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Caroline Diehl, 47, launched The Media Trust in 1994 with £40,000 left over from the ITV Telethon. Now, as chief executive, she looks after a turnover of £2.5million, working with a Board of Trustees including Michael Green (chairman) Jon Snow (deputy) former Sky boss Tony Ball, Mark Thompson from C4 and the BBC’s corporate affairs chief, Andrew Whyte.
So, what do they do?
For starters, they run a televi- sion channel – The Community Channel (No 684 on Sky Digital). They help over 5000 charities a year to communicate and they harness creative talent from the media and communications industries to “put a bit back.”
“We’re piggy-in-the-middle, we’re brokers, we bring two worlds together,” says Diehl a vig- orous, articulate advocate of a healthy society where communi- ty, citizenship, public service broadcasting are not trite words.
“We’re good at helping media people better understand the charity world. We now have over a thousand advisors, design- ers, directors, PR strategists and branding experts on our website. They donate their time to help
charities communicate. It is worth £1m in kind.”
She adds: “Many charities are wary of the media. They don’t know where to begin; how to get their message across. Last year we supported nearly 6000 charities with training, marketing, video pro- duction. If a charity needs help, we have it in spades with our advi- sors. We’re match-makers.”
At the heart of The Media Trust, the Community Channel, now three, is the shop window. The idea came from Barry Cox, then with ITV. “He took me to lunch and said ‘You should set up a channel for people who cur- rently have no voice.’”
Diehl took the idea to her Board. “I suspect they thought ‘Oh, it’s Caroline being bonkers again’ – but I would’t let it go.” She went to Sky’s Lesley Mackenzie who was attracted to an umbrella channel dedicated to the voluntary sector.
Barry Cox advised Diehl: “Get in quick. It’s crucial the sector grabs digital space before it’s gobbled up by the commercial boys.”
Michael Green and Jon Snow became The Community Channel champions. Green raising the money, Snow raising the profile.
Cox and Diehl worked together for six months to make it happen.
The Home Office came in with funding and Sky recently donat- ed a further three years band- width. Jane Mote joined from Radio London this year to run the channel. The audience has dou- bled in the last 12 months. Currently, 100 charities a month are having their say on air.
Says Diehl: “We have proved that digital television can be a real force for positive social change and community involvement.”
But resting on laurels does not fit the Diehl mould. She has her lobbying sights on Ofcom and the emerging ITV plc. “Ofcom’s big Challenge” she suggests “is to walk a fine line between conflict- ing forces: on the one hand rep- resenting market forces, ensuring the UK has a buoyant internation- al communications industry; on the other, maintaining a strong healthy society where community and citizenship really matter.”
And ITV plc? “We have to ensure that ITV does not lose its remit for public service. We shall be working with Ofcom to make sure they rise to the challenge.” Then she’s off to cheer The Gunners with sons Oscar, 12 and Isaac,10.
The Media Trust is about to be 10-years-old. Not a lot of people know that. But don’t tell Caroline Diehl. She’ll sign you up immediately. Best not to mess with her, reports John Morrell.
Jason Isaacs’
six of the best
Industry personalities hand out their very own BAFTAs
BTallsiest Control Freak
o watch Mike Figgis challenge himself on Hotel by delegating everything – story, dialogue, location, camera, even call-times – to a pan-European bunch of actors, dancers, political comedi- ans, civilians and a confused Burt Reynolds – was awe-inspiring. It takes a complete artist and a par- tial nutter or maybe the other way
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your accent!”, as if, bubbling
along nicely under every dialect in the world is an American accent bursting to get out. I just have to stop trying so hard to put on my silly English one.
round. I’ll never forget the late- night tower of Babel, alcohol- fuelled debates over what to do next – particularly the one where it was suggested that a porn star be introduced into the mix.
BTest Hyphenate
hat’s actor and writer Lennie James who should be one of our biggest stars. Lennie blew everyone away in last year’s criti- cal smash, Buried. Buried is right – completely buried in the sched- ules. I read the rave reviews online and asked for tapes to be sent to Australia where I was film- ing. For a week I had to be dragged from my dressing room as I rationed myself to only one episode a day. There’s been nothing like it for years.
would never punch anyone in real life was told, at top volume across a huge set, “BECAUSE IT’LL BE IN THE TRAILER AND LOOK REALLY F****** COOL.” That, of course, did the trick.
Best Award Winning Screenplay That No-One Gives
Worst Advice Ever Given To A DBirector
y me to Paul Greengrass. Walking in the park listening to his plans, I told him sagely
that the Stephen Lawrence film was a bad idea because the inquiry hadn’t finished and it was a legal minefield. A year later, in the same park, I insisted that this time, with Bloody Sunday, he could destroy himself if he didn’t wait for the enquiry to finish. Thank god he ignores everything I say.
Actor Jason Isaacs has played leading roles in The Patriot, Black Hawk Down and Harry Potter & The Chamber of Secrets. From Boxing Day he can be seen as Captain Hook and Mr Darling in PJ Hogan’s new film version of Peter Pan.
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here. Possibly the time the
Hollywood wunderkind, when asked by the confused movie star why she should punch the leading actor since she
his goes to most US Casting Directors. “Wow, that’s amaz- ing; you can completely drop
orst Note From A Director
tie between thousands
know Nil By Mouth won a BAFTA CI
The film’s a rare piece of genius that’s made with love for all the characters. Yet everyone always thinks it was improvised. Rubbish. I read it before it was made and it was all there on the page. Still he’s always got his day job.
redit For
but still... poor Gary Oldman.
ost Irritating Compliment
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