As a seasoned movie critic with decades of experience under my belt, I have to say that Jay Hunt is a true visionary in the world of British television. Her ability to take risks and her unwavering commitment to nurturing homegrown talent is nothing short of inspiring.
During the BFI London Film Festival, Apple TV Europe leader and BFI chair Jay Hunt participated in an uncommon question-and-answer session moderated by Claudia Winkleman from “The Traitors” UK show. The discussion focused on her extensive career in U.K. public broadcasting, transition to streaming services, and the broader landscape of the U.K. screen industry.
One piece of advice Hunt gave the audience was emphasizing the value of admitting mistakes and taking chances. Regarding the latter, she disclosed that “Slow Horses”, a popular UK show on AppleTV+ which later garnered BAFTA and Emmy awards, was initially viewed as a high-risk investment. In fact, it was only acquired by the U.S. streaming service after being rejected by the BBC.
Hunt stated, “I believe you should be willing to take chances.” He found it intriguing. A prime example of this is the series ‘Slow Horses,’ which was initially rejected by the BBC. One reason people may find shows like this difficult is because they have a mixed style. So viewers wonder, is this a comedy or a drama? In an unusual way, this ambiguity reflects risk-taking.
I believe discovering such items and refining them to match the level of excellence we’ve witnessed, along with collaborating with top-notch talent like skilled writers, directors, and teams, seems to me a lineup that highlights the pinnacle of British creativity. It’s exactly what I envisioned for this role.
AppleTV+ has greenlit several successful U.K. and Irish productions such as “Bad Sisters” penned by and featuring Sharon Horgan, the crime drama “Criminal Record” starring Peter Capaldi, Idris Elba’s series “Hijack”, and the documentary series “Prehistoric Planet”.
Hunt stated that we’ve poured countless millions into nurturing British imagination. As someone deeply rooted in this industry and committed to staying here, I’ve seen us present opportunities that challenge our effects designers, like asking them to bring to life a world from 66 million years ago, or demanding exceptional detail from our production designers for ‘Slow Horses.’ It’s rewarding to be part of an environment where we can provide such tasks and allow talented individuals to excel without having to leave this market. This isn’t about draining talent; it’s about keeping them here and giving them the chance to shine – something I take great pride in.
In her initial role, which began in 2017, Hunt was the pioneer employee in the U.K. handling the streaming sector of the company. As she put it, “I started this job alone, having only an assistant for company. For a whole year after that, I didn’t have any colleagues above the Apple store on Regent Street.
Additionally, Winkleman inquired about Hunt’s tenures at BBC One, Channel 4, and Channel 5, where she was the leading creative figure for each broadcasting network. More specifically, the television host asked if it was a tough choice to leave her position at BBC One for Channel 4. Winkleman remarked, “It’s like being offered an exceptional job while already having an exceptional one,” suggesting that it was comparable to choosing between Brad Pitt and George Clooney.
Hunt openly admitted that parting ways with the BBC was tough, referring to it as “the platform where ideas can reshape the collective mindset of the nation.” She used the popular drama “Luther,” featuring Idris Elba in its lead role for the first time on BBC One in 2010, as an illustration. This marked a significant moment, as it was the first instance of a Black actor headlining a show on that particular network.
She disclosed that transitioning to Channel 4 proved challenging due to the fact that their competitor had taken “Big Brother”, leaving a void of 200 hours of programming that the production team now needed to fill.
She noted, “However, there’s a certain aspect – reminiscent of my appreciation for Channel Five – that appeals to me about this new venture: the spirit of the underdog, coupled with the role of a disrupter that Channel Four embodies. I find this concept extremely appealing. It resonates with my personality as I am drawn to the idea of being disruptive.” Among the shows commissioned during Hunt’s tenure at Channel 4 were “Black Mirror,” “Derry Girls,” and the controversial dating show “Naked Attraction.
Hunt expressed deep enthusiasm about the impact that particular show had on changing societal perceptions of various body types. He acknowledged that it was provocative and unexpected, but he found it to be a perfect match for his character as we also had similar programming.
Another contentious action involved transferring the popular series “The Great British Bake-Off” (or “The Great British Baking Show” in the U.S.) from the BBC. During a question-and-answer session, Hunt admitted that it stirred up quite a commotion initially but explained that the reasons behind the shift were actually more practical and logical.
It was clear that the partnership between the ‘Bake-Off’ production company, Love, and the BBC had reached an end. While the BBC deserves recognition for discovering and nurturing the show into its current form, Love no longer wished to produce the show for the BBC. It was common knowledge that the show was up for sale.
A series titled “Gogglebox,” initiated during Hunt’s tenure, was another production that Channel 4 continued to air despite poor viewership in its initial two seasons. Now in its 24th season, this show has also spawned multiple celebrity spin-offs.
Initially, when it debuted on Channel Four, no one watched this show that eventually turned into a worldwide phenomenon, as Hunt put it,” Hunt said. “I decided to commission it again, but still, nobody watched it. We tried again for the third time. I shifted it to a new slot on Channel Four, and gradually, it became a crucial element of that channel. This success was possible because we were willing to go back to the original production and ask ourselves what we could improve each time.
Through her experiences, Hunt learned the significance of mistakes and their role in growth. As she expressed, “One aspect I strongly emphasize is our reluctance to discuss failure. We tend to focus on success, but overlook the unsuccessful projects that led us there.” These triumphs were achieved, she noted, but not without missteps along the way – shows that were poorly judged, choices made incorrectly, and calls that didn’t go as planned. Hunt believes that embracing these mistakes and openly discussing them will help our community grow and improve.
Hunt additionally acknowledged the British Film Institute (BFI), where she was named chair recently, stating that as an institution, it serves as the “research and development lab for creative talents and on-screen achievements within this nation.” Despite her hectic schedule at AppleTV+, she accepted the position because “Public service is a fundamental aspect of my identity. It holds immense importance to me,” she expressed. “I firmly believe that outstanding cinema and television have the power to transform the world.
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2024-10-17 13:47