Red Bull Media House has hired National Geographic and former Science Channel exec Bernadette McDaid as global head of content development, Variety has confirmed.
The exec, who is to begin the role on Jan. 20, is to focus on expanding Red Bull’s programming ambitions. McDaid, who has been based out of London for the last three years, will relocate to Red Bull HQ in Salzburg, Austria, for the role.
Formed in 2007, the entertainment arm of the popular energy drink company produces and licenses short-form and long-form programming, as well as feature films. It has a focus on sports, culture and lifestyle content, and owns Austrian TV network ServusTV, factual production company Terra Mater Factual Studios and a third-party content library known as the Red Bull Content Pool.
Red Bull Films and HBO recently partnered on “Any One of Us,” on pro mountain biker Paul Basagoita. Meanwhile, in 2018, Red Bull Media...
The exec, who is to begin the role on Jan. 20, is to focus on expanding Red Bull’s programming ambitions. McDaid, who has been based out of London for the last three years, will relocate to Red Bull HQ in Salzburg, Austria, for the role.
Formed in 2007, the entertainment arm of the popular energy drink company produces and licenses short-form and long-form programming, as well as feature films. It has a focus on sports, culture and lifestyle content, and owns Austrian TV network ServusTV, factual production company Terra Mater Factual Studios and a third-party content library known as the Red Bull Content Pool.
Red Bull Films and HBO recently partnered on “Any One of Us,” on pro mountain biker Paul Basagoita. Meanwhile, in 2018, Red Bull Media...
- 1/14/2020
- by Manori Ravindran
- Variety Film + TV
National Geographic is jumping on the royal wedding train with a pair of documentaries looking at Prince Harry and Meghan Markle’s nuptials.
The factual broadcaster has ordered Operation Royal Wedding and Prince Harry’s Story: Four Royal Weddings from British producer Spun Gold. This comes after the UK firm scored a similarly royal-themed special for Fox.
Prince Harry’s Story: Four Royal Weddings charts Harry’s journey from a childhood touched by grief, through active service as a soldier in Afghanistan and his international charity work, to his upcoming wedding, through the prism of the most important turning points in his life. The one-hour special focuses on the marriages of Charles, Prince of Wales, and Diana, Princess of Wales; Charles, Prince of Wales and Camilla, Duchess of Cornwall; Prince William, Duke of Cambridge, and Catherine, Duchess of Cambridge; and Prince Harry’s own upcoming wedding to Meghan Markle. The show,...
The factual broadcaster has ordered Operation Royal Wedding and Prince Harry’s Story: Four Royal Weddings from British producer Spun Gold. This comes after the UK firm scored a similarly royal-themed special for Fox.
Prince Harry’s Story: Four Royal Weddings charts Harry’s journey from a childhood touched by grief, through active service as a soldier in Afghanistan and his international charity work, to his upcoming wedding, through the prism of the most important turning points in his life. The one-hour special focuses on the marriages of Charles, Prince of Wales, and Diana, Princess of Wales; Charles, Prince of Wales and Camilla, Duchess of Cornwall; Prince William, Duke of Cambridge, and Catherine, Duchess of Cambridge; and Prince Harry’s own upcoming wedding to Meghan Markle. The show,...
- 5/9/2018
- by Peter White
- Deadline Film + TV
The Australian International Documentary Conference has unveiled the program and international guests for this year's business stream. .
Aidc 2016.s Business Sessions will cover such areas as international funding strategies, the opportunities presented by Video On Demand (VOD) services, developing and selling factual formats, and the secrets of successful production houses..
Highlight sessions include Demystifying VOD, with Kinonation.s Roger Jackson; Taking Your Format To The World, a masterclass with Nz format expert Julie Christie; Patchwork Commissioning, an international funding how-to moderated by WildBear Entertainment.s Veronica Fury; and Docbusters, a session that explores how cinema on demand is allowing feature documentaries to blitz the box office.
Aidc Business Sessions are available only to All Access and Day Pass holders. A full schedule can be found on the Sessions page of the Aidc website.
Aidc Roundtables give attendees a rare chance to meet top decision makers and participate in highly focused discussions in an informal setting.
Aidc 2016.s Business Sessions will cover such areas as international funding strategies, the opportunities presented by Video On Demand (VOD) services, developing and selling factual formats, and the secrets of successful production houses..
Highlight sessions include Demystifying VOD, with Kinonation.s Roger Jackson; Taking Your Format To The World, a masterclass with Nz format expert Julie Christie; Patchwork Commissioning, an international funding how-to moderated by WildBear Entertainment.s Veronica Fury; and Docbusters, a session that explores how cinema on demand is allowing feature documentaries to blitz the box office.
Aidc Business Sessions are available only to All Access and Day Pass holders. A full schedule can be found on the Sessions page of the Aidc website.
Aidc Roundtables give attendees a rare chance to meet top decision makers and participate in highly focused discussions in an informal setting.
- 1/22/2016
- by Staff Writer
- IF.com.au
National Geographic Channels International today made it official, announcing the launch of Nat Geo People. From today’s anouncement: Scheduled to launch early next year in 50 countries, Nat Geo People represents the next progression in National Geographic Channels International’s expanding portfolio of networks. Nat Geo People replaces Nat Geo Adventure in markets where Nat Geo Adventure currently broadcasts. The network will be available in HD and both linear and non-linear formats across Europe, Middle East and Asia-Pacific. Nat Geo People will feature stories of notable individuals and fascinating subcultures found across the globe through programmes like David Rocco’s Dolce Vita, Food Lover’s Guide To The Planet, Ladyboys, Don’t Tell My Mother and Hook, Line & Sisters. “National Geographic has covered stories of people from around the world for 125 years, and the international launch of Nat Geo People is a natural, strategic extension for Ngci, offering an exciting...
- 9/30/2013
- by THE DEADLINE TEAM
- Deadline TV
Despite new documentary formats, traditional fact-based films still attract impressive audiences – and offer value for money
Celebrity-led documentaries such as Paul Merton in China (Channel 5) and structured reality shows such as The Only Way is Essex (ITV) garner headlines and gongs but, despite this, traditional factual programmes are also performing well and broadcasters want more.
Peter Fincham, ITV's director of television, points to primetime broadcasts such as the prison documentary Strangeways, which reached 6.35 million viewers last year, and this April's edition of Fraud Squad, which grabbed 4.9 million viewers. These are strong numbers for factual programming and Fincham likes them because they also represent good value for ITV.
"An audience of 5 million people watching a documentary made for £250,000 per hour is a more efficient way of buying an audience than spending three quarters of a million on a drama," says Fincham. "We guard our budgets carefully, so we are investing in factual,...
Celebrity-led documentaries such as Paul Merton in China (Channel 5) and structured reality shows such as The Only Way is Essex (ITV) garner headlines and gongs but, despite this, traditional factual programmes are also performing well and broadcasters want more.
Peter Fincham, ITV's director of television, points to primetime broadcasts such as the prison documentary Strangeways, which reached 6.35 million viewers last year, and this April's edition of Fraud Squad, which grabbed 4.9 million viewers. These are strong numbers for factual programming and Fincham likes them because they also represent good value for ITV.
"An audience of 5 million people watching a documentary made for £250,000 per hour is a more efficient way of buying an audience than spending three quarters of a million on a drama," says Fincham. "We guard our budgets carefully, so we are investing in factual,...
- 6/10/2012
- The Guardian - Film News
LONDON -- Channel 4 documentaries boss Hamish Mykura has been named head of the broadcaster's arts and documentaries for digital TV channel More4, reporting to director of content Kevin Lygo.
Mykura replaces Peter Dale, who has left to set up his own production company. He will retain his documentaries portfolio for the main channel alongside the More4 position.
"Through its close association with the British Documentary Film Foundation, More4 champions original documentaries from around the world, and so I am delighted that Hamish will be bringing his expertise in this area to the channel," Lygo said.
Mykura joins More4 -- home to such broadcasts as "Death of a President" and "The Trial of Tony Blair" -- at a time when the channel saw last year's share of viewers up 36% from the previous year.
Forthcoming highlights include "Kubrick's Cubes", which has access to the legendary filmmaker's private archives, and Brian Woods' "Chosen", a blistering expose of child abuse at a British public school.
Mykura replaces Peter Dale, who has left to set up his own production company. He will retain his documentaries portfolio for the main channel alongside the More4 position.
"Through its close association with the British Documentary Film Foundation, More4 champions original documentaries from around the world, and so I am delighted that Hamish will be bringing his expertise in this area to the channel," Lygo said.
Mykura joins More4 -- home to such broadcasts as "Death of a President" and "The Trial of Tony Blair" -- at a time when the channel saw last year's share of viewers up 36% from the previous year.
Forthcoming highlights include "Kubrick's Cubes", which has access to the legendary filmmaker's private archives, and Brian Woods' "Chosen", a blistering expose of child abuse at a British public school.
This review was written for the theatrical release of "In the Shadow of the Moon".The really surprising thing is that no one has made this film before. Thank goodness someone finally did, for the dozen men it celebrates -- the only human beings to have stood on an alien world -- won't be with us forever.
"In the Shadow of the Moon" unites 10 of the 12 astronauts who flew on nine Apollo missions and descended to the moon between 1968 and 1972 along with remastered archival footage from NASA, much never seen before. The value of this film, not just to moviegoers today but to future generations, is simply enormous.
Documentaries these days tend toward doom and gloom, so "Moon" is a welcome relief. The movie is about an uncontrovertibly glorious moment in U.S. history. ThinkFilm should see a nice run in art houses and perhaps beyond. The Discovery Films and Film 4 production is sure-fire TV and a collector's item on DVD for any space and history buff. If anything, when the film ends, you feel a bit like Olivier Twist, the boy who cried out for "more."
President Kennedy laid out the challenge for his country and for NASA in a speech to Congress in 1961, when he said that the U.S. intended to put a man on the moon by decade's end. It proved politically and psychologically vital to the national well being to successfully meet the late president's challenge. Assassinations, the Cold War, Vietnam, student protests and the civil rights agitation left the country in a surly mood. Here was something Americans as a people could get right. And they did.
Director David Sington achieves a rising sense of tension despite the fact that every viewer knows the outcome. He has superbly mixed astute interviews with the men who rode those rockets to glory with space footage that in many instances is jaw-dropping. From reams of footage, he has selected meaningful shots of the men in those tiny capsules and footage of the spacecraft doing its Herculean tasks. And by synching 16mm rolls shot in Mission Control with 16-track audio recordings of the mission controllers' voices, he has the viewer inside the beating, earthly heart of the mission.
You would expect highly educated men like astronauts to offer sagacious commentary, but what a surprise to encounter such wonderful characters. Mike Collins is chatty, witty and -- dare we say it -- so down to earth. Alan Bean is all emotions, loving the fact he had the "Right Stuff", as Tom Wolfe's book and the subsequent movie insisted, but admitting he was "one of the most fearful astronauts."
Buzz Aldrin has a touch of the poet and can see the meta in the physics. Jim Lovell, the calm commander of the near-miraculous Apollo 13 recovery, is the soul of equanimity and bemusement. Dave Scott is professorial though fully engaged. Edgar Mitchell has a touch of Zen, seeing in his own molecules, fashioned from a primordial stew of chemicals after the Big Bang a "connectedness, a oneness" between himself and space.
Conspicuously absent is the first man on the moon, Neil Armstrong, the most reclusive and publicity shy of the astronaut corps.
Sington and editor David Fairhead impose a solid structure, giving the race to get to the moon in the final months of 1969 priority up to the moment of the lunar landing, the most watched event on television in history. Then he rushes forward to future missions including the near disaster of Apollo 13, only to backtrack to the first moon walk and the tricky matter of Armstrong and Aldrin getting off the moon in their lunar module and back to Collins in the mother ship.
Along the way, the movie uncovers an astonishing clip of a prerecorded TV address by President Nixon to the nation in case the astronauts were unable to leave the lunar surface. The music from Philip Sheppard, which underscores the great space footage, is just right from popular to classical notes.
IN THE SHADOW OF THE MOON
ThinkFilm
A ThinkFilm, Discovery Films and Film 4 presentation in association with Dox Prods. and Passion Pictures
Credits:
Director: David Sington
Producer: Duncan Copp
Executive producers: Simon Andreae, John Battsek, Julie Goldman, Louisa Bolch, Hamish Mykura, David McNab, Billy Campbell, Andrea Meditch, Jane Root, Jeff Haslet
Director of photography: Clive North
Music: Philip Sheppard
Co-producer/assistant director: Christopher Riley
Editor: David Fairhead
Running time -- 100 minutes
MPAA rating PG...
"In the Shadow of the Moon" unites 10 of the 12 astronauts who flew on nine Apollo missions and descended to the moon between 1968 and 1972 along with remastered archival footage from NASA, much never seen before. The value of this film, not just to moviegoers today but to future generations, is simply enormous.
Documentaries these days tend toward doom and gloom, so "Moon" is a welcome relief. The movie is about an uncontrovertibly glorious moment in U.S. history. ThinkFilm should see a nice run in art houses and perhaps beyond. The Discovery Films and Film 4 production is sure-fire TV and a collector's item on DVD for any space and history buff. If anything, when the film ends, you feel a bit like Olivier Twist, the boy who cried out for "more."
President Kennedy laid out the challenge for his country and for NASA in a speech to Congress in 1961, when he said that the U.S. intended to put a man on the moon by decade's end. It proved politically and psychologically vital to the national well being to successfully meet the late president's challenge. Assassinations, the Cold War, Vietnam, student protests and the civil rights agitation left the country in a surly mood. Here was something Americans as a people could get right. And they did.
Director David Sington achieves a rising sense of tension despite the fact that every viewer knows the outcome. He has superbly mixed astute interviews with the men who rode those rockets to glory with space footage that in many instances is jaw-dropping. From reams of footage, he has selected meaningful shots of the men in those tiny capsules and footage of the spacecraft doing its Herculean tasks. And by synching 16mm rolls shot in Mission Control with 16-track audio recordings of the mission controllers' voices, he has the viewer inside the beating, earthly heart of the mission.
You would expect highly educated men like astronauts to offer sagacious commentary, but what a surprise to encounter such wonderful characters. Mike Collins is chatty, witty and -- dare we say it -- so down to earth. Alan Bean is all emotions, loving the fact he had the "Right Stuff", as Tom Wolfe's book and the subsequent movie insisted, but admitting he was "one of the most fearful astronauts."
Buzz Aldrin has a touch of the poet and can see the meta in the physics. Jim Lovell, the calm commander of the near-miraculous Apollo 13 recovery, is the soul of equanimity and bemusement. Dave Scott is professorial though fully engaged. Edgar Mitchell has a touch of Zen, seeing in his own molecules, fashioned from a primordial stew of chemicals after the Big Bang a "connectedness, a oneness" between himself and space.
Conspicuously absent is the first man on the moon, Neil Armstrong, the most reclusive and publicity shy of the astronaut corps.
Sington and editor David Fairhead impose a solid structure, giving the race to get to the moon in the final months of 1969 priority up to the moment of the lunar landing, the most watched event on television in history. Then he rushes forward to future missions including the near disaster of Apollo 13, only to backtrack to the first moon walk and the tricky matter of Armstrong and Aldrin getting off the moon in their lunar module and back to Collins in the mother ship.
Along the way, the movie uncovers an astonishing clip of a prerecorded TV address by President Nixon to the nation in case the astronauts were unable to leave the lunar surface. The music from Philip Sheppard, which underscores the great space footage, is just right from popular to classical notes.
IN THE SHADOW OF THE MOON
ThinkFilm
A ThinkFilm, Discovery Films and Film 4 presentation in association with Dox Prods. and Passion Pictures
Credits:
Director: David Sington
Producer: Duncan Copp
Executive producers: Simon Andreae, John Battsek, Julie Goldman, Louisa Bolch, Hamish Mykura, David McNab, Billy Campbell, Andrea Meditch, Jane Root, Jeff Haslet
Director of photography: Clive North
Music: Philip Sheppard
Co-producer/assistant director: Christopher Riley
Editor: David Fairhead
Running time -- 100 minutes
MPAA rating PG...
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