MEET THE PRODUCER

Bernard P. Achampong: ‘Pilot Season’ is a more distinctive voice to Unedited

Published on April 7, 2023

The Pod Bible gang wanted to bring podcast producers out from their editing bays and research caves to tell you why they’re passionate about creating podcasts…

A couple of weeks ago, I suggested Pilot Season 2023 as the ‘New Pod of the Week’ in our newsletter. But it’s not quite accurate to call it a ‘pod’ given that Pilot Season 2023 is launching 5 separate productions into the world. The new show by Unedited is showcasing five ‘pilot episodes’ of shows that cover a wide range of topics, from hidden statistics of curry houses, to Reading Festival, and sneakers.

I was so intrigued by the idea, that when Unedited got in touch to offer an interview with Bernard P. Achampong (Founder of Unedited and genius behind Pilot Season) I HAD to say yes, and find out how it was behind the scenes on this new style of format…

Pod Bible: It seems like there are more and more worthy podcast ideas vying for funding and attention. Was that part of the reasoning behind Pilot Season?

Bernard P. Achampong: Pilot Season was a response to the question of how do we, as a production company, stand out. The challenge with a lot of industries is that they’re quite rigid and there’s little flexibility across genres. So if you come in as a comedy producer, the tendency is you’re looked at as a comedy producer only throughout your career – unless you then make a breakout hit in True Crime, for instance, and then you become the True Crime, and maybe Comedy guys. For Unedited, we came in, after May 2020, when the agenda was strongly steered towards diversity and inclusion. What that doesn’t do is give us a clear editorial or genre identity. So we become the diversity guys, but not the immersive sound design guys or the social history guys.

With Pilot Season, we wanted to give a more distinctive voice to Unedited rather than just being the Black-owned company that does ‘black’ stuff. Unedited is a company that does great stuff and just happens to have a culturally diverse team.

PB: How important is it for podcasts to have this kind of development space?

Bernard: With so many content options, it’s becoming more and more important for audio companies to have their own unique voice. With the devices that we all have in front of us, like our mobile phones, smart TVs and other connected devices, the democracy around consuming content is a lot flatter. You can as easily watch a Netflix series as you can listen to a BBC Sounds show. So for production companies, that distinctiveness is becoming more and more important. It’s like a badge of authenticity. Back in the day, we would talk about NPR and listeners knew what NPR stood for in terms of its values. I think production companies like Gimlet, Somethin’ Else or Unedited, need to have that distinctiveness in order to be able to cut through to audiences on all platforms.

PB: How did these shows come to Unedited? Were they pitched to you or were these in- house ideas?

Bernard: All of these are ideas that have originated in-house. Most have been through the journey with different commissioners, a couple received some development funding – we backed ourselves with the others.

PB: I certainly want to hear more of these shows! What would be the process now to getting a series made? How soon might we hear them?

Bernard: The pilots are available for commissioning, licensing and fund partnerships. We are offering these to broadcasters or streaming platforms, or for funders to come directly to us to create them. We’re still limited by the amount of resources we have to create these series’ and that takes us back to speaking to the BBC, Apple, Spotify and Audible. However, what we have done is the proof of concept stage. Once you get to hear it, you go, “Okay, I know what I want to change” or “I know what I want to do and I know where it’s going to live”, rather than having to do that off a sheet of paper and work a bit in the dark.

PB: How can listeners support the podcasts?

Bernard: Listen and share. Share it with people that you know, comment and like on podcast platforms and give us feedback about the things that work for you. As we go into series production, God willing and fingers crossed, all of that feedback, we’ll have a lot of insights from listeners, which will help to shape the ideas.

PB: Anything else you’d like readers to know?

Bernard: I feel that Pilot Season should give the industry permission to be bolder. The audio industry, especially in the UK, has lived in the shadow of the behemoth of the BBC, which is not a bad thing. The BBC has been established for over 100 years in terms of industry standard, and sometimes above industry standard, for the craft of audio including scripting, writing and production performance. The BBC has created such a high bar, which is unnatural in most territories. It doesn’t exist in most territories. So other territories have had to be a lot more entrepreneurial. Now in the UK, we’ve got a space where other territories are opening up to us, and I still think that the UK is the best place to make audio in the world. For other production companies to exist, and attract business from other parts of the world, we have to become a lot more entrepreneurial. We have to embrace that spirit of selling and creating original ideas for not just broadcasters but also brands and other forms of funding. We’ve got to be really smart about how we attract people to our industry.