Mumbrella360 catchup: Hamish McLennan – why running a TV network is like an ad agency
In the next instalment of a series to run over the next few days, we recap the highlights from Ten CEO Hamish McLennan’s appearance at Mumbrella360 last month.
On stage with Mumbrella’s Tim Burrowes, McLennan discussed:
- Why McLennan believes a TV network is 80 per cent the same as a creative agency;
- His management style;
- Why creative businesses are a combination of art and science;
- What success will look like at Ten;
- How the new demographic focus is influencing programs;
- How his time in New York has helped him to see the bigger picture;
- Ten’s coming re-entry into the breakfast television market.
Plus:
- McLennan talks about his management team;
- How long it will take to turn the ship around;
- Controlling costs versus chasing revenue;
- Is the nickname Hamish the Hammer unfair?
- To see all six parts of the video interview now, download this week’s Encore.
This first appeared in the weekly edition of Encore available for iPad and Android tablets. Visit encore.com.au for a preview of the app or click below to download.
Tim Burrowes founded Mumbrella in 2008. He worked on Mumbrella until 2021. At various points he was editor, content director and editor-at-large.
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General programming, sport, news and a couple of US shows out of LA ?
Theatre did not alter its focus to two dimensions and incorporate close ups in order to compete with films, neither did it elect to interrupt the action and run thirty second commercials in order to compete with television.
we shouldn’t get upset about the world wide web, or attempt to compete with it, simply concentrate upon television. The basic function and premise of television and the various ways of producing good Australian television should be the prime focus.
Drama could be produced for two thirds of the current cost and Australian drama could be and should be selling abroad. Television has its own heart its own culture and its own room to expand. Television is for all ages and all walks of life, you must programme accordingly.
Drama should incorporate excellent children’s drama as part of a selection catering for all ages.
The production efforts of the US should never be confused with the bench mark for excellent television.
The US producers manufacture some good programming, but mainly they manage to reach the television, drama and light entertainment equivalent of junk food. Only their very best is anywhere near good enough.
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