{"id":13105,"date":"2018-01-09T09:00:50","date_gmt":"2018-01-09T14:00:50","guid":{"rendered":"http:\/\/worldscreen.com\/tvkids\/worldscreen.com\/"},"modified":"2018-01-25T14:49:07","modified_gmt":"2018-01-25T19:49:07","slug":"were-back","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvkids\/were-back\/","title":{"rendered":"We\u2019re Back!"},"content":{"rendered":"

\"\"David Wood hears from leading producers and distributors about how to keep kids\u2019 shows fresh\u2014season after season.<\/em><\/p>\n

Broadcasters and platforms want volume, perhaps even more so in the kids\u2019 content space than anywhere else. And fulfilling that desire is no easy feat, given the costs and long timelines involved in producing animation. Not to mention that fickle young ones are quick to move on to the next thing if they aren\u2019t kept engaged.<\/p>\n

\u201cIt\u2019s very important to be in a position to offer broadcasters volume on kids\u2019 series, because they need enough episodes to build their schedules,\u201d says Hans Ulrich Stoef, the CEO of m4e and Studio 100 Media.<\/p>\n

\u201cAnd 13 episodes, which was considered to be a respectable first season 15 years ago, is not enough for most broadcasters now,\u201d Stoef adds. \u201cIf you have just made 13 and it\u2019s a success, that\u2019s great, but you can\u2019t suddenly pull another 13 out of the hat. In my view, the best case for broadcasters is 52 episodes, and producers should be thinking in terms of 26 to 52 episodes from the start. For half-hour formats, we don\u2019t do less than 26 episodes. And for shorter preschool episodes, we are looking to do 52 straightaway.\u201d<\/p>\n

Micheline Azoury, the head of acquisitions and TV sales at Mondo TV Group, reveals that most of the company\u2019s shows are developed as 52 11-minute episodes. \u201cThere is an exception\u2014for Invention Story<\/em> we are committed, along with our partner York Animation, to 104 11-minute episodes for five consecutive seasons. This idea of securing five seasons of one brand for the next five years seems to appeal to quite a few broadcasters.\u201d<\/p>\n

And it\u2019s not just the broadcasters who benefit. \u201cA 26-part series takes the same effort to sell as a one-hour special,\u201d explains J\u00e9r\u00f4me Alby, the managing director of Mediatoon Distribution, which distributes long-running TV brands such as Minimighty Kids<\/em>, Yakari<\/em>, The Garfield Show<\/em> and Bobby and Bill<\/em>. \u201cAnd the production cost of the second season of 26 episodes will cost just 30 percent of the first season, so the economies of scale make a lot of sense. Another way of looking at it is that at the start, a show will cost \u20ac10,000 ($11,900) to \u20ac14,000 ($16,600) per minute to produce, whereas the 39th episode will cost \u20ac8,000 ($9,500).\u201d<\/p>\n

MANAGING TIME
\n<\/strong>So when do producers start planning for those additional seasons? \u201cVery early on,\u201d says Claus T\u00f8mming, the managing partner at INK Group. \u201cThanks to the story-driven approach of our brands, we\u2019ll have at least two (and sometimes three) seasons mapped out even before we even start presales.\u201d<\/p>\n

Obviously, it would be a mistake to do too much detailed development before season one has started and broadcasters have been able to gauge its success. For Jetpack Distribution CEO Dominic Gardiner, the end of production on season one is one of the most critical times for shows, because it\u2019s the point at which many find their feet.<\/p>\n

\u201cAs the producer, you will have seen natural development in stories and characters, and that\u2019s the point when you [explore] what worked and what didn\u2019t work,\u201d Gardiner says.<\/p>\n

Vince Commisso, the president and CEO of 9 Story Media Group, says that at the end of season one, his teams carry out a detailed post-mortem and creative review. \u201cIt includes an appraisal of every character and every storyline, a rewrite of the bible and an assessment of what\u2019s working or not working.\u201d<\/p>\n

Commisso insists that it\u2019s an essential piece of analysis, with input from the broadcast partners and specialist researchers.<\/p>\n

An indication of how seriously 9 Story takes this process is its relationship with producer Angela Santomero, the creator of Daniel Tiger\u2019s Neighbourhood<\/em>, among other shows.<\/p>\n

\u201cWith Angela\u2019s help, we use a combination of research, science and instinct to make sure that the content we create engages with kids,\u201d says Commisso.<\/p>\n

He adds that 9 Story conducts focus groups with fans of the show, as well as with kids who do not watch the series.<\/p>\n

\u201cWe monitor them as they watch and get researchers\u2014people with early childhood development specialties\u2014who can decipher what the kids\u2019 reactions mean. We feel like we have nailed it if we can identify the three big moments in a script. Is there a big funny moment making the kids laugh? Have we taught them something? Is there a feel-good moment that brings everyone closer together? We look especially hard at those moments because they are the things that distinguish the shows we produce.\u201d<\/p>\n

The appetite for new episodes is driven in part by the target audience. Preschoolers in the 2 to 4 age range are more likely to be happy with a greater number of repeats, while older viewers in the 6 to 12 age range will be looking for new episodes, new characters, more development and greater story progression.<\/p>\n

Mediatoon\u2019s Alby offers up Trotro<\/em>, one of France\u2019s best TV exports, as an example. The animated show about a young donkey has only amassed 78 3.5-minute episodes but remains a strong seller. \u201cIt\u2019s true that there\u2019s less pressure for new shows for 2- to 4-year-olds, whereas with older demos it\u2019s very useful to have new ideas, and to try new things with the characters.\u201d<\/p>\n

Stoef at Studio 100 and m4e adds, \u201cWith preschoolers, it\u2019s fine to reuse existing sets up to 100 11-minute episodes, but with the 6 to 9 age group and beyond, you need to add new, exciting storylines and new characters, good or evil, rather than just repeat, or else the older kids will disappear.\u201d<\/p>\n

AUDIENCE RESPONSE
\n<\/strong>One series from 9 Story that did undergo extensive change following in-depth research on viewers\u2019 reactions to the first season was Camp Lakebottom<\/em>, an animated show aimed at 6- to 11-year-olds now in its third season.<\/p>\n

\u201cWe found that the stories were too complicated\u2014not simple and clean enough for viewers,\u201d Commisso says. \u201cThe research also showed that the monsters in the show needed to be more identifiable and goofier, too.\u201d<\/p>\n

The central character, McGee, was made into more of an ordinary kid who had situations thrust upon him, rather than being a superhero kid who could handle everything that was thrown at him. \u201cThat reframed him in the eye of the audience,\u201d explains Commisso. \u201cThey began to see him more as \u2018he\u2019s like me\u2014so if I am put in those situations, I will rise to the occasion too.\u2019\u201d<\/p>\n

Stoef, whose combined portfolio of returning brands includes Mia and me<\/em> and Maya the Bee<\/em>, among others, emphasizes that innovation in character development is important for a number of reasons, particularly with shows aimed at 6- to 11-year-olds.<\/p>\n

\u201cFirst, you don\u2019t want to lose your fans,\u201d he says. \u201cIf it\u2019s boring, the ratings will go down and the broadcaster could cancel the show, so the pressure is on to deliver creative content all the way through. It\u2019s too risky to make it the same\u2014because you can end up killing your brand. Also, innovation with new characters, new creatures and props is very important to help create new licensed goods. If kids have bought the toy for one season, you need something new and collectible for season two.\u201d<\/p>\n

FRESH FARE
\n<\/strong>Mondo TV\u2019s Azoury agrees that adding new characters and elements to each season is key to a show\u2019s development. \u201cOtherwise, what are you bringing that makes this season different from the last? It\u2019s especially important as kids are very focused on the specifics. You should never underestimate their scrupulous attention to detail. The main heroes or characters in shows have to be there, but so do new friends, characters, gadgets, adventures or locations\u2014in every new season.\u201d<\/p>\n

The secret to continuing the success of the first season into subsequent runs is simple but not necessarily easy, insists INK\u2019s T\u00f8mming. \u201cThe audience responds to the quality of the story and the characters. There are rare occurrences of a \u2018chain reaction,\u2019 when a show takes off for no apparent reason. When that happens, you just need to enjoy the ride and hope the sudden magic doesn\u2019t fizzle out too soon. But usually, it\u2019s a mixture of talent, inspiration and hard work.\u201d<\/p>\n

Mediatoon distributes some of the world\u2019s biggest kids\u2019 TV brands, including 156 episodes of Yakari<\/em> and 214 episodes of The Garfield Show<\/em>.<\/p>\n

\u201cTypically, innovation comes in different aesthetic treatments,\u201d Alby says, referencing Yakari<\/em>\u2019s CGI with 2D render. Innovation can also come from \u201ca bigger focus on peripheral characters and occasionally changing the format, with the production of specials around holidays or special occasions such as Halloween or Christmas. We have also changed our animation The Crumpets<\/em>, about a very large oddball family, which had more than 100 characters in season one to focus on just half a dozen main characters in season two.\u201d<\/p>\n

Alby also notes the tweaks made to Futurikon\u2019s Minimighty Kids<\/em>. \u201cWhile the first season focused on the individual problems of one kid, the second season switched to a group focus on five to six kids. Season three returned to the original concept of one kid\u2019s problem per episode.\u201d<\/p>\n

Tweaking formats isn\u2019t a problem, so long as the treatment stays true to the original DNA of the show, says Alby. \u201cAvoid alienating viewers by keeping the core of what makes the brand or the character so special,\u201d he advises. \u201cMake sure the writing sticks to that formula.\u201d<\/p>\n

ORIGINAL VISION
\n<\/strong>One of the best ways to ensure that a new series adheres to the secret sauce that made it work is to maintain the original creative team\u2014the writers and directors in particular, says Alby, who points out that Yakari <\/em>and Garfield<\/em> have had the same director since episode one.<\/p>\n

\u201cAlso, when you develop, don\u2019t do it in isolation. The commissioning channel usually has a lead role in pointing the way forward. It\u2019s also important to keep in mind the brand\u2019s rights holders, who may want to approve any departures or changes. They will also understand the show\u2019s original DNA better than most.\u201d<\/p>\n

One cartoon that has changed dramatically over the years, but has managed to preserve the core elements that made it a success, is Scooby-Doo<\/em>, observes Jetpack\u2019s Gardiner.<\/p>\n

\u201cScooby-Doo<\/em> has been produced every few years since 1969\u2014everybody thinks the classic show is the one they watched as a kid! The animation style has changed, and they have introduced new characters like Scrappy-Doo when ratings flagged, but they have always managed to retain the key chemistry that made it work.\u201d<\/p>\n

Gardiner continues, \u201cIf a series makes it to four seasons it\u2019s clearly a big hit, but at that point, you may be talking about finding new audiences as its original viewers move on. The important thing to remember is the old adage: \u2018If it ain\u2019t broke, don\u2019t fix it.\u2019 You may improve your animation quality or other parts of your storytelling, but keep the core of the show\u2019s successful formula.\u201d<\/p>\n

Indeed, seasons three and four are where things can go wrong, Gardiner reports. \u201cPeople either think of it as a sausage factory and don\u2019t innovate enough, or change things too much and \u2018jump the shark,\u2019\u201d he says.<\/p>\n

The secret to success is finding the sweet spot somewhere in between.<\/p>\n

Pictured: 9 Story\u2019s<\/em> Nature Cat.<\/p>\n","protected":false},"excerpt":{"rendered":"

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