Posts tagged bbc
Reposted from BBC website. Image via Radio Times
In a one-hour film set to air in 2014, Joanna Lumley returns to BBC One to spend time with will.i.am – the man who has intrigued her since she saw him carrying the flame on the 2012 Olympic Torch Relay across Britain.
Joanna travels to Los Angeles, California to meet will.i.am on his home turf – spending time with him at his mansion in Los Feliz, meeting his friends and family, and returning with him to his childhood home in the social housing projects of Boyle Heights in East Los Angeles. She accompanies will.i.am as he journeys back to his old elementary school where the course of his life was changed forever by an inspirational teacher John Wright, and watches him compose and create a special song about his mother.
Charlotte Moore, Controller of BBC One, says: “In this very special documentary for BBC One, Joanna Lumley spends time with the intriguing will.i.am, hanging out with his friends and family and delving into his background to find out just what motivates this extraordinarily driven individual who seems more than anybody else to define the pace, energy and creativity of the time in which we live.”
Joanna will be talking to will.i.am about his childhood growing up in one of the toughest areas of Los Angeles, his school days and early moves into the music business, his massive success with The Black Eyed Peas and subsequently as a solo artist too, his relationship with President Obama, his work on The Voice, and the many ventures to which he devotes his time.
Emma Willis, Head of Documentary Commissioning for the BBC, says: “We’re absolutely delighted to be welcoming Joanna Lumley back to factual television on the BBC. Joanna is one of Britain’s most popular personalities and will bring warmth and insight to this unique documentary.”
Joanna Lumley Meets will.i.am (1×60-minute) was commissioned by Charlotte Moore, Controller, BBC One and Emma Willis, Head of Documentary Commissioning. The film will be executive produced by Mark Wells for Rain Media Entertainment, Steven Lappin for Big Red Productions and Maxine Watson, Commissioning Editor for the BBC. It will be produced and directed by Adrian Sibley.
Reposted from The Guardian
The BBC's most senior black executive has said he would have had a better and more lucrative career in the US because its television industry is more favourable to ethnic minorities. Pat Younge, who will leave his post as chief creative officer of BBC Productions at the end of this year, said there was still a lack of big, meaningful roles for black actors in UK drama, despite recent high-profile hits such as Line of Duty and Luther. Younge said it was "inconceivable" that a US drama would not have a black person in a prominent role because of the proportion of black viewers among its audience. But he said there were no roles for Chinese or Asian actors in the US, who he said were "frankly knackered".
The outgoing BBC executive, who has previously said British TV is run by a "pretty white commissioning and channel elite", said it is a pattern that is reflected behind the scenes in the UK. "I have lived in both [the US and the UK]. I would rather personally live in Britain as a culture, as a society, in terms of how different races live together and rub along side by side," Younge told Nicky Campbell on Radio 5 Live breakfast on Friday. "In terms of the economics of being a black TV executive, I would have a much better career and a much more lucrative career in the States because the economics of the industry drive it that way," he said. "First of all, the US has a bigger drama industry than we do here and secondly, African Americans make up one in eight of the population, there is an economic driver for the production companies and networks to include black actors…It's inconceivable in the States that you would have a significant drama that does not have a black person in a lead or second lead role."
Younge said there was anger among black actors about the "paucity of parts" for them in homegrown TV drama. "What they mean by parts isn't work – there is probably work out there – what they mean are meaningful roles which are fully rounded and have a decent back story." Younge said: "If you look at the last couple of years, Dancing on the Edge, Small Island, Luther, The Shadow Line, Line of Duty, Top Boy, it's not that there aren't parts, the challenge is in the writing…The challenge we face in UK TV is can we get more black writers through the system who can create these rounded parts, that will give these actors the work they are looking for."
To read the full article, click here.
What do you think is holding diversity back in the UK television industry?
'Yes, he's back. The Beeb have released a short video confirming that 'Luther' will be back for a third series. Filming starts this month so we should be seeing more of the brooding detective on our screens very soon!
Reposted from The Guardian
George Entwistle, the new BBC director general, has said in his first interview that the corporation should increase its coverage of women's sport following its successful coverage of the Olympics, where Team GB competitors including Jessica Ennis and Laura Trott won gold medals. Entwistle said that the BBC could not compete with Sky to buy the rights to some sports – but added that he believed there may be an opportunity tap into the growing interest in women's sport, where the cost of buying up the rights is likely to be lower.
"While I am director general, the BBC will carry on having a serious commitment to sport. But look at the latest BT/Sky Premier League deal, that comes in at about £6.5m per football game. We are simply no longer in that class," he said, in an interview in the latest edition of the Radio Times. "Look at growing interest in women's sport and what opportunities might there be for us in the future as different sports come to the public's attention. Women's sport could be a real opportunity for the BBC," Entwistle added.
The BBC retains TV rights deals for events including Wimbledon, Six Nations Rugby Union, some Formula One, the Olympics and the football World Cup and European Championship – with many of the events it shows protected by the so-called "crown jewels" rules that insist that some major events are broadcast on free-to-air television.
To read the full article, click here.
As reported, it has been announced that George Entwistle has been appointed the new BBC Director General. The corportation's COO Caroline Thomson narrowly missed out on the top spot and with the BBC passing over the opportunity to appoint the first ever female DG, Jane Martinson – Women's Editor at The Guardian – asks the question: what does a woman have to do to become the BBC's Director General?
Reposted from The Guardian
Bring out the bunting, wave the flags: a middle-aged man and former Newsnight editor is set to be director general of the BBC. Forgive the note of sarcasm. I have nothing against George Entwistle, by all accounts a thoroughly decent man who was picked today to run our national broadcaster despite his less-than stellar handling, as BBC Vision director, of the BBC's jubilee coverage. Yet so similar is he in outlook, temperament and background to the man he is to replace as director general that he is known internally as "mini-me".
Given that Mark Thompson was widely considered to have handled a difficult job well this, could be seen as no bad thing – a safe choice in a turbulent world. But today's appointment of a cookie-cutter BBC lifer, albeit with a good track record and few enemies, is not only uninspiring but raises the question: what does a woman have to do to be appointed head of the BBC? And if the British establishment continue to appoint in their own image in this way, what does that mean for diversity in Britain more generally?
This is not a call for indiscriminate positive discrimination, but if the government is as keen to do something about the lack of women leading big corporations as it claims to be, studying the detail of this appointment would be useful. And not just to decide which one of the candidates would be most likely to roll over and play dead the next time licence fee discussions come round.
Faced with enormous challenges for both the BBC and the media in general over the next five years, the BBC Trust, led by Lord Patten, appears to have paid serious consideration to a woman with a lot of relevant experience and given the job to a younger man anyway.
Reposted from The Guardian
George Entwistle has been named as the new director general of the BBC. Currently the corporation's director of vision and a former editor of Newsnight, Entwistle will take over from Mark Thompson in the autumn on a salary of £450,000 a year. Entwistle beat his BBC colleague and the corporation's chief operating officer Caroline Thomson to the role. Ed Richards, chief executive of media regulator Ofcom, was also shortlisted.
Announcing the appointment on Wednesday, BBC Trust chairman Lord Patten said: "George is a creative leader for a creative organisation. His experience of making and delivering great programmes that audiences love – built up through many years of working for the corporation – will prove invaluable as he and his team work to ensure the BBC remains the greatest broadcaster in the world. Above all, George is passionate about the BBC, is committed to its public service ethos and has a clear vision for how it can harness the creativity and commitment of its staff to continue to serve audiences in ever more innovative ways."
Entwistle, who was Thompson's preferred candidate as his successor, said: "I'm delighted that the chairman and trustees have decided I'm the right person for the job.And I'm very excited about all that lies ahead. I love the BBC and it's a privilege to be asked to lead it into the next stage of its creative life."
Thompson, who announced in March that he would step down after the London Olympics after eight years in charge, said: "I think this is a brilliant appointment. "George has shown himself to be an outstanding leader with an intuitive understanding of public sector broadcasting. He has a formidable track record as a programme maker and in recent years has also shown his calibre as a leader. I wish him and the BBC every success in the years to come."
Patten paid tribute to Thompson, saying his "creativity, vision and leadership have made him an outstanding director general of the BBC and he will be sorely missed."
This is the memo he sent to BBC staff when his appointment was announced:
The issue of diversity goes beyond race, gender and class; it also takes into account the content, stories, perspectives and subject matters that we see on our screens. Now it seems like the arts will be coming to mainstream television as the BBC are in talks to create a permanent designated channel. See below for more information.
Reposted from The Guardian
Talks are underway to provide the first permanent state-subsidised arts TV channel with funders already hoping that an experiment involving the BBC this summer will pave the way for a more lasting arrangement, the Guardian has been told.
Arts Council England, the body which distributes public money from the government and National Lottery to arts organisations, revealed it was in discussions with the corporation just hours after the culture secretary,Jeremy Hunt, had floated the idea of just such a channel and making state grants to arts, cultural and heritage organisations conditional on them supplying content.
The minister had suggested developing an online presence for live performances "to ensure we reach the largest possible audiences completely free of charge" . In a speech to arts groups in London on Monday, Hunt had urged them to build on the experience of The Space, a pop-up online channel funded to the tune of £4.5m by the arts council and the BBC. It began broadcasting last month and was due to close in October but the council said talks are now under way to extend the scheme, which they hoped would be permanent.
Praising The Space where "you can listen to John Peel's record collection, see hip-hop dancing from Sadler's Wells, enjoy a live broadcast of Britten's War Requiem or watch the entire Globe to Globe Shakespeare season", Hunt asked: "Should we turn this into something much more ambitious? A permanent digital channel with live broadcasts every night of our very finest cultural offerings? Indeed should it be a condition of government funding to supply some live content – whether from museum exhibitions, live performances or parts of our heritage – for a new digital arts channel to ensure we reach the largest possible audiences completely free of charge?"
The culture secretary said this could help organisations explore new revenue streams, new partnerships and new sponsorship arrangement. Asked later whether the government would be dangerously dictating to the arts sector by making groups provide free content for a digital channel, he said: "I don't think arts organisations will resist this at all because it's part of their core mission to make sure that their output is seen by as many people as possible."
For the full article, click here.
Reposted from The TV Collective
There is a prevailing problem in the industry when it comes to finding, keeping and developing Black and Minority Ethnic writers for TV and Radio Comedy. The Comedy Studio is a targeted development scheme, working across the industry and broadcasters, bringing together a group of up to ten of the most talented writers with a real commitment to narrative Comedy.
The idea for this unique opportunity was conceived by the Writersroom when the BBC’s Black and Asian Forum (BBAF) produced “An Audience with the Real McCoy”, an event to celebrate 21 years of the comedy sketch show and look at why it was so successful and how we could aspire to set up an initiative to seek out writers and new ideas.
Vice-Chair of the BBAF, Michelle Matheson says: “It was brilliant to be able to celebrate the talents of the cast and production on The Real McCoy and use that as springboard to find new writers with fresh ideas…I’m even more thrilled that the initiative is now taking off and look forward to seeing what comes out of it.”
Kate Rowland, the BBC’s Creative Director, New Writing says: “ New talent and particularly writers are at the heart of great comedy. BBC Writersroom recognises that certain writers are not making their mark in the industry, so we hope that ComedyStudio will give these writers the time and space to interrogate their ideas working closely with BBC Comedy, to create exciting new work.”
Selected writers will take part in a three/four day residential in Kent, between 15th – 18th October, where they can develop their ideas, craft and network with other writers and producers across the Comedy industry. This is a scheme for talented writers on the cusp of a career in television or radio, and as such applicants will need to have some form of professional experience under their belt – eg a full commission, production or professional showcase in theatre, radio, film or TV.
Writers must submit an original calling card script (written for any medium – TV, film, stage, radio), a comedy idea they would like to develop (at least one paragraph, and up to one page), and a biog or brief CV of previous experience. Writers will be selected on the basis of the ability shown in their script and the potential for development shown in their idea.
Email submissions with the subject header ‘CDN The Comedy Studio’ to: email@example.com
This scheme is supported by CDN, BAAF, BBC Comedy Commissioning and The TV Collective.
UPDATE: The deadline for submissions has been extended to 9am on Monday 6th August – do not miss out on this great opportunity.
Reposted from BBC website
Extend, the BBC’s work placement scheme for disabled people, is now open for applications.
The BBC-wide placement scheme offers appropriately experienced disabled people an opportunity to gain six months paid work within the BBC.
Over 30 placements are up for grabs, at locations all over the UK. Jobs on offer include development researcher for BBC Comedy, broadcast assistant on Newsnight and finance assistant at BBC North.
Applicants, who should have a keen interest in broadcasting and a broad knowledge of BBC output, can apply for up to two of the placements on offer. Placements will commence in September or October 2012 and last for six months.
Although there is no guarantee of a full-time job at the end of a placement, last year 65% of Extendees gained further work at the BBC.
Over the last 14 years, Extend has recruited 513 disabled people. The scheme has also been recognised by Personnel Today, winning the award for Diversity in the Workplace.
For more in the scheme and to apply, see the Extend 2012 website.
Reposted from Marketing Week
In her first interview since becoming director of marketing and audiences at the BBC last year, Helen Normoyle tells Lara O’Reilly how the broadcaster’s marketing teams can continue to deliver at a fraction of the cost
Marketing Week (MW): The BBC is looking to make radical savings as a result of the six-year licence fee freeze. Where do you plan to cut marketing costs?
Helen Normoyle (HN): I have savings of 25% to deliver. Our money goes on people, making programme trailers and investing in research, so those are the pots of cash we need to look at. A key driver as we look to make these savings is how we improve our efficiency and effectiveness. So, to use a well-worn phrase, it’s about how we can do more with less. That thinking was partly the impetus behind our restructure. We want to have more flexible people and streamlined processes to reduce the amount of time it takes to do something. That way, a 25% cut in budget doesn’t have to equate to 25% less work. I’m a big admirer of Angela Ahrendts, chief executive of Burberry, who said about three years ago that you should “never waste the opportunity of a good recession”. If you look at Burberry’s recent financial results, clearly it hasn’t. We’ve got to take this positive approach and use the situation as an opportunity to rethink how we do things to deliver ever greater value for money.
MW: You restructured the marketing teams in April so that your creative marketers can work across a range of brands. Was there a sense of working in a more siloed way before?
HN: To be honest, yes. It was a function of history – and I don’t think the BBC is alone in that. Matrixed working and flexible teams are the way forward. To be honest, yes. It was a function of history – and I don’t think the BBC is alone in that. Matrixed working and flexible teams are the way forward. I like to simplify things. The way you do that here is to bring everything back to the audience and this cuts through all the things that can make the way you are working seem complicated.
We set up the new ‘creative marketing’ team because we felt, given the imperative to deliver even greater value for money, it was important to have more flexibility. When you have fixed teams in each area, it’s harder to get that. By pulling everyone together it gives people the ability to move around the organisation. And there’s a definite upside to that in terms of career development: it gives people the opportunity to spend 10-15% of their time on ‘Brand B’ as well as concentrating on ‘Brand A’.