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.

On the other side of Lambur's business is client representation - work that provides her with a more predictable return than the elusive talent-spotting game. In this arena, Lambur and Wilson's breadth of experience is critical. "We tend to take on areas of the business in which our clients aren't as strong or connected."

For example, Lambur acts as TV distributor for New York-based Big Tent, a merchandising, licensing and publishing operation set up by former Golden Books colleagues Stephen Weitzen and Rich Collins. Big Tent is the North American agent for Miffy and has assigned Lambur to assist with U.S. TV distribution for new 3-D stop-frame series Miffy and Friends (65 x five minutes), as well as licensing & merchandising for the property in Canada. Likewise, Lambur offers TV/video distribution and licensing & merchandising consulting to Ottawa, Canada-based Dynamite Cartoons (producer of Untalkative Bunny) for some of its developing properties, the details of which were still under wraps at press time.

Lambur plans to take on another two or three clients, at which point there may be "opportunities for them to collaborate. By encouraging this, we can act like a virtual corporation - keeping down costs and recruiting talent on specific projects."

Like Lambur, former Saban VP of international co-productions & acquisitions and co-founder of new indie outfit Pastis Television International Sam Ewing says the biggest downside to an indie operation is the lack of a support network. But the upside, says Ewing, is that "I like the worry. It's scary going it alone, but that motivates me to be creative."

Pastis marked its arrival at MIPTV 2002 with the launch of Magi-Nation - a CGI concept based on a card game franchise from Interactive Imagination Corporation. The aim is to produce a 26 x half-hour series budgeted at between US$300,000 and US$400,000 per episode for delivery in fall 2003. Entrusted with adapting Magi-Nation for TV is L.A.-based prodco Keller Productions, headed by former Fox Family Channel executive VP Eytan Keller.

Ewing has funds to option established ideas, but Pastis properties won't all be snatched from the overheated book market. Since forming Pastis, Ewing has been "trawling toy stores looking for characters that possess humor and high adventure," and Magi-Nation marks the first time he has backed a card-based franchise.

Ewing says the market is tough at present, but while he has yet to confirm deals for Magi-Nation, he is not unduly worried by the scarcity of funds. "I've been in this business for 30 years, and the one thing I know is that broadcasters need new programming every year. The money is always there for the right project."