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pretty good health. Channels are sprouting all over the place, (there are now over 20 dedicat- ed children’s channels) with a proliferation of programmes that would make a pick and mix counter look choiceless.
More, however, doesn’t always mean better and although I welcome the inevitable talent spawning grounds I am concerned that filling all these channels doesn’t of itself become the measure of success.
The fact is we need to inspire our young viewers for the future and we can only do that by pro- viding quality television. We are creating the viewing habits and tastes of tomorrow; childhood memories are vivid so the shows we create had better be good.
Regularly I’m challenged by the lay expert, you know them better as parents, about ‘the state of children’s television’. Delighted to have found some- one ‘responsible”, they launch into a critique based entirely on the viewing habits of their children.
I’m always happy to reply that the industry provides a rich and diverse range of programming that we should be really proud of which is true.
What I don’t share with them is my niggling concern about the future, a concern that is growing rapidly in this highly commercial world.
The truth is, costs are going up and income is falling, budgets have been at standstill for over four years and last year the removal of sale and leaseback, the only real lifeline, had a devas- tating effect.
The fact is that creating chil- dren’s drama requires no less resources or effort than adult drama; but the margins between it being commercially viable or start- ing at deficit are extremely fragile.
It’s not just drama. Animation has been having its own financial crisis. For many in animation, the commission is often the start of a long and very painful road. To date the answer has been mort- gaging the future, large distribu- tion advances against potential sales and giving away rights wherever possible. Of course this is not sustainable.
The other solution has been to chase co-production finance. Australia, Canada, if there’s an extra buck, lets get it. The price is often a cultural, ‘serve all’ com-
promise. I know, I’ve made a few. This is not to denigrate successful co-productions, there have been plenty, but what I’m talking about is supporting our industry and culture here in the UK
Of course, everybody com- plains there’s not enough money, but what does that really mean? Well, long gone are the days, under Anna Home’s rule, where weekday childrens’ drama budg- ets were over £450,000 an hour and you have to be as old as Nigel Pickard to remember the full financing of British animation.
What about Teletubbies, Tweenies, Bob The Builder, The Simpsons? Yes, some do say The Simpsons. Well if I had a pound for every pitch that began with “this is the next...” I’d be very rich indeed.
Some children’s shows do make money but as with every- thing it’s high risk, long term and low hit rate. On top of this you have to be able to extract value. Currently ITV, the commercial channel, is unable to participate in any secondary revenue so our ability to reinvest is nil.
None of this is new. The ques- tion is, what are we going to do about it?
Well, start thinking like an industry. I am more than happy to parry ratings swords with the BBC for the weekday average but I do feel there needs to be something more grown up about our relationship and indeed within the children’s industry as a whole.
This is not a slide out but a call to arms to find a way of working together to build the best of British. Let’s find a way of pooling resources where it makes sense and serves the greater good.
All it takes is just one initiative.
It could be the collective annual funding of one new British anima- tion, a shared, talent workshop or just adding real muscle to the Children’s Film Foundation, some- thing the BBC had already begun.
Tax breaks and incentives are another area that needs tackling. Both Canada and France have been highly successful in bringing new work and cash into their industry because of the favourable financial winds. We, on the other hand, have lost an all important piece of the puzzle Sale and Leaseback.
We must to find a way of get- ting something back and stop the need for our producers to end-
lessly chase the overseas dollar. The power is in our hands but
we need to act. Lobby. Cajole, campaign and, where necessary, put our hands a little deeper in our budgetary pockets.
We may have to pay a little more, we may have share the odd title. The price may be fewer titles, the price may be exclusivi- ty, but the rewards will hopefully be better shows that attract the next generation of Anthonys, Dawns and Nigels.
Steven Andrew is Controller, Children’s And Youth, ITV. He is also a member of the Academy’s Children’s Committee.
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