C4 in-house move will create more ‘resilient’ broadcaster

Channel 4’s in-house production strategy is part of a move to “shore up” the broadcaster so it can better support the UK indie sector, says specialist factual chief Shaminder Nahal.

The move will see Sarah Dillistone - whose appointment as creative lead for C4 Productions was revealed by Broadcast last week - leading a new production division that will develop in-house shows.

The broadcaster will also buy indies as part of its Creative Investment Fund, with the first acquisition coming in the form of Glasgow-based Firecrest Films in September, while C4 has also increased its indie quota from 25% to 35%.

The moves have prompted considerable concern from the indie sector, however, with the in-house production strategy recently labelled as “short-sighted” by UK trade body Pact.

Nahal defended the strategy during a Realscreen panel moderated by Broadcast International, saying that the controversial plans were focused on diversifying revenue streams for C4.

“It’s only going to be a small part of the overall target and the argument is that if Channel 4 is strong, growing and stable, it is better for all the indies,” she said.

“One of the reasons Channel 4 was set up was to support a vibrant independent production sector and that will always be the main thing that it is trying to do. This [in-house production move] is a small part of that and the intention is that it shores up Channel 4 so it can be resilient and support the sector.”

Nahal wen on to talk up the role of coproductions at Channel 4, with fellow pannelist Fiona Campbell from the BBC also pointing to the evolving nature of the model as commissioners look to leverage static budgets by bringing in international partners.

Campbell, the BBC’s interim director of unscripted and controller of youth audience, added that the UK broadcaster is looking at projects with copro partners “not from the broadcasting or media world”, but declined to provide further details.

Bernadine Lim, senior commissioning editor of factual at SBS in Australia, added that the availability of soft money in her country made coproductions an attractive model for international partners, while Chris Schmidt, co-executive producer of Nova in the US, said he was also looking at partnerships to help support programming, following the hit to PBS funding last year.