How to Survive When the Money Dries Up

Lean production, smart partnerships, new behaviours and why volume deals are coming back

There’s no money. Now what?
Well, not no money. But definitely not enough.

Budgets are falling faster than a TikTok trend, and the industry’s still pretending everything’s fine. Execs nod sagely in boardrooms while secretly wondering how to deliver 8 episodes of great factual with a team of three and a goat.

Welcome to the age of lean content.

If you want to survive (and maybe even thrive), it’s time to shift your mindset from “how do I get this show funded?” to “how do I make this show viable?”

Let’s break it down.

1. Lean isn’t just cheap. It means smart too.

We’ve all heard the horror stories: the two-person crew, the director who’s also the runner and exec, the “we’ll fix it in post” nightmare.

But lean production done right is about discipline, not desperation.

Tighter shoots. Smaller but sharper crews. Better prep. Faster decision-making - from both sides.

It’s about having a game plan and the confidence to say no to unnecessary faff and ludicrous feedback.

True story: I once worked an exec on a TV show about people building camper vans. The production company was only given a modest build budget and despite this the channel exec asked us to include underfloor heating in the vans. EVEN THOUGH YOU COULDN’T SEE IT IN THE REVEALS.

The only shot we could’ve had to demonstrate it was either a contributor or the host awkwardly saying, “Ah… I love this underfloor heating.” I pushed back - better to spend it on a beautiful wooden worktop you’d actually see. The commissioner relented.

Moral: Only spend on things that make sense and try to keep commissioners under control. You need story, pace, and a plan that actually makes the edit sing. There is unfortunately more to this story later - so stay with it to find out.

2. The return of the volume deal (aka: the content dumbbell lives!)

The current talk of the town is that middle is dead and everything’s going “premium” - the gnarly Fewer, Bigger, Better mantra.

Yes, mid-tier might be struggling, but guess what? Volume is back.

At one end of the content dumbbell lies glossy, cinematic docs that cost a fortune. At the other? Repeatable formats, snackable content, and multi-part series made for less and with real purpose.

Broadcasters and streamers still need volume if they’re going to fill those schedules. They just want to pay peanut prices for it if they’re going to monetise it.

Which means if you can crack the “cheap and cheerful but still bloody good” format, you’re suddenly very interesting again.

So when developing, think Amazon or Walmart not John Lewis or Macy’s.

3. Partner like a pro.

The era of the one-stop-shop commission is coming to an end.

The smart producers are partnering early - before the pitch, before the budget, before the panic. They’re controlling the narrative of the business deal before it reaches a commissioner.

Can you split the rights with someone who’ll take international? Keep hold of the IP? Talk about non-exclusivity?

This is where being commercial before you’re creative actually gives you more creative freedom.

The days of the single-territory commission are fading unless broadcasters work out how to monetise them properly. (Remember Strands broadcasters? But that’s another story.)

I once met an indie head who said to me, “You’re the guy who does all those strange co-pro deals—I’ve never understood those.” They did all their business through single-point commissions.

Their company’s now dead.

Lesson: If you can bring money to the table, you’re more likely to get the show made and your company has the best chance at long term survival. My top tip - Speak to distributors and get their take on your work even before you talk to a channel.

4. Broadcasters - You want it cheaper? Then start sharing.

Here’s the truth nobody wants to say out loud: it is possible to make great content for a lot less.

I know, because I am doing it for a living.

But you can’t do it if everyone’s clinging to old-school entitlement.

Broadcasters need to stop acting like being the primary funder means total ownership. It doesn’t. Not anymore.

If you want ultra-affordable production, you need producers to take on more risk and that means they need something back.

Shared exclusivity. Backend participation. Access to rights. A slice of the success.

Because production fees? They’re almost toast.

They were designed to reward companies who develop great ideas and employ brilliant teams.
Now, with micro-budgets, they barely cover the loo roll.

You can’t just raise the fee to fix this problem because then your cost per hour goes up and the broadcaster can’t recoup.

So what’s the answer? Share.

If you want producers to carry some cost. If you want your productions to go ultra-lean then you must reward producers with upside.

That means broadcasters - and your lawyers, if you're listening - need to stop treating every deal like a territorial land grab.

Both sides need to win. Otherwise, we’re all just playing a game of chicken with no finish line.

Final thought: We all need to change the way we think - but Channel bosses - let your commissioners do their jobs.

In my experience, commissioners do want to make shows that break new ground.

The problem often comes when they show a cut to their boss - who disagrees with everything that’s been said so far.

So don’t hire a star footballer then tell them how to play the game.

Yes, commissioning is a different skill set but a light hand on the tiller is needed. And if you don’t know how to teach your commissioners how to commission - well my number’s somewhere on my LinkedIn page.

Top Tip No.1 Bosses don’t get involved. Let the commission work its way through the process. Your intervention very rarely helps. If the commissioner makes a mistake, make sure they learn from them. Constant intervention doesn't work - just like over parenting a child doesn't work.

The underfloor heating story I told earlier happened because the commissioning boss had too tight a grip on their execs who were so scared, they second-guessed everything and ended up making irrational and crazy decisions.

As a result, the programme didn’t perform, was too formulaic, overproduced, and sadly the prodco went over budget.

Neither the commissioner nor the channel exec is at the channel anymore. And, even more sadly, the production company doesn't exist anymore either. Bad news all round.

This type of workflow has to stop.

The rules have changed. And those who adapt fastest will lead the way.
Producers who think commercially, partner cleverly, and push for smarter deals aren’t just going to survive - they’re going to set the new standard.

So collaborate. Be bold. Rethink the model.

Remember: Lean isn’t a compromise - it’s a strategy.

And volume? It’s not a dirty word. It’s your way back in.

Got a war story from the lean frontlines? Or want to share how you’re surviving the crunch?
Hit reply or message me - I’m all ears.

See you next time

Ed