David DeHaney, Proper Content

Channel 4 and its public service remit has played an important role in the growth and success of Proper Content, so it’s fair to say that I find the prospect of it being privatised deeply worrying.

After working for more than 20 years creating factual programmes for indies including Love Productions, Firecracker Films and Nutopia, I launched Proper Content back in 2016.

Since then, we have made shows that explore difficult subjects in an entertaining and accessible way, such as the Bafta-winning The School That Tried To End Racism for C4, the Grierson award-winner Suicidal: In Our Own Words for Channel 5, and Transitioning Teens and Daisy Maskell: Insomnia And Me for BBC3. We genuinely want our shows to make a difference to people’s lives.

The Bafta success of The School That Tried To End Racism really raised the profile of Proper Content and I don’t think I could have got the documentary series commissioned anywhere other than C4.

Its remit is, I’m sure, the reason that C4 was prepared to take a risk on the show. We’ve now sold the format internationally, and the finished programme to many countries around the world.

In November 2020, C4’s Indie Growth Fund invested in Proper Content. I’m glad we signed – the investment has been important to our business.

The fund has helped with cash flow, giving my creative team more freedom to think about what we should be making. It has also allowed me to beef up our team, bringing in more expertise and support. Ultimately, the investment has allowed us to focus on growth.

C4’s backing has also given other broadcasters and commissioners more confidence to work with us. Maybe they don’t regard us as such a new, risky proposition any more?

It’s difficult to know – we had made good programmes and won awards before C4 invested, but sometimes these things work hand in hand to change perceptions about an indie.

“The main reason I’m concerned about privatisation of C4 is the potential loss of risk-taking. C4 is the primary terrestrial incubator of innovation”

The other advantage is that Proper Content is now part of a group of indies that are backed by C4. Running your own company can be lonely – there are not many other indie bosses to share advice and experiences with. Now it’s easier to find out what similar companies are up to, or how they are tackling certain situations.

Ultimately, though, the main reason I’m concerned about the privatisation of C4 is the potential loss of risk-taking. Currently, C4 is the primary terrestrial incubator of innovation and new approaches in form and content.

Sure, a possible buyer could put risk-taking at the heart of its vision for C4, but let’s not forget the role it has played in making British TV the force that it is.

It was C4 that took a risk on Michaela Coel’s Chewing Gum, which ultimately led to the acclaimed I May Destroy You on BBC1. TV needs an organisation like C4 to take risks on shows and push the envelope – and to inspire everyone.