One of the most exciting tenants at The London Television Centre is LWT Programmes, simply because when it boils down to it everybody in the company is committed in some way to what ends up on the telly.
LWT Programmes has consistently been on the front-line of ITV scheduling policy. Because company survival has meant winning the weekend ratings battle, it has bred a culture of success.
LWT’s most notable contributions to the network in recent years have included Blind Date, Agatha Christie’s Poirot, London’s Burning and this year, Gladiators. It has repeatedly won awards including a Golden Rose of Montreux for A Night On Mount Edna in 1991.
A less obvious but equally telling contribution to TV has been its programme directors. Old boys include John Birt, Michael Grade and most recently Marcus Plantin. Another old boy Greg Dyke can still be found somewhere in the building.
LWT would admit, however, that its success has been carefully nurtured in a relatively competition-proof environment and to maintain it the group will have to work even harder.
Previously Programmes wasn’t a separate LWT profit centre so there was less pressure on efficiency. THe company’s managing director Nick Elliott says: “We used to make programmes at a loss. Now there is a hugely different discipline for everyone.”
Controller of finance, management and business affairs John Howard agrees: “Price used to be secondary to quality. Now it is close to equal. We still ask if we’re producing quality programmes but then ask if the price is right as well.”
Likewise says Elliottt: “We didn’t have to sell our programmes. We didn’t have to pitch because we were guaranteed slots on ITV appropriate to our advertising revenue share. But from 1993 all that changes and we have to market our programmes efficiently.”
Elliott is confident that LWT can cope with the new demands of the system: “We can go to Marcus Plantin with a portfolio of successful programmes. We have a track record over 20 years that’s extremely strong. When we develop a show here we’re not just thinking about the programme about the schedule and which slot it can fill.”
Elliott is keen to stress that the portfolio he talks about doesn’t just mean high-rating shows such as Beadle’s About and Blind Date. He is also thinking about The South Bank Show and Walden.
It’s a sensitive issue. Recent ITV mission statements about a drive for ratings have created fears that lower-rating shows may disappear and there will be pressure not to invest in expensive projects such as Agatha Christie’s Poirot. Elliottt admits the pressure exists but is certain that brand leaders such as those mentioned have the place: “There are compulsive reasons why they should stay. Advertisers and the public don’t want them to go. ITV would look different, too cheap. Poirot attracts a lot of ABC1s and proved ITV could an upmarket BBC-style show and do it better.”
Getting the schedule exactly right is crucial now that the BBC places so much store on winning the weekend. “Any show of promise on BBC gets pulled to the weekend,” says Elliott, who until October was controller of drama. “It wasn’t my brief to produce realistic mirrors on society or drama with a worthy function. I’m not knocking them but our drama has to be entertainment-based.”
LWT Programmes believes its commitment to the independent sector is among the best in ITV. As Elliott says, it depends on the genre in question how LWT will respond to ideas because it has its own staff to think of too. “In drama we have no staff so I don’t have to fight to protect anyone. I can work in partnership with independents developing ideas. It’s different in entertainment and factual programming because there are big staffs so we want to do more in-house shows.”
A major advantage for LWT Programmes is the level of investment it can maintain in developing ideas. “I’ve spent £750,000 in scripts during the last year. Most independents can’t do that,” says Elliott
Howard adds: “I think a lot of independents will get a rude shock. There is a huge oversupply of staff in the market place. It’ll be very tough for all of us.”
Which brings us back to the resource advantages of being in The London Television Centre. “There is a clear advantage of being in proximity to The London Studios. They are large, well equipped with talented operators. But there is no arm twisting to make us use them.” In other words, as an independent profit centre, Elliott is free to shop around for his facilities.
The value of programmes is exploited and maximised through a comprehensive marketing and sales division. It has been put through its paces thoroughly on Gladiators which offered a host of merchandising opportunities according to head of marketing and services, Richard Cox. “We produced videos, albums, T-shirts and created and administered a fan club,” he says. “You need to create a package of products that enhances the brand image.”
The company has dedicated units which provide expertise in casting, musical support, video clips (known as LWT Images), audience data, merchandising and research. “It’s all available to independent producers and other companies,” says Cox. “We will be seriously marketing them in 1993.”
Given the depth and range of support, Elliott thinks LWT Programmes is in good shape to cope with the harsher environment. “We’re not the fat cat we used to be. We understand the market. We have strong shows, a huge development slate and a track record. Until it fails you can’t knock it.”
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