was designed to support the fundraising drive to raise £3m required for the move which has now been temporarily postponed. The Standard ran a double page spread interview with the management team. Everyone was delighted when the theatre was awarded £800k from the Mayor of London Sadiq Khan's Good Growth Fund for the relocation in early March but when the first lockdown came, the PR focus was on promoting #KHTOnline, supporting the fundraising campaign to stay alive and ensuring engagement in national conversations about how small venues would best survive the crisis and emerge from the pandemic. Interviews with Executive Director Fiona English and Mark Gatiss appeared in radio, print/online and TV, including the Standard, BBC London TV, The Robert Elms Show, Islington Gazette and The Stage. As lockdown has been lifted, Fiona English and other members of the management and creative team have continued to be interviewed.
Ready for act two
THEATRE
It helped launch the careers of Hugh Grant and Joanna Lumley — now the King’s Head plans to mark its 50th birthday with a new home, its directors tell Nick Curtis
’M STAND ING on the roof of the King’s Head theatr e—a ra m s h a c k l e fo r m e r b ox ing ring behind a vintage Islingto n boozer — with its artistic directo r Adam Spreadbury-Maher, looking at the future. Londo n’s oldest pub theatr e has hosted early performances from Hugh Grant, Joanna Lumley, Simon Russell Beale and Meera Syal. It staged premieres by Tom Stoppard and Steven Berkoff, gave Eve Ensler’s Vagina Monologues their first London outing and helped to restore the reputa tions of Terence Rattigan and Vivian Ellis. And if all goes to plan with a major fundraising effort this year, the venue will celebrate its 50th birthday in Decem ber in a £9 million, two-auditorium space built in the basement of the Edward ian Royal Mail sorting office I’m admirin g, yards behind the current theatre . “The King’s Head isn’t bricks and mortar,” says Spreadbury-Maher, 38, when I sit down with him and executi ve director Fiona English, 31, inside the pub. “It is that idea of trying someth ing that hasn’t been tried before, giving a voice to someone who normally wouldn ’t have one, looking back at someth ing that may h b l k d f
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Heather Ruck, Interim Programme Director, discusses the challenges for smaller venue post lockdown
Evening Standard
have been overlooked or forgotte n.” Clean — and to stage musica The theatre will contin ue ls. the triThe new home will be substan ple-pro nged policy, evolve tially d during more comfortable than the Spreadbury-Maher’s 10-year old. Asked tenure, of by a waitress if he wanted anythin staging access ible opera g durin English ing an interval back in the Eightie translation, “LGBTQ-slash-Q s, the ueer proactor Murray Melvin reporte gramming” and revivals of dly replied: neglected “An osteopath.” As well as post-war plays like Tennessee nicer seats, Williams’s English says, you will no longer Vieux Carré and Sean Mathias “have to ’s A Prayer use your programme to protect for Wings. There will still be yourself a blend of from leaks, and the dressin in-house and externally produc g rooms ed work won’t flood backstage. We don’t actually have an external wall at the for which staff and perform back at the ers will all, moment, just a layer of insulati unusually for a fringe venue, get paid. It on.” will continue to tour and transfe Althou gh the new buildin g will be r plays, more salubrious, English and to act as a forcing ground insists the for talent: King’s Head won’t lose its rough Donm ar boss Micha el Longh edges. urst, At £9 million, it’s cheap for auteur Katie Mitche ll and a new theaproduc er tre and at first it will be kitted Kenny Wax also started out here, alongout with “cardboard boxes and plywoo side countless technicians and actors. d”. Though Spreadbury-Maher is right that But instead of the curren t 113-seat a theatre is more than its bricks and mortar, space there will now be an 85-seat stulocation, history and atmosphere dio, broadly for more experim still matental radical work, including “unhea and rd lester. The new home is part bian and trans voices”, and of, and a larger, partly funded by, 250-seat auditorium. It’ll be the Islingt on the sort of Square develo pment of the room beloved by independent vast producformer north London sorting ers wanting to try things out, office, and it will which had been shut up for enable Spreadbury-Maher to over 20 bring back years. This enables them to past hits that have grown in scale — like stay close to their roots and the King’s Head productions of Traintheir local audience “withou spottin g and Kevin Elyot’s t Comin g it costing £100 million”. l d l
King’s Head Theatre launches streaming platform to raise funds
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Executive director, Fiona English discussed Plays on Film, the theatre’s digital offering and plans for the future with presenter Hugo Rifkind
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Eyimofe (This is My Desire) Festival: 64th BFI London Film Festival Date: 11 October 2020 About: Eyimofe (This is My Desire) was selected as one of only 50 films to be screened at the virtual 64th 2020 BFI London Film Festival (the number is usually 300). This directorial debut from twin brothers Arie and Chuko Esiri showcased the exciting genre of newwave Nigerian cinema from GDN Studios. Eyimofe is a film about the quest of two people, Mofe and Rosa, living in the sprawling metropolis of Lagos, for what they believe will be a better life on foreign shores. However, tragedy and fate intervene as they try to better the lives of their families. Project: This highend, reputational media campaign focused specifically on film press and higher end print and radio. We were initially asked to organise a private event for the film's UK premiere alongside the PR campaign but this did not go ahead due to Covid restrictions. We placed 15 features and reviews across a range of online publications as a radio interview with the lead Jude Akuwudike on BBC Radio 4's Saturday Live. Key pieces included a BFI Sight and Sound feature on Nigerian New Wave cinema which included interviews with the directors, together with a review, a British Blacklist interview with Arie and Chuko and an Alt A Review Q&A with Jude Akuwudike. There was coverage across a number of film blogs. See more coverage here. Statistics: News value – £101.85k, reach – 3.75 million
Features The feature below is by
Chrystel Oloukoi who is on the
BFI critics membership schem
e and lives in Nigeria.
wudike on 10/10/2020 Jude Aku
Saturday Live, BBC Rad
io 4 with Rev Richard Cole
s ad Suzy Klein
mmes/m000nbyz
RUSHES
www.bbc.co.uk/progra
REPORT
NOTES FROM THE NI GERIAN NEW WAVE
Nigerian films at the BFI Londo n Film Festival and Film Africa highlight a thriving indep endent scene outside Nollywood By Chrystel Oloukoï
For many people, Nigeria n cinema is synonymous with Nollyw ood, the second-largest film industry in the world after Bollywood. But for the Nigerian filmma ker Arie Esiri, Nollywood is “a mainstream cinema, with a repetitive construct, mode, style and moral stance on good versus evil”. He is generation of Nigerian filmma among a new kers challenging Nollywood hegemony. Eyimofe (This Is My Desire), the stunning feature debut his twin brother Chuko, which by Esiri and screened at the BFI London Film Festival last month, is a prime example of a new wave of Nigerian independent cinema emerging from under the shadow of Nollywood. Eyimofe, along with a number of films showing in the ‘Beyond Nollyw ood’ programme at the festival Film Africa, shows be bold, and unafraid of proposi this new wave to Nollywood shuffled: Temilolu wa Ami-Williams in Arie ng new cinematic and Chuko Esiri’s Eyimofe languages and thoughtful aesthetics while engaging with complex social issues. directors started making A tale of restless mobility and distributing films across Lagos cheaply on video, often filming and broken dreams of migrati in on, Eyimofe languages, inspired by a thriving indigenous opens on a chaos of red, yellow, green and culture. More recently Nollyw local theatre black electric cables that ood has become echoes the currents increasi of desire animating the film. ngly vulnerable to piracy and more Shooting on segmen 16mm film, the Esiri brother ted. Moving away from the s and director of quick, cheap, and massive product Soyinka and Chinua Achebe photography Arseni Khacha ion of home videos . Whether we call turan that were long the hallmar it ‘Off Nollywood’ (Didi Cheeka redefine visual representations powerfully k of the genre, New ) or ‘Beyond of Lagos, giving Nollywood films such as Nollywood’ (Nadia Denton it a timeless feel rather like The Set Up or Bling ), the directors Edward Yang’s Lagosians (both 2019) are associated with this ‘renaiss immortalisation of another English ance’ of Nigerian megalopolis in budget blockbusters, melodra -language highcinema do not necessarily Taipei Story (1985). In contras feel part of a movement mas or romantic t to comedies, which are released or a shared aesthetic. Their high-angle, drone’s-eye perspec the distanced, theatrically and backgro tives of the city dominate streaming platform diverse (though they are largely unds are in contemporary Nollyw s such as Netflix. ood films, middle class Both New Nollywood and and diasporic); so is their a sense of proximity and intimac Eyimofe offers the burgeoning training – some independent cinema scene started out working on film something of Lagos’s everyda y, capturing reveal sets, a Nigeria in y hopes. a very different situation to film schools such as Nigeria some went Film Africa’s Beyond Nollyw from the ’s ood strand is now a proliferation of multipl 1980s: there Film Institute, some are self-taugJos National demonstrates the breadth of contemporary ht. If anything assertive middle class hungry ex cinemas, an binds them, it is the minima independent filmmaking for more diverse l aim of ‘not being in Nigeria. It cinematic representations, Nollywood’. Theirs is a plea encompasses the experim a dynamic festival for the right to ental films of the scene, with the Lagos-based exist outside Nollywood’s artist Onyeka Igwe, whose Lights Camera enduring grip on short Specialised Africa!!! and Africa Interna local and global images of Technique (2018) interrogates tional Film Festival, Nigerian cinema. the colonial gaze as well as a generation for behind archive footage of whom, as Chuko Black dancers, and the Esiri tells me, “the idea of Newer than new recent feature film For Maria being a creative is Ebun Pataki, which no longer taboo. You have Nollywood emerged in the explores postpartum depress not disgraced your late 1980s amid a ion family, you have not wasted global economic crisis and restraint. The director, Damilo with quiet your life.” a level of insecurity la Orimogunje, Still, carving out a space outside in public spaces in cities like decided to cast well-known Lagos that led Nollywood actors Nollywood and New Nollywood is not to the closure of many cinema such as Meg Otanwa (Ojuju, easy. Public funding s. Self-taught 2014; Payday, 2018) is scarce and Tina Mba (Nigerian Prince, and focused on mainstr 2018; Gold Statue, Producers assume that Nigeria eam cinema. 2019), but the film has none n of the not ready for a kind of cinema audiences are THREE RECENT NIGE that according to Nadia Denton over-acting that takes risks, , curator of the does not offer neat moral Beyond Nollywood program INDIE FILMS TO WAT RIAN lessons and strays me, CH away from conventional Nollywood. She calls Otanwa characterises narrativ ’s performance Adé Sultan Sangodoyin, whose e forms. For career-defining: “The movem short A Cemetery ents, of Doves (2019) focuses on and speech were subtle, emotive engagement Eyimofe (2020, Arie Esiri a queer teenager and & Chuko Esiri) A pair and sincere…” plays with the codes of silent of Lagosians trying to get Yet this new wave is not, in cinema, these visas to go abroad get fact, that new. For funding challenges are sympto caught up in personal tragedie more than a decade, talented matic of how s. filmmakers have “producers regularly underes been trying to define a languag For Maria Ebun Pataki timate African (2020, Damilola e for themselves, audiences”. As Arie Esiri Orimogunje) Family drama inspired by and in convers affirms, “The average about a mother ation with Third Nigerian watchers have a suffering from postpartum Cinema, New Taiwanese diverse depression. Cinema and Italian watch a load of things: Korean palate, they neorealism, as well as – LFF A Cemetery of Doves (2019, Adé Sultan TV shows programmer Keith are huge, Filipino soaps are Sangodoyin) A queer teenage Shiri points out – oral traditio huge, and then r comes to terms ns and literary you have the big blockbu with his sexuality in this classics by authors such as sters…” moving short. Ben Okri, Wole ever a perfect space for experim If there was entation, a country of more than 200 10 | Sight&Sound | Decembe r 2020 million souls and
ALT AFRICA a pro gressive platform for the creative ind with Jude Akuwudi ustries ke
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ROGERS. SZUMOWSKA ILLUSTRATION BY LUCINDA
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celebrating divers
PORTRAIT BRIGITTE LACOMBE
Theirs is a plea for the right to exist outside Nollywood’s enduring grip on local and globa l images of Nigerian cinema
November 2020
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Esiri | Eyimof
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The Film Magazin
Independent film magazine for the best in world cinema.
tpr media consult
Alexa Dalby is very knowledgeable about African film.
vember 2020 nsultants – No
tpr media co
My Desire’ (2020)
ants – November
2020
BFI LFF Review.
Torture case against Sri Lanka’s then presidential hopeful – Gotabaya Rajapaksa International Truth and Justice Project Date: April to June 2019 About: We have been working on Human Rights violations in Sri Lanka with the International Truth and Justice Project (ITJP) for five years. The ITJP is administered by the Foundation for Human Rights in South Africa under the guidance of transitional justice expert Yasmin Sooka. For this campaign, the NGO engaged Hausfeld Law Firm’s Scott Gilmore – who successfully sued the Syrian Assad Regime for the killing of Sunday Times correspondent Marie Colvin – to lead the case against Presidential hopeful and Sri Lanka’s former secretary of Defence, Gotabaya Rajapaksa. In April, Gilmore brought a civil damages case for torture on behalf of Roy Samathanam whilst Rajapaksa was travelling in America with his dual AmericanSri Lankan nationality. After a couple of months, 10 new claims for damages from victims of torture were also brought against Gotabaya Rajapaksa. Project: The aim was to demonstrate, through an international media campaign, that Presidential hopeful Gotabaya Rajapaksa had been involved in shocking cases of torture. The campaign focussed heavily on coverage in the US where we broke the story via AP, successfully leading to stories in a number of leading US publications, including the New York Times and Wall Street Journal. UK coverage included the Guardian and the BBC World Service. We worked with Reuters in South Asia which led to several pieces across the region including the Colombo Telegraph, the Colombo Gazette, the Tamil Guardian and The Hindu. See more coverage here.
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The Race To Save The World Distribution: Online followed by VOD Date: 22 April 2021 About: Made over five years, The Race to Save the World is a feature documentary that follows the inspiring stories of everyday people, aged from 15 to 72, who are devoting their lives to fighting climate change. This film follows the passion, determination, and unwavering commitment of people who aren't putting their heads in the sand, they aren't waiting for someone else to do something: they’re in the trenches making an impact. The Race to Save The World will inspire viewers to stop waiting on the sidelines and make their voices heard for a sustainable future. Project: tpr media was commissioned by Emmy awardwinning American filmmaker Joe Gantz to carry out a reputational campaign to encourage audiences to view the film and raise the reputation of the filmmakers. There were a number of highprofile pieces including high end radio, BBC World Service’s Newshour, Times radio and Extinction Rebellion’s Rebel Radio as well as reviews, including the Guardian. tpr media also organised screenings with The Barbican and relevant organisations including Extinction Rebellion, iconic music venue, Union Chapel and The London School of Economics’ Geography & Environment Department.
Under the Knife Date: September 2019 About: tpr launched the premiere of Under the Knife, a 90minute documentary, that tells the story of how the NHS arrived at its presentday crisis. Narrated by awardwinning actor, Alison Steadman, and endorsed by film director, Ken Loach, Under the Knife was released in a festival of screenings in over 70 venues in collaboration with campaigning organisation Keep Our NHS Public. Project: tpr was commissioned to raise awareness of the screenings of Under the Knife, encourage the public to see the film, generate debate and raise awareness of campaigning organisation, Keep Our NHS Public (KONP). We secured a media partnership with campaigning newspaper The Mirror which ran two high profile pieces including a spread with Alison Steadman. Mirror Associate editor, Kevin Maguire, chaired the Under the Knife premiere Q&A and mentioned the film in his Mirror column and on social media. Other coverage included a mention in John Le Fanu's Telegraph column, Pam Kleinot's blog in Open Democracy (81.3k twitter), and a blog in Live for Films (57.2k followers) by director Susan Steinberg. The British Medical Journal and the Health Service Journal also covered the film's release. In total, there were just over 50 pieces of coverage, with over 30 regional pieces of press. See more coverage here. Statistics: news value – £738k, reach – 3 million
National newsp p ■ There are over 50 free screenings of Un Under The Kn Kniffee across the UK. Book free tickets at underthekniffefi efilm.co.uk/screenings/
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IT’S a hugely important film m because it explains why the NHS is on its knees. The danger is not only insufficient funding but we need to rem move all the private contractors, which are a in effect privatising it. We’ve got to get back to the t original principles, because it’s the most m efficient. There’s a moral question too – why should big corporations ma ake money out of our healthcare and lo ooking after our children? Does Richard Branson need another island in the West W Indies? No, he doesn’t.
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CONSERVA VATIVE hosp spokesman, Jona ital claims do not add up, but, Labour’s health campaigners. At the than Ashworth, is enjjoying ra rave reviews from premiere fighting To Tory cuts, the Leice off Under thee Knife, a compelling film NHS ster MP was haailed Secretary to fully as the first grraa Don’t tell Corbyn’s sp why a wasteful inteernal market Shadow Health need camp. They might fire Gordon Brown’s s axing. clever mentee.
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We need proper funding and proper public ownership of it again n, where everyone has a direct contrract from the health service, from catterers to cleaners to consultants. We do not want a system m like America. We know it’s masssively unequal. It’s massively ineffficient and gives massive profits to a fe ew people. That’s the opposite of wh hat Nye Bevan’s dream was and we’ve got to make that dream a reality again. a The election coming up iss critical. People have got to get out and a vote Labour – that way, y, we can restore the National Health Service. If we don’t win, we shall lo ose it. ■ There are over 50 free screenings s of Under The Knife across s the nation from Monday to Friday next week. For tickets, visit underthe Fo eknifefilm. co.uk//s screenings
but lays the blame off successive Toryy firmly at the door governments who have bled the servi ce dry. Off mum Marjorie y. worst thing was, beca she says: “The she was put in a ge use she was 80, riatri “The hospital was c ward. understaffffed and unde underfunded, “Patients were literar pressure. lly ignored. It was heartbreaking. “She was veryy ill and she felt sick all the time. She was d dyying “I kept going up to of cancer. asking them to go and the desk and help her. “It had been an had come round. It hour and nobody brok my heart.” Marjorie, who was e my diagnosed in
N Picture: PHILIP COBURN
Bafta-award winning film m director
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EX CLUSIVE BY RHIAN LUBIN
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and, operation and radiotherrapy, to s subsequently, thoracic surgery in her remove a couple of metastases dably derstan lungs. She was thus und e years ago that distressed to learn three ecurrence. she had had a further re geon suggested, There were, her surg and he several treatment options e he had would write to her once never reflected further. His letter ks later, a junior came. Instead, six week wrote to doctor in another deparrtmentbeen anu Fa James Le F e had inform her that her case (as it is discussed at an MDT meeting wo heads are better than een decided where it had be known), w one,” CS Lewis once one, of chemo. If she should have a coursse remarked, “not because would surgery r, ‘T this shrunk the tumour either is infallible, but then be considered. they are unlikely to go n research, Dr Having done her own wrong in the same against ecided de to already comes Richards had direction.” And, when it – but decisions, another toxic course off chemong was making important clinical – a nfuriati still she found really in w what a dozen heads are better ecided on by a of that all this had been de multidisciplinary team (MTD) s, never met ad ha she doctors surgeon of gists, group physicians, radiolo g of her gists, all and who knew nothing radiotherapists, patholo g their preferences and priorities. meeting together, bringin since her on the She soon discovered that, collective expertise to bear er, this had Who could s bouts of cance action. of previou course ed preferr – the MDT become standard practiice argue with that? 0 cases in a MJJ senior ghties, BM meet to review up to 40 Back in the Noug are had the morning: the relevant sscans views editor Dr Tessa Richards cussed, shown, test results disc ving two bouts of av misfortune of ha ns rapidly ajjor a ma exchanged and decision cancer, warranting first i t f f d ll i th d d di h i
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dd Underfunde hospital failed my mum annd now the NHHS is in critical condition Watching her mother die, Alison Steadman witnessed first-hand the ment ‘heartbreaking’ treatm of ignored elderly patients By Rhian LubinSteadman
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LISON helplessly as her a watched mother lay in a hospital bed, dying from pancrea cancer. atic But it was seeing her and mum Marjorie neglected ital verpool hosp ignored on a Live was one of the most w ward which
life. painfful experiences of her at he doesn’t point the finger Sh staff king staff. hard working any of the hard-wor Stacey Insteead the Gavin And at y at firml blame the actreess lays of government. d the door The worst thing was because Th “T was 80 she was put in a geriatshe w 73. now ward,” says Alison, ric w
Great Exhibition Road Festival 2019 Date: March to June 2019 About: In June 2019, the first Great Exhibition Road Festival 2019 was launched. South Kensington's Exhibition Road – the first cultural quarter in the world – hosted a celebration of curiosity and discovery, with a new, free festival of art, science and culture, transforming the area, with interactive workshops, behindthescenes tours and exciting talks. The festival marked the bicentenary of the births of Queen Victoria and Prince Albert, taking inspiration from their vision for the Great Exhibition of 1865. Project: tpr media was commissioned to develop and implement a PR campaign with the principal aim of driving visitors to the Great Exhibition Road Festival in its launch year, focussing on the 'bigger picture' and broad themes; liaising with a core team at Imperial. We gained 95 pieces of wideranging media coverage across TV, radio, print and online, from BBC TV London news to BBC Radio 4 Loose Ends; The Observer to Mail Online; Time Out to Londonist; Grazia to BBC History Revealed. The results exceeded the key performance indicators for London and national media. See more coverage here. Statistics: News value – £452.8k, reach – 11 million
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'My dearest, 'My dearest, m most ost b beloved eloved Victoria' S Victoria' Stirring tirring llove ove lletters etters r of V of Victoria ictoria a and nd A Albert lbert unearthed unearthed
EXCLUSIVE: 'Can you come to me alone for a moment? Your devoted V': Love letter from Queen Victoria to Prince Albert on day they got engaged is published for first time
The sweet love letter by the Queen is being shown to the public for the first time • It was written in German, a language the couple only used after their engagement, having previously corresponded in English • He replied at length, describing how he would always be her 'devoted Albert' • The couple was recently portrayed by Jenna Coleman and Tom Hughes for ITV's hit series Victoria • Five letters are being released ahead of the Great Exhibition Road Festival in south Kensington, London •
By CLAUDIA JOSEPH FOR MAILONLINE PUBLISHED: 08:26, 28 June 2019 | UPDATED: 09:07, 28 June 2019
343
shares
A love letter from Queen Victoria begging Prince Albert to sneak a moment alone together on the day of their engagement is to be shown to the public for the first time.
A LOVE LOVE letter letter ffrom ro m Q Queen ueen V Victoria ic to ria b begging e g g in g P Prince rince Al Albert bert ffor or a mo moment ment a alone lo n e o on n the d the day ay of of th their eir e engagement ngagement is b being eing s shown hown to th the ep public ublic fo forr th the e firs firstt tim time. e. By EMILY EMILY PRESCOTT PRE R SCOTT
PUBLISHED: P UBLISHED: 21:33, 21:33, Fri, Fri, Jun Jun 28, 2019 20 019 | UPDATED: UPDATED: 22:07, 22:07, Fri, Fri, Jun Jun 28, 2019
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It is one of fiv five e revealing revealing love letters letters the th he lovers lovers exchanged exchanged on October Oct c ober 15, 1839, despite despite being be eing in the same same building, building Windsor b Windsor Castle. Castle. One One of of the the late late Queen’s Queen’s letters letters simply simply said: said: “Dearest “D Dearest Albert, Allbert, Can C an you you come co ome to to me me alone alone for for a moment? moment? Your Your devoted devoted V.” V.” Another Another emphasises emphasises the the love love they they shared. sh ared. On On the the day day Victoria Victoria proposed, proposed, Albert Albert wrote: wrote: “My “My dearest, dearestt, most most beloved beloved Victoria. Victoria. I am a so ttouched ouched byy the evidence evidence of trust trust that you y give me in sending sending your you ur letters, letters, and by the so affectionate a fffectionate sentiments sentiments that you express expre ess towards towards me therein, therein, that tha at I scarcely scarcely know know how to reply re eply to you. “How “H ow have I earned earned so much much love and d so much much warm-hearted warm-hearted kindness? kiindness? “I am still still unable unable to accustom accustom myself myself to t the truth truth of all that I see see and hear and can can only believe believe that Heaven Heaven has sent sent down an angel to t me, whose whose radiance radiance is intended in ntended to brighten brighten my life.. “May I succeed “May succceed in making making you quite quite quite happy, as happy as you yo ou deserve deserve to be!!
André Simon Food and Drink Book Awards Date: 2014 – ongoing About: The story of food is the story of the world. It’s in this spirit that The André Simon Awards were founded in 1978 to recognise the achievements of food and drink writers. These are the longest running awards of their kind. Previous winners have included: Elizabeth David and Rosemary Hume (the very first winners), Michel Roux, Hugh FearnleyWhittingstall, Nigel Slater and Rick Stein. Project: The longterm aim of our work with the prestigious award ceremony is for the André Simon Memorial Fund to be involved in national conversations about trends in food, drink and cooking through its staff, judges and winners and reflect the diversity of contemporary Britain. Since 2014, we have built strong relationships with trade and consumer media including The Bookseller and the Food writers on the nationals. Since the inception of the awards, more than 40 years ago, a copy of each winning book has been stored in the Guildhall Library, reflecting the changing food tastes of a nation. See more coverage here.
18/02/ 2020 ht tps://in drink/ ews.co cookbo .uk/in oks-re whole ews-lif cipes-fish-t estyle food-lo he-tur /foodvers-li kish-c andves-ve ookboo ganism k- exam -theined
February 2019 the Andre simon food and drink assessors Niki Segnit and Dan Jago discuss the legacy of the awards in terms of highlighting changing tastes in the UK
11/12/19 – Bookseller https://www .thebookselle r.com/new 1132936 s/andr-sim
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Wildflowers for the Queen by Hugo Rittson Thomas Date: February 2021 About: Wildflowers for the Queen, a largeformat art title by fineart photographer, Hugo Rittson Thomas, celebrates the Coronation Wildflower Meadows initiative. This was established by the charity Plantlife under the patronage of HRH Prince Charles, to highlight the shocking loss of wildflower meadows which now account for only 1% of land across the UK, as well as to celebrate the 60th anniversary of The Queen’s Coronation. Project: tpr media carried out a broad ranging, high visibility campaign. To do so, we explored a range of angles including: art, the royals, conservation, gardening and photography. This enabled us to connect to journalists across the media landscape and political spectrum with a high impact. There were over 50 pieces of coverage. The campaign launched with Martha Kearney from The Today Programme on Radio 4, interviewing Hugo Rittson Thomas (this rocketed the book to becoming an Amazon top 100) and an interview on Cotswolds Radio. Features across the nationals, included a feature by the doyen of gardening, Robin Lane Fox in the Financial Times, a spread in the Sunday Times, The Guardian, The Mail, The Telegraph and magazines such as World of interiors (feature), Country Life (front cover and feature), Tatler (feature in mag and online), Country and Townhouse (feature and podcast) and The English Garden (features in UK and US editions). See more coverage here.
Statistics: News value – £1.3 million, reach – 10 million
Radio and P odcasts Martha Kearn ey interview ed Hugo Rit Trevor Dine tso s on the Toda y Programme n Thomas and 18 January 20 21
This interview helped the bo become Am ok azon top #1 best seller in the Lifestyle an d Photography an Plant Science d Botany and s #1 Best Seller
FT – column by Robin Lane Fox 24 April 2021 In print and online. The FT has a highvalue, international audience of more than 1 million Hugo Rittso n Thomas
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Top Boy Distribution: Channel 4 Date: November 2011 and August 2013 About: Top Boy is Ronan Bennett’s awardwinning drama about young people living on the edge and out of sight in east London today. The series stars Ashley Walters and Kane Robinson together with a dynamic ensemble cast of firsttime actors, brought together through extensive talent searches across London. Project: Working across seasons 1 and 2, tpr media implemented a major national publicity campaign across print, broadcast, online and new media, positioning the series as a major television event and reinforcing Channel 4’s reputation for delivering contemporary, cuttingedge drama that tackles controversial issues – in this case gang culture. The range of coverage included dozens of pieces with the main stars, behindthescenes with emerging talent and authored pieces with the writer, Ronan Bennett. We also organised a cast and crew screening at the BFI in London for 450 people with a Q&A. See more coverage here.
Section Page Date Circulation Author
G2 12,13 21 October 2011 262612 Emine Saner
The former So Solid Crew member is now an actor with a burgeoning film and TV career. But how much does his portrayal of young black men draw on his own troubled background? He talks to Emine Saner
‘People take risks with me’
I
s Ashley Walters afraid of being typecast? In his new film, Sket, he plays a violent gang leader on a London housing estate. In Top Boy, a Channel 4 drama soon to be screened, he plays a drug dealer on a London housing estate. In another new film – because Walters is about to be everywhere – Demons Never Die, he plays a police officer; it must have come as something of a relief. After Bullet Boy, the 2004 film that kick-started his movie career – in which he played a young man involved in gun crime on a London housing estate – it seemed as if he could be in danger of becoming the go-to man for gritty, urban dramas. The fact that Bullet Boy was also Walters’s rehabilitation after he was jailed for possession of a firearm in 2002, may also have something to do with it. He says it doesn’t worry him. “There was probably a day that I did [worry about playing the same kind of roles] but at the moment, I’m at the place where I’m pretty much picking stuff I want to do. I’m not saying I’m being offered everything, but it’s nice to get scripts and go with my heart.” We meet up at a film company office in central London. I was expecting someone more like Asher D, his confident
alter ego who first found fame as a teenage rapper in So Solid Crew, but Walters is quiet and thoughtful, wise beyond his 29 years – yet still bewildered, it seems, at the fortune of a second chance. Even though he receives regular praise for his work, he brushes it off. “Maybe everything looks a lot more amazing because of where I’ve come from and what I was doing before,” he says. “If I had graduated from Rada I
doubt I would get much hype. I’m happy to take it but I I feel like I’m learning all the time.” It is a decade since So Solid Crew, the grouping of up to 30 rappers and producers led by producer Megaman, exploded on to the British music scene. Their single 21 Seconds reached No 1 in 2001, and their music, fresh and vital, paved the way for artists such as Dizzee Rascal. So Solid were also dogged with accusations of glamorising violence in their lyrics, and there were allegations of actual violence at their gigs. There was a shooting in the crowd at one; in another incident in 2004, a So Solid associate was convicted of murder. (Megaman, who had been held on remand, was acquitted.) Walters, after an argument with a traffic warden, had his car searched and a gun was found.
His defence was that he had been threatened – on one occasion at knifepoint when he was holding his young son – and the success of the group had made him a target, and made him paranoid. He was sentenced to 18 months in a youngoffenders’ institute. “The main thing I got out of [being in prison] was being a parent,” he says now. “I spent years being angry with my n father because he was in e, jail 16, 17 times in his life, and I was just about to make my kids as angry as I was. I came out believing the thing I had to g focus on most was being e a father and breaking the cycle, which has meant all the other stuff that has come with it, like focusing on my career. I missed my kids daily – my son was nearly two and my daughter was about to turn one and I hadn’t been there. I was on the road, or drunk, or smoking weed, gigging, in hotels with women. I wasn’t looking after my children and taking care of business.” Walters grew up in London, raised by
Section Page Date Circulation Author
have been taken are The contents of the publications from which extracts collecting society or copyright works and without permission of the relevant or otherwise reproduced save as permitted by statute may not be copied resold. or purposes) (even for internal
Section Page Date Circulation Author
Observer Magazine 30,31,32,33,34,35 09 October 2011 302490 Ronan Bennett
NAT IS A DEALER. H E N EV E R REFERS TO HIS MERCHANDISE AS DRUGS. HE CALLS IT FOOD
Ronan Bennett spent two years interviewin g gang members in east London for his powerfu lly personal TV drama, Top Boy. Here he describe s their hidden, hopeless world – and the lengths they'll go to escape from it
Photograph Dean Roge rs
The contents of the public ations from which extrac ts have been taken are copyright works and withou t permission of the releva nt collecting society or save as permitted by statute may not be copied or otherw (even for internal purpo ise reproduced ses) or resold.
T2 10,11 24 October 2011 445962 Andrew Billen
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The Undateables Distribution: Channel 4 Series 1–3 Date: 2012–2014 About: tpr media was responsible for promoting and branding the first three series of Channel 4’s The Undateables and creating a brand for this awardwinning series about dating and disability. There was a delicate balance to be struck between being tasteful and provocative. Our contributors – who were all looking for a relationship with someone special – had a range of disabilities, some physical, some mental, and it was important for us to engage them in the campaign and for them to have input in how it should run. Project: The title – The Undateables – is Channel 4 at its provocative best and designed to stimulate debate. Many of the contributors liked this because they said that too often disabled people are not heard but ‘The Undateables’ couldn’t be ignored. In fact, in the series titles the ‘Un’ prefix of Undateables is dislodged by ‘cupid’s arrow’, making the contributors dateable. The campaign, across all three series, was at heart human interest and casestudy led. We provided media training for contributors who appeared on TV sofas – Good Morning Britain, This Morning, Lorraine and in articles in the Guardian and The Sun.
The Sun
The Guardian
Telegraph
Independent
The Team Founder and Director Sophie Toumazis has over 25 years’ experience in PR. Before starting tpr, she worked at the London Tourist Board, the BBB and with NGOs. Since setting up her company, Sophie’s client list has included Channel 4 and the BBC, More 4, Associated Press, Reuters, RSA, Doc Society, dozens of production companies and Raindance, Europe’s foremost independent film festival. tpr has a strong trackrecord in running campaigns that engage in the cultural and news agenda.
Account Executive Electra Epaminondas has been at tpr media since graduating from The University of Manchester in Comparative Religion and Social Anthropology in 2019. She has worked on over 30 PR campaigns and is passionate about social justice, documentary film and the arts.
PR Assistant Molly Horncastle has been at tpr since 2020 and has a firstclass degree from The University of Manchester in Anthropology. Before joining tpr, she worked as studio assistant and social media manager for fineart ceramicist Katherine Barney. She loves all things art and culture.
Website: www.tprmedia.com Twitter: @tpr_media_PR Issuu: www.issuu.com/tprmedia Email address: sophie@tprmedia.com Telephone: +44 (0)20 8347 7020 tpr media consultants, 3 Muswell Hill Road, London N6 5FJ