“Cookie-cut” true crime documentaries don’t “make sense” for the global audience, according to Kate Townsend, original documentary vice president at Netflix.
Speaking at a CPH:DOX panel titled ‘Space For Variety’ on March 21, Townsend pushed back against a perception that Netflix prioritises the true crime genre in its non-fiction programming.
“Everyone here, we’re aware we’ve got positions of responsibility,” said Townsend of the panel, which also included Emma Hindley, lead commissioner at BBC Storyville; Hanka Kastelicova, vice president and executive producer of documentaries at HBO, Czech Republic; and Chris Hastings, executive producer of PBS’ World Channel.
“The challenging thing is the selection – we can’t take all films. It’s on us to ensure that there’s a variety of projects that we’re choosing. We have a range of projects on our slate, it’s not just about crime. We’ve got a massive variety of a global audience to serve, so it wouldn’t make sense to cookie-cut.”
Townsend cited Netflix documentary titles Money Shot: The Pornhub Story and The Volcano: Rescue from Whakaari as recent examples of the streamer’s diverse programming.
Kastelicova said her HBO slate does not have any true crime on it this year, with only one such title last year and one the year before; and that the over-reliance on true crime is potentially a US issue. “It would be great to do similar research in Europe or Eastern Europe where the picture can be very different,” said the executive.
“We don’t just want dark, depressing, politicised films,” said Hindley, who joined Storyville in January having been creative director at independent production company Brook Lapping. “We want films that will entertain people. There’s nothing wrong with a documentary entertaining. Variety is my absolute watchword.”
PBS’ Hastings acknowledged “you have to listen to what the audience needs and wants,” but also said there is a responsibility on commissioners to back content that deals with contemporaneous issues. “We need to talk about the [upcoming US] election, we need to see what that looks like,” he said. “The variety comes with making sure we’re putting out content that captures where we are today, to make sure we don’t make the same mistakes tomorrow.”
Townsend also addressed a story in Screen’s sister publication Broadcast, reporting she had emailed counterparts at Apple, Amazon, Disney+ and several major broadcasters proposing a meeting to discuss the “ethics and approach to documentaries” with a view to establishing “cross-industry principles.” Acknowledging contact had been made with the other companies, Townsend said, “That was actually a private email that was leaked. We’re one industry, we all care about documentaries.”
No parachutes
The panel was part of CPH:Conference Future At Our Fingertips strand, with both the ‘Space For Variety’ session and ‘The Trust Policy’ session that followed it having three women executives on a four-person panel.
“My biggest thing at the moment is execs – senior people,” said Hindley on the topic of diversity in the documentary sector. “What I want to see is diverse execs running companies. In the UK, that’s what we need more than anything – we need to really strengthen that pipeline. The parachuting in of diverse people at a slightly lower level just doesn’t work for me.”
Townsend agreed that there’s “absolutely need” for a range of identities at executive level; but they must be prepared for the responsibility from an early stage. “It’s also setting people up for success,” said the executive. “Just having that level of mentorship, giving people a great editor, a great EP.”
BBC editorial guidelines are under scrutiny following the temporary suspension of football presenter Gary Lineker for his social media usage earlier this month; which led to numerous other BBC sports journalists staying off-air, and a near-shutdown of the broadcaster’s sports coverage.
The organisation’s guidelines regarding filmmaker expression through their work are the right ones, said Hindley.
“We are bound by certain values which I really believe in around editorial policy and fairness,” she said. “I will support every filmmaker I work with to be as creative and adventurous and free as they can be; but within that they have to tell stories in a fair way.
“I find the system we have at the BBC incredibly reassuring. That’s not talked about much in creative documentary – in being careful over how you tell your story, that it’s truthful. Absolutely, I would support my filmmakers in all their endeavours; but if you come to Storyville, that’s part of the deal. Bias is a really difficult subject, but you have to look at it – we can’t make shit up.”
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