Subscribe Online  


Salary Survey 2014: the results

Televisual’s 19th annual salary survey is now available to read in full in the Reports and Surveys section of our website.

The survey paints a mixed picture of pay rates in broadcasting and production. 

On the plus side, the majority of respondents (46%) say their salaries have risen over the past year – compared to 17.5% who report that their pay has fallen and the 36.4% who say it has stayed the same.

The survey, based on feedback from hundreds of Televisual readers, reveals the weekly and daily rates for key jobs in the industry, as well as information about pay by sector, region, age and gender.

Click here for the full report

Posted 23 April 2014 by Tim Dams

Interview: Henry Normal, Baby Cow

In fifteen years, Baby Cow has become one of the UK’s top comedy indies. Co-founder Henry Normal explains all

Henry Normal set up Baby Cow with Steve Coogan in 1999, and since then the indie has been home to some of the most distinctive scripted comedy to come out of the UK: Gavin and Stacey, The Mighty Boosh, The Trip, Hunderby, Marion and Geoff, Ideal and, of course, Alan Partridge. Its film arm has enjoyed a winning streak in the last year too, producing Oscar-winning Philomena and box office hit Alpha Papa. And Baby Cow’s animation division is set to launch football fan comedy Warren United ahead of the World Cup.

Not bad for a company that was originally set up in Brighton so that Normal and Coogan could spend more time in the city with their young families. The indie’s first series, Human Remains, was made there. But they moved the company out for their second, Dr.Terrible, because of the cost of filming in a seaside town.

Ever since, Normal has been commuting to Baby Cow’s London office in Fitzrovia, home to 18 staff. It has grown to become one of the few remaining independent, mid-sized producers in the industry (BBC Worldwide took a 25% stake in 2008) – one that regularly turns over around £10-15m a year.

Normal, who was the co-writer of The Mrs Merton Show, The Royle Family and Coogan’s Run, started out as a performance poet and stand-up after a short spell as an insurance broker. He says Baby Cow sought to stay comedy focused from the very beginning, rather than diversifying like its more established competitors Hat Trick, Tiger Aspect and Talkback. “Steve and I set off wanting to make programmes that we would want to watch, and that was fundamentally comedy. I think if you have a level of expertise you should go with that. You don’t think of somebody like Picasso for his car maintenance, or James Hunt for his painting.”

Normal puts Baby Cow’s success down to everybody there being a comedy enthusiast. “People work all sorts of hours, very often six and seven days a week...It’s not so much work as a vocation.”

He adds: “We talk to lots of people, read lots of scripts. We like to think there is a certain style we go for and therefore we get that style sent to us. So we do a lot of working class, single camera, naturalistic stuff.”
Normal also says that the one defining factor about Baby Cow’s output is that it strives not to produce anything “too obvious.”

And new animation Warren United fits into this category. Normal says that, as far as he is aware, nobody has ever produced a series about a football fan. Set to launch on ITV4, it’s a family friendly show that’s the brainchild of exec producer Bill Freedman who has spent eight years bringing it to the screen.

New animated narrative series are rare in the UK. Warren United was written in the UK by Simon Nye, David Quantick and Dominic Holland. The animation was done in Canada – which offers generous tax breaks – by animation house Smiley Guy. “It’s very family orientated. It’s got a guy at the centre who has a wife and kids, so it’s not unlike the American animations. Except this has a new flavour to it that they haven’t got. We have tried to keep it as generically everyman as we can.” He calls Warren “sort of aspiring working class, at best lower middle class” who comes from the fictional town of Brainsford. “It’s not too far north, nor too far south – and looks a little bit like Peterborough.”

Normal is responsible for day-to-day business at Baby Cow, while Coogan is involved in various projects (he is writing a new film with Philomena’s Jeff Pope and is filming some more Alan Partridge this year). Many of Baby Cow’s staff have grown with the indie. For example, deputy Lindsay Hughes has been with Baby Cow since it began, and was originally Coogan’s PA, while Alan Partridge producer and director Dave Lambert started as a runner 12 years ago.

Normal says he is a business person “by default”, who wants to make creative programmes. He exec produces all Baby Cow shows, reading scripts and sitting in the edit. He doesn’t go to the shoots though – he says he finds them too slow. “There’s nothing for me to do and we have great producers who can handle that.”

Asked about the future of Baby Cow, he says there’s no great plan – and never has been. “I don’t think we started with a plan other than lets make some television we want to watch.” That said, he points out there are now more channels such as Sky, Comedy Central and Dave looking for content as well as digital outlets. “We are talking to Hulu, Amazon, Xbox…we’ve got productions with channels we haven’t made stuff for before which we will be announcing soon.”

Normal doesn’t sound unduly worried by the planned conversion of BBC3 to an online only channel. BBC3 backed Baby Cow’s most recent hit, Uncle. “The whole industry is in flux. We can’t really predict what will happen in the next two or three years. It might be a very astute move by the BBC...who knows, in five or ten years all TV might be online.”

Henry Normal CV
“Originally, I was a little baby. Then I went to a very bad school. Then I was an insurance broker. Then I decided to go on a little adventure. I was doing stand-up comedy and poetry all around the country. I toured everything from schools to prisons, any venue that would pay me.

“Then I had a TV series called Packet of Three and a radio show, but I realised I wasn’t as funny as other people I knew, especially Steve and Caroline Aherne. So I wrote The Mrs Merton Show and The Royle Family with Caroline and Craig (Cash), and Paul Calf, Tony Ferrino and Coogan’s Run with Steve Coogan.

“Then, when I was writing The Parole Officer with Steve we decided to set up a company...”

Warren United starts on Tuesday 22nd April at 10pm on ITV4.

Posted 16 April 2014 by Tim Dams

Hinterland: anyone for Celtic noir?

British TV audiences have embraced foreign language drama thanks to BBC4’s airing of acclaimed Scandi thrillers such as The Killing, Borgen and The Bridge. So the producers and backers of Welsh thriller Hinterland have high hopes that it will find a receptive audience when it airs on BBC4 later this month.

And it deserves to. Hinterland blows out of the water any preconceptions a viewer might have about a Welsh-language drama. Taught, spare and beautifully shot, it’s filmed in and around the remote hills and seascapes of North West Wales, which lend a real sense of grandeur and authenticity to the drama.

Hinterland has already aired to strong audiences on S4C and BBC Wales, but its BBC4 outing will be the first for non-Welsh viewers. “It should satisfy fans of Scandi noir, but we’re hoping that they will also see that it is original and far from being a copy,” says S4C drama commissioner Gwawr Martha Lloyd.

Cardiff indie Fiction Factory originally pitched Hinterland to S4C with a straightforward premise, recalls exec producer and co-creator Ed Thomas. “We knew S4C hadn’t had a detective series for many years. So we went in with a simple pitch that every grown up channel should have a detective they can call their own. ”

After S4C committed to back the series, Fiction Factory went out to find co-production partners to meet the £4.2m budget. From the start, the idea was to shoot two versions: one in Welsh for the home market, the other in English for the international market.

Usually, it would be a tough call to raise co-pro money for a Welsh drama. But Fiction Factory’s timing was good. “What helped us along the way was the success of the Scandinavian dramas – Wallander when we started off, and after that The Killing, Borgen and The Bridge,” says Thomas. Backers responded to the idea of a European drama with scale and a non-metropolitan aesthetic set in landscape that is “tough and sinewy and a little bit mythical.” Into this authentic landscape, the writers placed the usual trope of a detective with a troubled past to investigate terrible crimes.

Distributor All3Media responded early on, committing 25% of the budget. BBC Cymru Wales also emerged as a backer, and further funds were raised from the MEDIA fund, the Welsh Assembly Government and from Tinopolis, which Fiction Factory is affiliated to. “It was more akin to raising money for a film than a TV series,” notes Thomas. Early international buyers included Danish broadcaster DR Denmark, makers of The Killing.

The shoot ran from November 2011 until June 2012, with 30-35 days allotted for each of the four 120-min films. The 100 crew and cast were based in and around Aberystwyth for the duration. This not only had a significant impact on the local economy, thinks Thomas, but also meant the team could build relations with the local authorities – which helped the shoot. The drama’s police station was, for example, fashioned out of one of the University’s agricultural buildings, while the council opened up their old law courts. “The wisest thing we did was to take the cast and crew up there for seven months,” says Thomas.

And once there, the landscape radically affected the way the film was shot. The drama’s budget meant that the producers knew they couldn’t compete with the pace, urban locations and interiors of shows like Luther. “Our excursions into the police station were as little as we could get away with,” says Thomas. So more time was spent getting out into the landscape. The actors were dressed accordingly – styled to look like outdoor types rather than typical onscreen detectives in suits.

The production was blessed with a very harsh, almost arctic winter. There was plenty of low, clear sun which was perfect for shooting on an Alexa. “The DoP (Hubert Taczanowski) was Polish. He came from the old school, Soviet era. What he could do with low light on the Alexa was extraordinary. He’d never been to Wales before, and got off on the fact that it is a big little country, with almost a mid-Western, Sam Shepherd-like landscape.”

The Welsh and English language versions were both shot scene by scene by the same actors. They would rehearse in one language, shoot in it, then do the same shot in the second language.

It’s not yet clear which version BBC4 will air. But Thomas says one of the big surprises has been the way the Welsh version has been received by non-Welsh speakers so far. “They say watching it through the prism of Welsh adds to its sense of worldliness and place.” After all, he adds: “Middle England now feels very comfortable watching dramas in another language.”            

Set in and around Aberystwyth, Hinterland comprises 4x120-min films which each centre around a murder investigation led by DCI Tom Mathias, a detective with a troubled past.
Produced by
Fiction Factory in association with S4C, Tinopolis, BBC Cymru Wales, the S4C Co-Production Fund and All3Media International
Richard Harrington, Mali Harries, Alex Harries, Hannah Daniel, Aneirin Hughes
Executive producer Ed Thomas
Producers Ed Talfan, Gethin Scourfield
Created by Ed Talfan and Ed Thomas
Directors Marc Evans, Gareth Bryn, Rhys Powys, Ed Thomas
DoP Hubert Taczanowski  (Ep 1&2), Richard Stoddard (Ep 3&4)
Line producers Kathy Nettleship, Meinir Stoutt
Production designer Eryl Ellis
Art director Gerwyn Lloyd
Editor Mali Evans (Ep 1&3), Kevin Jones (Ep 2&4)
Colourist Gareth Bryn, Matt Mullins   
Camera Alexa

Hinterland is set to air on BBC4 at the end of this month

Posted 11 April 2014 by Tim Dams

Q&A: Sy Lau, president of China's Tencent Online Media

China is becoming an increasingly important market for UK producers, with British formats and shows such as Sherlock, Gogglebox, Supernanny and Secret Millionaire all selling to the country.

And one of the big players in China is Tencent, one of the country's largest internet companies, which has struck deals with the likes of BBC Worldwide and ITV Studios to import shows for its service.

Here's a brief Q&A interview with Sy Lau, the president of Tencent Online Media Group, China, where he spells out why the company is a fan of British programming.

Tell us about Tencent? Tencent is the largest Internet company in Asia and the world’s fourth largest Internet company by market capitalisation. Tencent launched its online video service Tencent Video in 2011 and it is now the leading online video platform in China. For a 30 RMB membership fee per month (around £3), the audience gets exclusive access to certain popular Hollywood films as well as some other member rights.

What kind of British content is available? In June 2013, Tencent Video announced an agreement with six UK-based production houses including BBC Worldwide and launched its British Drama Channel. In 2013, 40 drama series were broadcast on the channel in total.

What is the most popular kind of content?
On the international content front, over 40% of Chinese Netizens voted Sherlock, Downton Abbey, Black Mirror and The IT Crowd as the most popular series that are available online. The new British Drama Channel has received more than 200m impressions in total since it was launched in June 2013.
Why is British drama proving popular? The top two reasons British drama has become so popular in China is that the content is so interesting and how elaborate the execution of those ideas is. According to analysts from EntGroup, mini-series like Black Mirror and Sherlock were viewed like mini-films rather than TV series, considering the different content in each episode; they were viewed as being great for people who are pushed for time. Merlin and Downton Abbey were viewed as combining British myths and traditional culture into great programming in a very natural way. The IT Crowd brought over British humour while Skins revealed some of the social challenges. These kinds of content and approach are not frequently seen in Chinese 
dramas. Learning English was also a big draw: 59.7% Netizens claimed this as a big motivation to watch British dramas.

Which UK producers does Tencent deal with? Tencent Video signed agreement with six production houses including BBC Worldwide, ITV Studios, Fremantle Media, All3Media International and Endemol to import British dramas in June 2013.

Are you looking to increase your business with UK producers? The user base for British drama within China is expected to reach 160m within the next 2-3 years. Tencent is always striving to introduce the finest premium content. We have introduced a variety of American TV series, and plan to introduce more British drama this year.

Posted 10 April 2014 by Tim Dams

Creating a family business on the small screen

Simon Chinn (left) is regarded as one of the world’s leading cinema documentary producers, with Oscar winning films like Man on Wire and Searching for Sugar Man to his name. His cousin Jonathan (right), meanwhile, is a well known reality TV show runner, with an Emmy for Fox/PBS’s American High.

The pair have recently teamed up to launch Lightbox, an indie focused on the small screen. The company’s first project is a series of documentaries for Xbox about the start of the digital revolution.

The plan, says Simon Chinn from his London office, is “to take both our experience and find the intersection between the two.” That means creating TV content that’s “really distinctive and unique,” with the production values of feature docs, but also popular and mainstream.

Adds Jonathan Chinn, via Skype from LA: “We are hoping to run the gamut of non-fiction, all the way from formatted reality to premium, high end documentary content. But always with an eye on trying to do things a bit differently.”

With offices in the UK and the US, Lightbox aims to create non-fiction shows for traditional broadcasters in the US and the UK, as well as some of the new media buyers such as Xbox and Netflix.

The pair hope to grow the company organically in both markets, creating a transatlantic, mid-sized indie of note. Simon Chinn says that he’ll keep producing feature docs through his existing company, Redbox. “I can make a good living out of feature docs and be creatively fulfilled. But I’ve never really seen it as a scaleable business.” Despite his track record, feature docs can still take years to produce: the deal-making is tough, and producers have to reinvent the wheel for each film.

“I don’t want anyone to think that I’m some arthouse, indie film maker coming into TV – that is not my sensibility,” adds Simon, who is a fan of C4’s Educating Yorkshire. “I think Educating Yorkshire is more moving and inspiring than the best indie cinema, which struggles to hit those emotional notes.”

Posted 09 April 2014 by Tim Dams

The best British shows at Mip

Ahead of this month’s MipTV international sales market, Tim Dams picks the British shows set to get buyers reaching for their cheque books

The MipTV international programme sales market kicks off in Cannes this month (7-10 April). As ever, there will be a significant UK contingent at the market, touting the best shows and formats made by British producers to international broadcasters. Up for grabs is a slice of the estimated £1.2bn that the UK generates each year from selling its television shows around the world. Here, Televisual names its top Mip picks – the British produced shows that will be launched in Cannes that look set to generate strong interest from international buyers. They range from big budget dramas like The    Honourable Woman and Jamaica Inn, through to high end factual such as Stonehenge Empire and quirky formats like Sexy Beasts and Ejector Seat.

The Honourable Woman
Drama Republic, Eight Rooks
BBC2, Sundance Channel
BBC Worldwide
The Honourable Woman will be one of the headline dramas in BBC Worldwide’s MipTV catalogue this year. There’s already strong buzz for the Hugo Blick-directed espionage thriller which stars Maggie Gyllenhaal on a personal journey to right her father’s wrongs. BBC Worldwide president of Global Markets Paul Dempsey says: “It’s a top quality drama with an edge-of-your-seat storyline, incredible cast and stunning production values.”

Sexy Beasts
Producer Lion Television
Broadcaster BBC3
Agent All3Media International
A twist on classic dating formats, Sexy Beasts uses prosthetics to transform people into monsters, werewolfs and aliens before they go on a first date, taking their real looks out of the equation. All3Media is launching the series at MipTV, and will have two ‘sexy beasts’ walking around Cannes to promote the show. “It’s a highly visual concept – a lovely and immediately graspable turn on the classic dating format,” says Rachel Glaister, SVP Press & Marketing at All3Media International.

Stonehenge Empire
Producer October Films
Broadcaster BBC2
Agent Cineflix Rights
A hi-tech reimagining of one the world’s most famous sites, this should appeal to buyers looking for history and science TV for an upmarket, male audience.

The Great Fire
Producer Ecosse Films
Broadcaster ITV
Agent ITV Studios Global Ent
Set in 1666 as London is engulfed in flames, ITV is pitching The Great Fire as a character driven drama about one of the world’s greatest disasters, brought to life with the latest special effects.

Jamaica Inn
Producer Origin Pictures
Broadcaster BBC1
Agent FremantleMedia International
Jamaica Inn is a new adaptation of the classic Daphne du Maurier novel, with a strong cast led by Downton Abbey’s Jessica Brown Findlay.  Set in 1820 against the backdrop of the windswept Cornish moors, it’s directed by Bafta-winner Philippa Lowthorpe. Bob McCourt, acting CEO, FremantleMedia International says: “There is a constant demand from broadcasters around the world for high-quality British drama and with Jamaica Inn, we aim to fulfil that appetite.”

Ejector Seat
Producer Endemol UK Broadcaster ITV
Agent Endemol Distribution
This game show format looks promising: if contestants give the wrong answer, their seat travels backwards along a track. If they reach the edge before they answer another correctly, they’re tipped out of their seat in spectacular fashion.

Producer Nightjack Films
Broadcaster Channel 4
Agent DRG
C4 aired a well received pilot episode earlier this year of Babylon, a police comedy drama with impeccable credentials: written by Peep Show’s Sam Bain and Jesse Armstrong, it’s directed by Danny Boyle.

Win It Cook It
Producer Plum Pictures
Broadcaster Channel 4
Agent Hat Trick International
Win It Cook It is a new British food format launching at MipTV that’s a cross between a quiz and cookery show. Contestants must answer questions to try to win the best ingredients to cook with. Then they must turn them into a prize-winning dish.

Posted 04 April 2014 by Tim Dams
Showing 1 - 6 Records Of 6

About this Author

  • Contributing Editor, Televisual
    Tim Dams is contributing editor of Televis...
  • Total Posts: 6

Recent Posts by This Author



Televisual Media UK Ltd 23 Golden Square, London, W1F 9JP
©2009 - 2017 Televisual. All rights reserved
Use of this website signifies your agreement to the Terms of Use | Disclaimer