'Discovering Discovery'
Rebecca Batties, SVP, Creative Development, Discovery Networks Intl. USA

“It’s very important to look offshore when it comes to doing business” - Rebecca Batties.

Rebecca Batties, discussed why New Zealand producers have gained growing success in providing finished programmes and original commissions for the variety of Discovery Channels.  She also discussed where the Discovery Channels are heading; and how more New Zealand produced programming can find its way into her schedules.  Putting forward a domestic perspective to the discussions, Rebecca was joined by Neil Harraway (Director of Production, NHNZ), Julian Grimmond (Mountain Film Unit) and Chair David Baldock (Ninox Television).

Q: How do you get material on the Discovery Channel?

Rebecca: The material has to fit the style, approach and price we are looking for; and as always it’s about relationships and persistence - and having a point of view. Being in Australia and New Zealand you tend to look out on the world which is an advantage, it’s also cheaper (all budgets are in US dollars) to produce in the USA, Australia and NZ than it is in say the UK.

The Discovery TV channel has two forms of revenue:

1          Advertising: which is becoming more important; and

2          Affiliate sales: internationally a great idea will always win and get a great sale and we are always scouring for talent.

Q: How well developed do ideas have to be before you submit them to Discovery?

Rebecca: Discovery can either go with a well developed idea, complete with taster tape, or generate its own ideas; or a submission could be a paragraph on a page and then work on the project with a production company.

Once again, it’s about building trust, and understanding the audiences’ sensibilities. There’s no longer an approach of “voice of God”, it needs to be entertaining and energetic and at the very top inspiring e.g. series with Becker in Australia “Could it Happen Here?”.

Q: What’s the difference between Discovery International and Discovery USA ?

Rebecca: There are a lot of similarities. Asian market tends to go for a much more educational approach although they are moving towards a more entertainment approach.  Discovery USA is much more US-focused, whereas the international audience likes variety.

Q: Any comment on current trends?

Rebecca: It was DIY for a while and it has now moved on.  Anticipating trends is a key part of it all, including traditional subjects that you can speak to an audience in a more contemporary way.

Neil Harraway, Natural History New Zealand (NHNZ)

NHNZ has been owned by Fox since 1998 and produces fifty to seventy hours of television each year including wildlife, people, and culture. It employs 80 to 120 people in Dunedin , and the majority of its business is with Discovery.  Nature is the majority of what we do.

NHNZ made Tribal Life for the Travel Channel. The Travel Channel came to us and asked us to make the series.  The brief was “give us Ozzie Osbourne with penis sheathes”.   We’re now in Series Three.

NHNZ’s approach – beyond luck - is hard work, and polite persistence and flexibility.  It was a big jump to go from natural broadcasting to global programming and make what the broadcaster wants. A great idea has to appeal to the commissioning editor, generally outward looking and story telling has to be couched in terms the broadcaster is after. You must know your topic and be flexible.

The Catch 22 is that you have to have a track record and you need to show a demo reel. We often steer new people to established production companies to gain the experience needed.

With regard to budgets, there’s been a split - on the one hand the high-end, big event television shows that involve a lot of co-financing and then down to the cheap and cheerful, DV and final cut pro end of things.  Business and budgets are tough, but the Discovery culture is very can do - and they want you to get shows made.

Trends

Now property, makeover type shows, a fashion for presenter led journeys and other hybrid formats. Every 18 months or so we have to re-visit old territory in a fresh way.  Change and experimentation is accelerating so it is all the more important to get out there.

Julian Grimmond, Mountain Film Unit

We were putting together a doco on security work in Iraq , and our strong calling card was to say we were making it for Discovery.  What’s at stake is your reputation, you have to be seen as smarter, and more loyal, and that reputation was maintained all the way through.  It’s all about relationships and connections; and not just with the acquisitions/commissioning people, I’ve made a point of getting to know the people who handle the budgets; production managers at Discovery go through things with a fine tooth comb; and I’ve learnt a lot from them.

The industry event both MFU and NHNZ go to is Real Screen in Washington .  They specialize in factual genres and all the US producers attend; as well as a congress of science producers/ history/wildlife producers.

Real Screen is much more user-friendly for a company of my size to meet the right people. I’m often in America , every six weeks but it’s worth it.  Just get as many ideas in your brief case and keep pushing.  And always bear in mind the market changes so quickly – on one occasion by the time I got to my meeting, I knew my idea wasn’t going to work anymore, so I had to come up with another one on the spot.

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