Mumbrella360 recap: Gyngell’s advice to Ten ‘If we didn’t stand for sport, I’d stand for drama’
In the second part of a four part series of videos, we recap the highlights from Nine CEO David Gyngell’s appearance at Mumbrella360 earlier this month.
During an onstage appearance with Group M chairman John Steedman, Gyngell discussed:
- His plan to become less reliant on US content;
- The potential of Australian television drama;
- “If we didn’t stand for sport I would stand for drama”;
- His message to Screen Australia
- The challenge of finding talented local producers to make shows;
- Losing good writers and producers to Hollywood;
- The growing appetite for Australian content;
- Nine – the monster that has to be fed everyday;
- Why chasing revenue is the key to a successful network: “If you lose revenue momentum you’re in huge trouble.”
“The challenge of finding talented local producers to make shows”
If a budding writer/producer had ANY idea how to pitch to Channel 10, they might find more people….
These days, I am truly hard pressed to find anyone amongst my (30 somethings) contemporaries who watch free to air or pay tv. I’m downloading (legally) and paying for my content from the states and the UK as soon as it is out. Why? Because I don’t get ads. I don’t have to wait. And I have the luxury of turning on my tablet, computer, phone etc, and the latest episodes are there ready to go.
Who is watching TV? Anyone?
There are plenty of talented crew – producers, writers, directors, DP’s etc living in this country – the problem is that networks like Nine, will only consider buying content from “known” producers, rather than considering the entertainment value of the idea AS WELL as it’s execution
They are creating the difficulties they continue complaining about.
Gyngell said it himself – he’s not a producer – but he and his team are happy to pass judgement on those that are …..
How does one lure back people who are doing it in Hollywood? Anyone who isn’t doing it isn’t worth bringing back, anyone who is will be happy where they are.
This approach discussed by Steedman and Gyngell ( I wish people would stop using the USA as the bench mark by the way) is like saying that we can’t do theatre, because we haven’t got the funding to acquire a neoclassic building with a fly tower and install a thousand brocade covered seats facing a proscenium arch and a stage with an orchestra pit and velvet tabs.
All that is needed is a few actors and a space, presto! you have theatre.
Television stations have cameras and operators and stages and lighting and switchers and sound recording etc etc…. all they need is a modest drama dept of say five people and they are ready to produce anything they may wish to present.
Forget those who have run to Hollywood, and for goodness sake shut your eyes and ears to the USA and start listening and looking at Australia.
Here, there are thousands of talented people waiting for the chance to get started.
The biggest pit fall in the the theatre business ( which is what drama is all about regardless of the platform) is to get caught up in the great general glutinous web of bullshit, lights and mirrors. Theatre is a rare and wonderful business, but it has nothing in common with corporate ideology, twaddle or hype.
I don’t know who has been in David Gyngell’s ear but there are very few Australian producers in LA and while there are a few more writers many of them had good track records before going to LA. The problem has been the commissioning by Nine itself and a very high level of intervention. Remember Tricky Business and Cops LAC anybody. Seven hasn’t need to bring anybody home. Its team has been dominant in drama for years now, with a few duds overwhelmed by its successes. I think David needs to give a very clear licence to his drama management that risk taking is OK then you may see them stick their heads above the trenches.
@Rebecca – You and your friends are exceptions, rather than rule. Generally TV viewing is on the increase and still represents north of 90% of ‘video’ viewing in Australia.
Most the Aussie writers and producers who are successful in the States are in film, not TV. You could count the number of writers with regular TV gigs on one hand.
Also, I don’t think anyone is debating that US network series are tremendously better written than Australian dramas. However, it’s fair to say the US cable series certianly are better written. So is David implying that made for cable, compelling drama could work in primetime on FTA Australian tv? To my knowledge there has been just two that have being Sex In The City and Homeland (excluding Band Of Brothers as it was a mini).
Should he want the same production values or ability to produce high concept series like they do in the US, well that just comes down to the budget.
Gyngell is under the impression that all quality producers etc go overseas, not true at all. The truth is if many of our talent here was allowed to create rather than imitate formula TV he would have an abundance of riches. Listening to people who make a living from telling you what people want is a mistake many make.
Jane (above) has a very good and strong point.
There should be a drama dept within the theatre (television station) and the means of production should be under one roof. Australian writers, directors and real theatrical producers (as opposed to a common variety that takes an office and calls shots) would work together to control the growth and development or drama, its production and viewing.
Such an operation must be ongoing, with all doors left open to assure growth and the incorporation of change.
Then perhaps the corporate lawyers could call the shots when the US, and even worthier markets, wish to buy and screen Australian production.
I have long viewed US television as a kind of soft propaganda that shores up the bullshit of the (so called) American way and , at the same time, discourages anyone else from joining the band.