Lisa Opie, Managing Director, UK Production at BBC Studios, delivering her University of West England Distinguished Address.

On the 11th of March 2020 Lisa Opie, Managing Director, UK Production at BBC Studios, delivered the University of West England Distinguished Address on the topic “TV as a Force for Good”. Below is the full text of the speech.

“Good evening - thank you to the University of the West of England for inviting me here to talk today and thank you to you all for turning up.”

Becoming BBC Studios

“When BBC Studios opened its doors in 2017, it was an exciting time. Having been the “in house” production arm of the BBC for 60 years we became an independent commercial entity, able to make content for any platform or broadcaster around the world. For the first time our experienced producers could establish multiple creative conversations, learning first-hand about the challenges of engaging and delivering to a diverse, global audience.

But there were some pre-launch, who feared the loss of the very thing that had defined us - our Public Service purpose. It ran deep in our DNA. It motivated our teams. To Inform Educate and Entertain – our Reithian values – were what made people want to work with us. A sense of purpose, the ambition to speak truth to power. People came to us to make programmes that mattered and to do the best work of their lives.

The question for us, in our Factual division in particular, was how that drive and commitment would sit alongside the need to survive in a commercial world. Would making money interfere? Would we be reduced to creating content that compromised our ethos?

It was a weighty question – but a surprisingly simple one to answer. The truth, of course, was that our greatest strength in the public sector was also our greatest strength in the commercial sector. Our USP was our ability to tell stories that mattered - that denoted quality, credibility, truth and innovation. People, communities and societies, and therefore platforms and broadcasters around the world, need stories brilliantly told.

Three years in and BBC Studios (having merged with the BBC’s distribution business BBC Worldwide,) is a committed partner to the UK’s thriving independent production community, as well as other broadcasters and digital platforms, delivering content that showcases the best of British talent. As well as our own content, BBC Studios has funded and distributed some of the best and boldest, British content in recent history and supported the UK’s television industry on the world-stage. “

Studios Productions

“The programmes we make within BBC Studios Productions have been sold in hundreds of territories. From our seven production bases across the UK we create around 2000 hours of content annually, ranging from big global hits, to award-winning comedy, much loved-continuing drama, complex live events and an extraordinary range of factual programmes.

Last year we won nearly 80 awards for our programmes and returned over £243 million to the BBC. We’re telling stories that matter, that live up to the BBC kitemark around the world. And talent still come to us to do the best work of their lives. Here’s a quick look at what we’ve been up to:

It’s been quite a journey –and we’ve still got a long way to go. But as we continue to grow and develop our business, there is for me one thing that remains incredibly important – and that is the role that we as producers play in serving our audiences, both here in the UK, and internationally.”

Television as a Force for Good

“Television as a force for good – the converse is true of course - which is why the world needs story tellers they can trust. And ultimately, as programme makers – that is what we’re here to do – tell great stories.

But in an age where audiences now have more choice than ever before, more access to content and more ways of viewing it, programme makers face huge challenges. Young audiences in particular, who in their lifetime have seen the launch of Google, Facebook, YouTube, Spotify, Twitter and Tik Tok, are, as we know, increasingly hard to reach. Research shows that globally in 2018, viewing on smart phones, tablets and streaming services made up 48% of young audiences’ daily viewing habits. Conversely, linear viewing has decreased considerably – down 36% for that same demographic since 2016. The rise of global SVODs, like Netflix with its 167m subscribers worldwide (or Amazon, and Disney +, whose subscription numbers are expected to equal that of Netflix by 2024) has been well documented.

Despite this though, what we know is that when producers deliver high quality, original content, audiences around the world show up to watch it. The BBC’s 2019 Christmas special of Gavin and Stacey was watched by a record 17.1m viewers on BBC One. While our own Planet Earth II, produced by the NHU, became the most watch Natural History programme in the UK in 15 years – the Iguana vs. Snake sequence becoming a global viral sensation with over 400m views. Within the UK, on average 9 in 10 adults tune into the BBC each week – the worldwide viewership hits 430m. An indication perhaps that, even at a time of increasing division, audiences still look to television for some sort of shared understanding - for shared conversations – and to see what connects us rather than divides us.

For young audiences in particular the thirst for authentic, trusted content – content that points to the truth, however good or bad that may be – is even greater. As producers, we are in the enviable position of being able to deliver it, to explore new stories and share a multitude of perspectives with the broadest possible audience.

And it is that same privilege that, on occasion, has allowed us to highlight global issues and as a result, change perspectives, reflect our audiences and serve as ‘a force for good’. Television does not set out to ‘change the world’ but it has, at its best, done precisely that.”

Supporting Communities

“Supporting our audiences and communities around the UK is, as I said, inherent in our BBC values – it’s why for every £1 of licence fee spent, the BBC generates £2 in value. It’s also why we’re constantly looking for more ways to do it – to deliver maximum value to the license fee payer. Whether that’s regionally, through local BBC radio stations, which in times of crisis (like the recent floods) offer comfort to affected communities; nationally, through the BBC’s evening news coverage (still the most watched programme on UK television); or globally, communicating critical advice to viewers and listers worldwide, most recently in response to escalating concerns around the spread of COVID-19. Or even by creating new services – finding new ways of engaging – like BBC Radio has done with BBC Sounds with it’s 3m listeners to date.

In BBC Studios, that desire to serve and support is just as strong - and we do so, the best way we know how – by creating quality, original content that entertains.”

DIY SOS

“BBC Bristol is home to some of the BBC’s most popular Factual titles of the past 20 years.

I will come onto the Natural History Unit shortly, but first, I want to talk to you about a team who, over the years, have been responsible for several flagship series, including Countryfile, Antiques Roadshow, Bargain Hunt, Gardener’s World and the hugely popular DIY SOS, now in its 20th year.

In 2016, DIY SOS was nominated for a Mind Mental Health Award. It also won the RTS Award for Best Popular Factual and Features programme. In December of last year the production team were honoured with a Bafta Special Award, celebrating both their contribution to television and the programmes “wide reaching impact on the nation”. Here’s recent trail from DIY SOS’ 20th anniversary celebrations.”

DIY SOS started as a BBC home improvement series in which Nick Knowles and his trusted ‘purple hearts’ travelled the country rectifying a multitude of DIY disasters. But since its initial incarnation the programme has become much more - offering help to families with the greatest need, raising the spirits of communities in desperate need of a lifeline, and shining a light on some of the many challenges that people face all over the country in their day to day lives. Over the course of more than 200 episodes, DIY SOS has helped people with disabilities, debilitating illness, mental health issues, homelessness and flooding - always with sensitivity, a few tears and a lot of hope.

But what is perhaps more striking than the range of issues the series has covered is the impact it has had on communities all over the UK. To date, the show has helped nearly 200 different households and completed around £16m worth of builds. In 2012, for Children in Need, it overhauled a special needs centre in Edinburgh that currently serves around 1500 children. And in 2018, in a special Big Build, the team created a new community space for the local residents effected by the Grenfell Tower fires. They also built a gym for the Dale Youth Boxing Club, whose premises were destroyed by the fire. It was an amazing feat which involved the voluntary services of more than 400 tradesmen and women – and this perhaps, is what best demonstrates the positive influence that some television can have in the community.

DIY SOS would not be able to continue without the time and generosity of hundreds of volunteers around the country – often many more than can actually be used. At its heart it is a programme that showcases British communities at their very best and in doing so, inspires action and a sense of hope in many others.

But just as important as those programmes which draw attention to what unites us, are the programmes which celebrate the many differences between us.

Reflecting All Our Audiences

“In 2018, in an attempt to radically improve the representation of women onscreen, the BBC launched the 50:50 Project. Initially trialled on one news programme for one month, the methodology of the 50:50 Project was simple - programmes volunteered to track their overall percentage of men and women across all presenters, experts and contributors each month, giving greater visibility to the male / female ratio and encouraging those involved to think about their onscreen make up. As a trial it proved to be hugely successful and now 2 years on, it is the biggest collective action to increase women’s representation on BBC content that there has ever been, with more than 500 teams bought in across the organisation. Across BBC Studios we currently have 12 unscripted productions signed up to 50/50, including The One Show, Springwatch, Countryfile and Gardeners World – and have recently extended the scheme into Scripted programming, so we’re hoping that list will grow rapidly. It’s a simple idea that really works.

But the BBC’s commitment to creating content which fully reflects the breath and diversity of UK audiences extends beyond the representation of women. It is about much more than simply putting more diversity on screen – it’s about the breadth of stories we tell, about seizing the opportunity to challenge pre-conceived notions of what society looks like, and constantly asking the question ‘can we do more?’

In September 2017, we produced a 2-part series which followed six individuals, each with different physical disabilities, on an ambitious, and sometimes emotional, 900 mile journey across Vietnam. Also made here in Bristol, the programme was called Without Limits. What this powerful documentary set about challenging was the assumption that disability is in itself ‘limiting’. It was totally engaging, a well told story that first and foremost gave viewers an insight into the lives of six brilliant and courageous contributors – their disability was secondary. The series won an RTS West Award for Best Factual Programme.

This year, BBC Studios will once again be shining a light on disability and diversity – this time through drama. BBC Four’s Crip Tales, which is being produced by our Documentary Unit, sees six actors, each with a disability, perform six different monologues spanning 50 years in British history. Curated by disabled actor Mat Fraser, each one will focus on a pivotal moment or event that shapes and influences the characters, and call into question our concept of what the term ‘normal’ really means.”

Improving representation across all our output is a critical part of our content strategy. Not because it’s a ‘good thing to do’ but because it better reflects the society we live in, and therefore the lives of our audiences. It's something we strive for on each and every programme. We know we’ve got a lot more work to do but as producers, our primary purpose is to tell stories brilliantly – it’s the story that matters.”

Telling the Story - Science

“In our Science Unit, the quest to uncover the best scientific stories has lead us in many directions. Most recently the subject of climate change and the world’s attempts to combat it. In April last year, we produced the one hour documentary Climate Change: The Facts for BBC One. The programme was an informative, if sometimes alarming, look at the impact of global warming on our climate – it was driven by facts, but in presenting those facts it also offered our audiences a chance to consider some of the possible solutions to this global threat. It offered a tangible and accessible route to change – showing what small steps individuals could take.

And in February this year we announced that the Science Unit had gained exclusive access to one of the youngest and most influential advocates for climate change legislation – Greta Thunberg. This important documentary will give audiences an inside view of Greta’s journey as she meets with scientists, business leaders and politicians in her quest to drive legislative change in this most critical of issues. And our opportunity to document it is something that makes us very proud.”

Telling the Story - Natural History Unit

“In the NHU, our productions teams are expert storytellers.

Sometimes, that storytelling has helped to raise awareness of increasingly global issues like conservation and global warming – just as it did with Blue Planet II, Dynasties and most recently, Seven Worlds, One Planet. Or, more often than not, it is the vehicle through which our experienced team uncover the unknown – just as they promise to do in the forthcoming National Geographic series, Mission OceanX, in which we team up with the makers of one of the most advanced media vessels of our time in order to reach and share with audiences the farthest frontiers of the ocean.

Occasionally, we use the power of story telling to draw uncanny parallels between two worlds.

Fierce Queens

“Narrated by the incredible Reese Witherspoon, Fierce Queens is a brand new short form series for global online platform Quibi. Smart, funny and informative, the series turns the very concept of the Animal ‘Kingdom’ on its head, putting female empowerment front and centre – I can’t wait.

Regardless of the subject matter, each story promises to be everything that audiences have come to expect of the NHU - ambitious, innovative and above all, brilliantly told.

The purpose, as I said, is to tell these stories.”

Highlighting Global Issues

“Of course sometimes, in seeking out those stories our teams find themselves faced with an issue that is so overwhelming and so timely that there is really just that moment, there and then, to capture it – to ignore it would be, quite frankly, irresponsible.

When in 2013, an experienced and hugely ambitious production team within the NHU set about filming the iconic Blue Planet II, the scale and catastrophic impact of plastic pollution on the world’s oceans was something rarely talked about outside marine biologists and others in the scientific community. Of course, plastic pollution was nothing new - even 40 years ago, it was estimated that across the Earth’s oceans there were approximately 5000 pieces of plastic per square kilometre. But in truth, whilst the team were aware it, it was not utmost in their minds. If you speak with Series Producer Orla Doherty, she will tell you that this was just one element of oceanic life that they expected to capture. As natural history film-makers, their mission was to uncover new worlds and capture aquatic and animal life never before seen on screen. But as the production unfolded – a schedule that took them on 125 shoots in 39 countries over 3 years – the true impact that plastic was having on marine life became impossible to ignore.

For the team, governed by a strong sense of editorial responsibility, it soon became a question of how, rather than if, they would share their story. The truth of the matter was undeniable - estimates now suggested that the level of plastic per square kilometre had risen to 50,000 pieces - and as documentary producers, they had a responsibility to bring it to the fore. And so with cutting edge cinematography, immense dedication and incredible story-telling the Blue Planet phenomenon (as it became known) was born.

On 10 December 2017, the final episode of Blue Planet II – Our Blue Planet transmitted on BBC One, and its impact was unprecedented.

As the most watched series of the year, broadcast in over 200 countries and with 80m views in China in its first week alone, Blue Planet II’s commentary on the state of plastic pollution, brilliantly delivered by Sir David Attenborough, sparked a global campaign against plastic. Since transmission, the programme has gone on to win a total of 28 awards including BAFTAs and a National Television Award for Impact. In September of last year, Head of the NHU, Julian Hector, spoke at a UN Forum attended by politicians, scientists and advocates across the world to discuss the impact and potential strategies for combating plastic pollution. And in November, the NHU and Sir David Attenborough were jointly awarded the Chatham House Prize as recognition for Blue Planet II’s considerable impact on plastic legislation.

But more important than the accolades it has received is the impact that the programme has had on the public’s attitude to plastic. A poll launched the following year indicated that 88% of people who watched Our Blue Planet changed their approach to using plastics. In March last year 170 countries (including the UK) pledged to significantly reduce their plastic usage by 2030, and separately the UK Government has set a target to eliminate all avoidable plastic waste by 2042. Here was an example of UK film-making talent using their skills and experience to document and drive positive change. And for me it continues to be one of the most compelling cases for authentic, public service broadcasting.”

Changing Behind the Camera

“But if, as many believe, television should serve as force for good, then I believe, it as much about what we’re doing off screen as on. So before I close I want to just touch on that.

As one of the biggest Natural History producers in the world, our teams here at the NHU are committed to producing content which is not only the most innovative, but the most sustainable. For some time now, the Unit has been an enthusiastic participant in Albert – the industry funded consortium helping producers to minimise the environmental impact of production and inspire audiences to a more sustainable way of living. We already have a commitment to 100% albert certification across the Unit and we’re strengthening our commitment to carbon neutral programming – the NHU will deliver its first Carbon Neutral Super Landmark, Frozen Planet II, in 2021.

In representation also, our teams are constantly looking at ways that they might better support and promote a more inclusive and diverse talent base. Whether that be on current productions – Seven Worlds One Planet, which transmitted before Christmas, was one of our most diverse shoots, employing 1500 people from seven different continents across all aspects of production – or by offering greater support to a whole new, and much broader, generation of talent.

Here in Bristol, BBC Studios is part of a thriving production community and I believe that it is absolutely critical that we continue to nurture it – not just here but across all our regional bases - because ultimately it is our relationships with new and promising talent that enable us to continue making such ambitious and rewarding content, fully reflecting the audiences we serve.

BBC Studios funds emerging camera talent who are employed on our landmarks and hone their craft with specialist supervision and guidance of the NHU producers. BBC Studios also partners with UWE in the delivery of their MA in Wildlife Film-making (from which over 20 graduates are currently employed within Studios and others in the wider industry in UK and abroad). BBCS NHU producers work with the University of Bristol’s Music Composition for TV & Film, and the producers and Production Managers run a range of seminars and events. I suppose you could say we’ve made a start – but there is still much more we can do.

We want to grow British film-making talent - And for me, it is only through strong partnerships, continued investment locally, and a steadfast commitment to creating a culture in which all our talent can feel they are able to work at their best, that we can hope to do so – and ensure the health of the UK Television industry.

For the productions teams within BBC Studios, creating content that is at the same time entertaining and impactful – that reflects all our audiences as well as inspiring them, is something we all strive for. As story-tellers, working alongside our communities, uncovering new discoveries and capturing the reality of the world in which we live, we have the opportunity to reach people in a way other’s can’t and give voice to some of the most important issues affecting our audience. But we also need to lead by example – and that to me is as much a ‘force for good’ as the stories we send out into the world.

Thank you.”