The indie influx

Kids television producers are facing their toughest commercial challenges in years. A combination of stagnant advertising revenues, global stock market turmoil and production over-capacity means money for new shows is as scarce as it has ever been.

What's worse, broadcasters with budgets for original shows are using their market power to grab control of ever more property rights. For producers, the result is that even if you get your show on air, there's a chance your one long-term asset will end up feeding a corporation's bottom line instead of sustaining your own business.

Yet through it all, the kids sector in Europe and North America continues to welcome new independent entertainment companies - many headed by industry veterans well-schooled in the cutthroat world of results-driven production.

In some cases, this new breed of indie emerges as the result of a merger or cutback that has made a senior manager surplus to requirements. In others, it is disenchantment with the rigid targets set by shareholders that has driven execs out the door. And just as often, it's a desire to retain control of potentially lucrative IP rights.

Toronto, Canada-based Joan Lambur & Associates typifies the trend. Until recently, Lambur was president of on-screen entertainment at preschool specialist The itsy bitsy Entertainment Company. TibECo's financial woes were well-documented in the latter half of 2001, culminating in the beleagured company halving its 65-strong staff and losing its founder, CEO and chief creative officer Kenn Viselman. Today, Lambur's payroll consists of herself and trusted partner Suzanne Wilson - formerly itsy bitsy's senior manager of on-screen entertainment, television.

Lambur says the biggest downside to her new set-up is the lack of specialist in-house support. "At itsy bitsy, I could go to any division and draw on its expertise. Now, we do everything - including sending our own packages." But Lambur doesn't begrudge this because her independent status allows her to construct non-traditional creative relationships. "The upside to a recession is that you uncover amazing talent looking for innovative partnerships. I'm not constrained by the needs of divisions, so I can look at any deal."

Lambur's business structure is two-sided. On one hand, she's focused on seeking out raw talent and new ideas. Because she does not have the resources to bid against the big animation studios for book properties, she is casting the net far and wide for original concepts. This can be "a time-consuming process that takes you to bizarre meetings," admits Lambur, "but it also throws up great ideas from people with no preconceived agenda."

Among the concepts she's taken on so far is Tallulah Bighead, a Flash-animated project for the six to nine set presented by two Canuck graduate students. Canadian kidcaster YTV has already expressed interest in the concept, which follows the adventures of a big-headed private detective, and Lambur is currently trying to drum up international broadcast interest. Another project in early development is Leonard the Monkey, a 2-D/3-D preschool series that Lambur brought with her from itsy bitsy. The 13 x half-hour series will be produced by Ottawa, Canada-based Ocnus Productions and was created by stand-up comic Greg Lawrence - exactly the sort of cross-fertilization that appeals to Lambur.