Organisational Culture and Context Super Series (ILM Super Series) (ILM Super Series)
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Shindler therefore looked for a partner that would give RED additional inancial resources and access to international, especially North American, television networks. Having rejected ofers from several companies, in December the company made a deal with StudioCanal. However, here too there are also signs of change. For the irst time RED has worked with an American writer, bestselling crime novelist Harlan Coben, albeit on a ten-part original series rather than an adaptation of his existing iction: he Five for Sky is about a group of friends reunited through a murder and ilmed in Liverpool.
However, it is impos- sible to understand Warp without analysing the dispositions, beliefs and underly- ing values of its founders. Although it had experienced signiicant growth in the s, the ilm industry remained haphazard and unstable. An increase in production levels has not altered its endemic problem: the dominance of American multinationals, which severely squeezed production, distribution and exhibition opportunities for indigenous ilmmakers and therefore diminished the prospect of creating sustainable busi- nesses; most UK production companies came together simply to make a particular ilm.
During —4, New Labour created nine regional screen agencies RSAs that consolidated and expanded regional ilm activity through supporting low-budget ilmmaking oten using digital production technology, thereby developing a pool of creative expertise and entrepreneurial skills within a framework designed to develop a sense of community and diversity by nurturing new talent. Although Herbert has his own oice and sits in a designer chair, he habitually dresses in jeans and trainers with his feet on the desk, evincing the working-class blokeishness that is his public persona.
Meadows had recently sufered funder-imposed changes on Once Upon a Time in the Midlands and was therefore keen to work with a sympathetic producer, located in Sheield, who would respect his creative autonomy.
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He wanted to shoot everything chronologically and have the ability to change the ilm from one day to the next. It was our job to build a structure around him that allowed that to happen. Warp thereby retains its underlying values as the enabler of diverse creative talent who share its belief in experimentation, innovation and creative opportunities and are thus willing to work on low-budget ilms with little prospect of major box-oice success. In contrast to RED, whose target is always the primetime television audience, Warp has the cultural space as the producer of low-budget shorts and features, to be more diverse and boldly experimental.
Herbert had met Gutch when he was Head of FilmFour Lab see next section , which part-funded My Wrongs, and his extensive commissioning experience there provided complementary expertise.
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Gutch became a shareholder in Warp itself and, as both Managing and Development Director, was party to all its major strategic decisions. In spring Gutch decided to step aside from his joint role to focus on speciic ilm and television projects as an executive producer; Peter Carlton, who had joined Warp in , assumed the role of joint Managing Director alongside Herbert.
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In addition to recruiting from outside, Warp nurtures its own talent. Mary Burke, who joined as a production runner in , became a fourth senior producer through her ability and shared commitment to encouraging diversity and innovation. Underneath Herbert, Gutch and Carlton are nine staf working across four departments. Weekly development meetings are held in London; the management group senior producers and heads of department meets quarterly; and the board Beckett, Herbert and Gutch, now Carlton every six months.
In contrast with the relatively straightforward funding mechanisms of television produc- tion through broadcasters, Warp and its competitors have to rely on jigsaw funding from a number of diferent sources.
From to , Warp beneited from a irst- look deal with Film4, the ilm arm of Channel 4 and both Film4 and its parent broadcaster have invested in numerous Warp projects. Warp has been particularly adroit in establishing close connections with distributors and sales agents, espe- cially Optimum Releasing now owned by StudioCanal UK , Protagonist Pictures and Wild Bunch, since institutional funders are more likely to support projects with distributors attached and the latter prefer projects with institutional backing.
Changing Contexts of Creativity: Television Production and Internationalisation Like RED, Warp has recently begun a new phase in its evolution in response to changing cultural and economic contexts. Such deals enable Warp to ofer attractive commissions to its writers or directors, but they also push the company towards particular kinds of production. Nevertheless, it also marks a signiicant departure. Conclusion A fuller analysis of RED Production Company and Warp Films would have con- sidered how workers at other levels in these companies understand their basic assumptions and are integrated or not into the company ethos.
In both cases it is the founders and managing directors, Nicola Shindler and Mark Herbert, who have been crucially important in constructing their identity and mode of production.
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It was because of their per- sonal preferences that the companies have strong regional identities that distance them from the London-centricity of the UK media industries and is part of their distinctiveness. However, as discussed, this lifestyle choice also had an economic basis as both Manchester and Sheield had established media and cultural infra- structures providing accessible pools of labour and postproduction facilities.
Understanding the nature of these relationships necessitates, as we have demonstrated, paying close attention to the broader economic, industrial and cultural contexts in which these companies operate. In adapting to changing external conditions, the founders and senior producers play an even more criti- cal role. Although these relationships are asymmetrical and hierarchical, with the funders holding the whip hand, there is considerable room for agency; negotia- tions are typically dialogic, driven as much by mutual respect and cultural values as by institutional remit and the need for proitability.
Channel 4 in particular has similar core values to Warp and RED through its remit to encourage diversity and innovation. If this is the case, then the period in which these companies developed could be seen as a particular moment in the evolution of UK ilm and television industries in which small, indigenous companies were able to make progressive and challenging, but also highly entertaining, original iction. However, one could also argue that both companies have the acumen, energy and resilience to resist these homogenising, globalising forces and to maintain their core values and their commitment to providing the conditions in which innovative creative agency can lourish.
Such observations are, of course, speculative and we wish to turn to the theo- retical and methodological implications of our study for media analysis. Film and media studies, we suggest, has much to learn from management, organisational and business studies that ofer general ways of thinking about how companies function.
Film and media studies need to learn from these disciplines without acceding wholly to their potentially homogenising tendencies or the drive to formulate general rules or theoretical models about how produc- tion cultures work, though it has to be acknowledged that Schein himself is highly sceptical about drawing up a typology of companies. Overall, we hope to have demonstrated that the analysis of companies constitutes a productive middle ground between a focus on individual media workers and overviews of general economic and cultural processes.
Acknowledgements he authors would like to thank Nicola Shindler and Robin Gutch for their kind- ness in agreeing to be interviewed at length and for commenting on the article to ensure accuracy. By contrast, histori- cal ilm studies has a rich tradition of small—medium company analyses; see, inter alia, Sue Harper and Vincent Porter, British Cinema of the s: he Decline of Deference, Oxford: Oxford University Press, For further discussion see Andrew Spicer, A.
Over sixty interviews have been conducted for the project as a whole, including the iteen that we have organised. For the purposes of this article that focuses on strategic vision, we have only drawn on our interviews with CEOs. Further page references are given in the text.
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Richard Nice, Cambridge: Polity Press, , p. London: Routledge, , pp.
We are grateful to Professor Paterson for allowing us access to this article before publication and for his comments on an earlier version of our article. Tauris, , pp. We are grateful to Professor Smith for generously giving us access to this unpublished material and for sharing his recollections of the environment. Both were well known for highly inno- vative and experimental output.
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