Disney+ and National Geographic are after just a small number of uber productions, with A list talent and an uplifting tone. Tough times have made this focus sharper. Every show needs to earn its place alongside content from Marvel, Pixar, Lucas films, ideas must be entertaining first and foremost.
Delegates at the Wildscreen Festival taking place this week in Bristol, heard from svp, development and production National Geographic Janet Han Vissering and manager development National Geographic Jessie Springer
Han Vissering kicked off the session by acknowledging that the industry is going through “difficult” times. Han Vissering works closely with Tom McDonald, evp global factual and unscripted for National Geographic, who has described the TV climate as “bouncy, turbulent and unpredictable.”
Han Vissering added: “It’s important that we as a broadcaster are going to be good partners – that’s our goal.”
Her top message was that the wildlife genre has performed well on Disney +, with a large percentage of its top 10 shows being in the genre.
“The future for Nat Geo and Disney+ is bright.”
McDonald arrived in 2022 and sought to give Disney shows a distinctive feel, with some of those commissions coming through now, alongside others that were ordered before McDonald’s arrival. “What we’ve done together is created a new sub genre of natural history that speaks to what we want, what’s relevant, what’s rating on our platform,” said Han Vissering
“We do have less money, we’re embracing fewer bigger better…They are the ones speaking to our audience.”
The focus going forward is on Disney +, she said. The linear channels will be mostly acquisitions and co productions. (The ‘go to’ for this would be Ben Noot, global acquisitions director). This chimes with the drop in international linear spend last year shown in this year’s pact census.
Plimsoll’s A Real Bug’s Life was dubbed a “superperformer” and is right up there with the sort of ideas that Disney+ is looking for. Taking Disney IP, keeping a light tone, using major celebrity (Awkwafina for the voice over), but still being natural history.
It should be said, celebrity narrators don’t necessarily come with the production company, the Disney team can broker such deals.
Another winner for Disney + has been the latest in the Secrets of franchise, this time Secrets of the Octopus, a co pro with Wilstar, another UK indie that’s managed to crack making productions at scale and has its name against a handful of Disney’s fewer, bigger, better. This iteration of the franchise has got an on-the-money blend of superstar cinematography by Alex Schnell, Hollywood talent from narrator Paul Rudd and exec producer James Cameron and it’s all about emotionally connecting to animals.
The Secrets of franchise continues, with two announced projects in the pipeline.
Another Wildstar project, Queens, was described by Van Hissering as “ground-breaking, professionally and socially,” raising the roles of women behind the camera, as well as winning an Emmy for narrator Angela Bassett.
UK cinematographer and presenter Bertie Gregory was celebrated.
“We are continuing to reinvent natural history,” said Han Vissering, citing another Wildstar production with Ryan Reynolds narrating – Underdogs. “It’s amazing how we can make poo entertaining.”
Delivering on some more detail development manager Jessie Springer showed a content mission slide. “We want to tell gripping factual stories that entertain and inspire a deeper connection to our world,” she said.
Series are the priority; one-offs have to be very special.
Stunning visuals and superior cinematography are basic, as are first-ever animal behaviour and best-in-class storytelling.
With that broad audience in mind, they need entertainment at their heart and character first.
“Distinctive tone and style will set your project apart,” she said. “Playful and mischievous works well for us.”
But with just a few of these bigger, better productions, it’s critical that you think of how your project can be elevated across the National Geographic Disney universe. This could include the cover of the Nat Geo magazine, podcasts, social media content, or maybe a live event, or all of the above.
For the Secret of franchise, upcoming are penguins and bees, both with James Cameron attached. “The franchise is about visual splendour, connecting to the natural world, first ever behaviour,” said Springer. “Tagline: ‘just like us’.”
They do commission one or two features, such as Silverback’s Scottish otter story, Billy and Molly. Every now and again there’s snowflake project and we want to invest in it and this was one,” said Springer.
Natural history royalty might also break through. Ocean is another Silverback feature, “We couldn’t pass up an opportunity to work with David Attenborough.” Set for a 2025 release, Springer referenced Attenborough’s mission to help to protect the oceans and how the piece is in part a call to action.
There are a couple of massive BBC Studios Natural History Unit numbers in long production cycles, commissioned before McDonald came to National Geographic and announced in early 2022, at the same time as Limitless with Chris Hemsworth, A Real Bug’s Life, Secrets of the Octopus and Queens.
Lion is following a pride of lions over four years. Following the streamer sensibility, it will be character-led, with the long shoot allowing the film makers to follow the stories of individual lions.
Home is another BBC NHU landmark, “probably the most ambitious natural history series we’ve attempted,” says Springer. This huge undertaking will be 10 years in the filming, across all continents. “We’re hoping that it will create a new bar for natural history.”
For those despondent in the face of budget cuts on top of such demands of scale, Han Vissering has this advice. “Home in on the game changers and throw everything at it…Only the best are going to make it, make your show the best.”
Pippa Considine
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