Harold Gronenthal, who heads the international side of the operation, provides an assessment of international opportunities, echoing the US channel’s positioning.
Under the creative direction of Robert Redford, Sundance Channel describes itself as “the TV destination for independent-minded viewers seeking something different”. Launched in 1996 by Showtime Networks, Universal Studios and Redford, it was recently acquired by Rainbow Media, a division of Cablevision. The channel is now in 40 million US homes and has a growing international footprint.
The original programming team at Sundance is led by senior vice-president of original programming and development Lynne Kirby, who delivers around 60 hours of original content a year. She is supported by vice-president of original programming and production Mala Chapple; vice-president of original programming and development Nicole De Fusco; executive producer of original programming Ann Rose; and production manager Jordan Kreisler.
What is the target demographic?
Sundance Channel’s audience comprises viewers between 18 and 34 years old, evenly split between male and females. It is mostly affluent, early adopters who embrace new technologies and pride themselves in knowing what’s next, right now.
What is the brief?
We want high-quality, independent production that celebrates independent thinking. Content ranges from independent films to documentaries and doc series that attempt to step outside the mainstream via the perspective of the director/producer, the subject matter or the execution.
What does the network want and what slots are available?
We’re taking a closer look at factual and reality, particularly series, to fill weekday early prime slots. We want strands that have a good story to tell, that people want to watch and that follow the notion of Sundance’s independent spirit.
What are the cross-platform opportunities?
In addition to the 24/7 linear channel, we’re on video on demand and broadband.
What is the composition of content for international channels?
The content in Europe and Asia is about 65% acquired and 35% original programming, including original content from Sundance Channel USA and Rainbow’s sister services.
Who are your top programme suppliers and what are the recent deals?
We have mostly acquired content from 3DD, Passion Distribution, DCD Rights, Filmoption and Beyond Entertainment for Europe and Asia, but we’ve started the process of commissioning completed programmes. We’ve co-produced with 3DD (In Conversation and Discovering…). And a show such as Man Shops Globe was produced for Sundance USA by World of Wonder, but we acquired the programme for Sundance in Europe and Asia via Passion.
What are the key commissioning times and what is the best way to pitch to you?
I don’t think it ever stops. You never know when you’re going to come across a good idea. And I don’t think it works to tell a production company to pitch in March, for example, but not in June. In terms of international pitches, these should go to Harold Gronenthal via Louise Boscaino (laboscaino@rainbow-media.com). Outlines and one-pagers are best. Tape, if you have it, is even better.
What are the top 10 shows/prospects on the international network?
- Design Star (launched in December 2010)
- The Fabulous Beekman Boys (launched in November 2010)
- Brick City
- Man Shops Globe
- The Lazy Environmentalist
- In The House
- In Conversation (launched in November 2010)
- Discovering… (launched in November 2010)
- From The Basement
- Video Killed The Radio Star (launching in January 2011)
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