Imaginary Forces

DocuDrama: Imaginary Forces Lends Cinematic Flair to Ted Koppel Documentaries

We can either thank or blame CNN for the visual aesthetic of the typical North American new program - crawls, tickers and steely graphics compete with the lowly anchor for space in the frame. But while the major networks may opt for whiz-bang opens and information overload, a new series of documentaries on the Discovery Channel featuring esteemed journalist and ABC veteran Ted Koppel is opting for a less frantic yet elegant approach, courtesy of Imaginary Forces.

"Typical television news graphics have a certain color palette and are slightly loud," says Karin Fong, creative director at IF's New York office and CD for the project. "[We wanted to] remain focused on the real-life drama and emotion of the topic and put it into a more cinematic context."

Indeed, IF's open for Koppel On Discovery's documentary, The Price of Security, unfolds like a movie trailer, beginning with an understated visual reference to the events of Sept. 11 and then using the American flag as a visual metaphor throughout. Red, white, and blue cursors suggest computerized data mining; an eye peering through red, white, and blue blinds represents American secret prisons; snaking red, white, and blue cables symbolize telephone surveillance.

"Obviously, we had a lot of ideas because the topic is very rich," says Fong. "Dealing with national security, and the push and pull within our country about that - on one hand we want to be protected from terrorism, but there's a certain line where civil rights can get violated. So it was about finding that tension point within that idea - what does security mean and what price are we willing to pay for it?"

Fong says the directive to adapt a cinematic look for the minute-plus opens led the IF team to take their cues from feature film production companies and studios. The aesthetic extended into the creation of the logo for the series (replacing the 'O' in Koppel with a globe and a camera lens, faintly recalling the Universal Studios logotype), and the programs themselves, with each of the six to eight episodes airing in letterbox format.

"Koppel Group and Discovery were very focused on wanting that cinematic feel and not having an orgy of clutter or an information barrage where you have to pick where you're looking," says Fong. "The storylines in the films are incredibly rich with information and so we're looking for the metaphors and ideas we can use to tie things throughout the program. With real storytelling, you give it time to breathe and unfold and let the audience make its connections and see things at a good pace."