The afternoon session for independent producers introduced 主播大秀 Learning鈥檚 plans for 2015 and also shared further information about Learning鈥檚 commissioning priorities.

To find out more you can visit the pages.

听

• Download the presentations:
  
  

This is the first in a series of interviews with senior managers and execs at the 主播大秀. Coming soon, an interview with Commissioning Editor, 主播大秀 Music & Events Jan Younghusband and Head of Arts Production, Jonty Claypole.

Guidelines for the submission of programme ideas for , , and can be found in Mark Bell's development briefing documents on the .

Full details of the arts programming for 2012 and 2013 can be found on the .

Follow on Twitter for our latest updates.

For the past 18 months the 主播大秀 has been working on moving more of its programme production out to the Nations and English Regions - a 主播大秀 for all of the UK, if you like. We've set ourselves a target of 50% of all programmes to be made out of London by 2016.

On July 5th we publish our annual report and the first full year of figures against the targets we've set. The report reveals network production from around the UK now represents 37.7% of the total 主播大秀 production spend. In Scotland, which has a target of around 9% by 2016, the nation has grown its network production spend from 3.7% of the total in 2008 to 6.1% in 2009. In Wales, where network spend is expected to increase to around 5% of the total by 2016, figures are also up on the previous year, growing from 3.5% in 2008 to 4.4% in 2009. And in Northern Ireland, where spend will represent around 3% of production spend by 2016, production doubled to 1.2% of the total.

Commissioning patterns fluctuate over time, with peaks as well as troughs, but these figures demonstrate a very encouraging picture of upward growth and demonstrate the clear impact of our Network Supply strategy. In spite of the tough economic climate, we are making good progress towards the interim 2012 targets and on course to reach those we have set for 2016.

We believe the targets and time frame we have set will allow us to establish and develop meaningful production in centres around the UK, and to allow that production base to grow organically to achieve creative excellence and deliver our strategic ambition. It ensures we are a 主播大秀 which viewers feel reflects their lives and makes the most of the talent spread across the UK.

Not only have we set financial targets, we have also committed to the development of our production centres around the UK: only last week, work started on the building of the , which will be home to major 主播大秀 series such as , and .

The range of programme ideas and the quality of content that has emerged during the year, from independent and in-house production teams from around the UK, is striking; a few of my own highlights of the year that have been made as a result of our are , , , , , , and s Arctic.

There is a huge amount of talent who want to bring their ideas to the 主播大秀 and we want to get the best of those ideas to the audience. We are working to achieve this by helping build sustainable business across the UK. This is illustrated by the number of shows for the 主播大秀's networks coming from independent production companies that are embedded in cities across the country. These companies understand the localities in which they work and help us more fully reflect all the audiences we serve.

Many companies look principally to the 主播大秀 for commissions out of London and we are proud to lead in this area but we hope other broadcasters will soon be joining us in commissioning even more in the nations and regions, helping to support creative growth. Having said that, it is still a hugely competitive market and if the ideas are out there we want to invest in them, the talent and the infrastructure to make them. Our , now in its third year, also helps us work more closely with independent producers and bring to life their creative ideas.

This first phase of our strategy has been all about establishing a volume of production in centres across the UK from which it can grow. The next phase - in the run up to 2016 - is about developing the creative health of the Nations and reflecting the lives of the audiences in those areas more effectively on the screen. In this way we can really deliver 'the spirit' of Network Supply - as a lasting and creatively dynamic vehicle for delivering real value to licence fee payers.

As I look forward to the next 12 months I am heartened by the commitment and engagement from the production sector to help us achieve our financial and creative goals. We have ambitious targets, but working with the industry and listening to the audience we serve will help us achieve them to the benefit of the whole of the UK.


Jana Bennett is Director of 主播大秀 Vision