TBI UK Screenings Television Business International - 6 x 45' - TBI Vision
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Insight on screen TBIvision.com | February/March 2020
TBI
Television Business International BBC Studios
Showcase lowdown 6
UK Screenings Distribution roundtable
Deal-making 2.0 18
6 x 45’
UK Screenings pOFC FebMar20.indd 1 31/01/2020 16:16
HANDMADE IN AFRICA
Clear Story (3 x 30’)
OCEAN AUTOPSY
Pioneer Productions (1 x 90’)
FARE DODGERS
Middlechild Productions (4 x 60’)
FRONTLINE POLICE 24/7
Workerbee Productions (12 x 60’)
www.passiondistribution.com
pXX Passion TBI FebMar20.indd 1 30/01/2020 12:46
TBI UK Screenings | This Issue
UK Screenings issue February/March 2020
Editor’s note Contact us
O
ver the space of just a few years, the number Editor Richard Middleton
of events taking place in the UK around BBC richard.middleton@informa.com
Studios Showcase has proliferated. The UK Direct line +44 (0) 20 7017 7184
public broadcaster’s commercial arm remains the hot ticket,
with hundreds of buyers descending on Liverpool to see the Contributor Tim Dams
latest content, but there are now a raft of other events across the following week
that are put on by London-based distributors. To help you get around, TBI has put Sales manager Michael Callan
together a handy map detailing where everything is taking place - huge thanks to our michael.callan@informa.com
art director and design supremo Matthew Humberstone for putting it all together. Direct line +44 (0) 20 7017 5295
We also speak to senior execs at BBCS, ITV Studios, All3Media International
and others to find out what they are proffering to buyers, and report back on a Art director Matthew Humberstone
fascinating roundtable discussion featuring some of the brightest minds in the matthew.humberstone@informa.com
business who are helping mid-sized distribution firms excel. Welcome to the UK! Direct line +44 (0) 20 7017 5336
Marketing executive Abigail Dede
Contents abigail.dede@informa.com
Direct line +44 (0) 20 7017 6018
4. Earning potential
Annual export figures reveal the UK to be keeping pace with global demands Editorial director Stuart Thomson
stuart.thomson@informa.com
6. New Horizons
Direct line +44 (0) 20 7017 5314
BBC Studios distribution chief Paul Dempsey looks ahead to Showcase
10. Studious thinking Commercial director Patricia Arescy
Ruth Berry takes TBI through its eclectic scripted slate patricia.arescy@informa.com
Direct line +44 (0) 20 7017 5320
13. Real life, feel good
All3Media is doubling down with both format and scripted events for UK Screenings
14. Mapping events @TBImagazine
What’s happening, where, and when in London
Published by Informa Tech, Blue Fin Building,
16. Moving on up 110 Southwark Street, London SE1 0TA
e-mail: tbi@informa.com web: www.tbivision.com
Banijay’s Tim Mutimer tells TBI how the company’s scripted plans are developing Printed in England by Walstead Roche Ltd,
St Austell, Cornwall PL26 8LX.
18. Deal makers
TBI gathers some of the brightest UK-based distribution minds together © 2020 Informa UK Ltd All rights reserved
Reproduction without permission is prohibited
23. Stepping up to the mantle
Fremantle’s Jamie Lynn discusses his company’s expansive slate Television Business International (USPS 003-807) is published bi-
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TBI UK Screenings February/March 2020 1
p01 Contents UK Screenings FebMar20 RM.indd 1 31/01/2020 15:03
TBI | Well-being
Well-being Tracy Forsyth
Networking – be the best meeting of the day
I
n my role as executive coach, the subject of to bring your experiences to life, talk about what
In this month’s Well- networking frequently gets raised by clients you’ve most loved and how you’ve tackled the
being column, former who are either wanting to move on to another challenges along the way. Talking passionately
BBC Studios exec and challenge or who’ve had their head down in about your work makes it ten times more interesting
corporate wellness their current company for such a long time that they’ve and engaging to others.
coach Tracy Forsyth lost touch with contacts over the years.
explains how to excel For many, networking is seen as a professional What You Want
at networking chore and something only to be done when you need
something. For others, it feels really awkward to Be clear about what you want. Don’t waste their
cold call someone out of the blue because you want time being vague or coy. It’s helpful to them if you
something from them. And many struggle with what are clear and direct about what you are looking for,
they actually say when they’ve landed the networking be it a new challenge, new contacts, advice or just to
coffee or half-hour meeting. make yourself known to them for the future. Don’t
Well, over the years I’ve got to a place where I be squeamish about this: the clearer you are, the
actually love networking meetings. It helps to be more chance you have of actually achieving what
curious about others, passionate about what you do you want.
and clear in your purpose. Good networking, I believe,
involves a meaningful exchange which is appreciated Why them
by and beneficial to both sides, even if that benefit is
not immediate. Even better networking is when you At this point, make clear why you are so interested
really enjoy the meeting and, for the other person, it in them and why you think your experience is
becomes the best meeting of the day. relevant to them or their company. Explain what
How to you ensure you make it the best meeting of excites you about what they do and the prospect
the day? Here are my top tips. that you could be working with them. Present your
thoughts and ideas about what you can bring to
Connect them. Explore opportunities they may have or get
an idea of how things may evolve to a point they
Be genuinely delighted to be with that person. need you. Be enthusiastic and engaged.
Explain why you are excited to see them.
Excitement and positivity are infectious. Make Give Back
sure you’ve done your research beforehand, so you
know what achievements they’ve recently pulled Finally, before you finish, remember it’s not all take
off. Compliment them on their work. Everyone - think about how you can give back and be useful
appreciates being appreciated. to them. You may have a contact at a company or
Tracy is a creative mentor a connection they’d like. You may have discussed
for the Channel 4 Indie Who You Are a topic you could shine further light on later. You
Growth Fund, the may be part of a group you could invite them to or
producer of the WFTV Have a pertinent summary of who you are ready to speak at. The possibilities are endless. The point is to
mentoring scheme and go. Don’t give them your life story, choose the bits think about not only what you get out of a meeting
a professional executive that would be most relevant to them now. This means but also what they get too. Don’t go empty-handed,
coach. Follow her at a sentence about what you do and three experiences leave them with a present, figuratively speaking.
walterwootze.com to illustrate how you’ve best done it. Use anecdotes And enjoy! TBI
2 TBI UK Screenings February/March 2020
p02 Wellness TBI FebMar20 RJM.indd 2 31/01/2020 13:39
TBI | Diary
About Town
Miami heat The Good Fight's Christine Baranski
A
VOD might have been the industry
trend that was talked up most at NATPE
Miami in January, but away from
business, it was the plight of iguanas
falling from trees that caused furrowed brows poolside.
Despite, an unseasonably chilly snap during NATPE
Miami – which caused the cold-blooded reptiles to
become dormant and drop to the ground - the event
was still warmly greeted by international execs, with
celebrities including Gloria Estefan and Jada Pinkett
Smith heading to Florida for the annual event that
kicks off the conference and market cycle.
The Good Wife co-creator Michelle King was
in town to introduce its star Christine Baranski,
who was one of the recipients of NATPE’s 17th Jada Pinkett Smith
Brandon Tartikoff Legacy Awards, along with ABC
Entertainment president Karey Burke, producer-writer
Courtney A. Kemp, Telemundo Global Studios topper
Marcos Santana and CNN Worldwide’s Jeff Zucker.
Elsewhere, Queer Eye’s Carson Kressley hosted
Parrot Analytics’ annual Global TV Demand Awards
and the cold weather did little to stop delegates
enjoying the numerous parties on offer, which included
ViacomCBS welcoming Drew Barrymore to the Global TV Demand Awards
sunshine state to push her new US daytime show.
Austin arrival Bright lights Swings and Roundabouts
4.4 The BBC's VOD service
iPlayer scored a record-
breaking 2019, with shows such
as Peaky Blinders helping it to 4.4
billion streams over the year
29% High-end TV
production in the UK
was up by almost a third in 2019,
hitting £1.66bn ($2.16bn) thanks
to shows such as The Crown
ViacomCBS Networks
New Orleans has become a popular destination for the
Realscreen Summit and those in the unscripted game
Americas pulled out all
the stops for its party
1.2 US streamer HBO Max
revealed it had cost
AT&T’s WarnerMedia over $1.2bn
again descended on The Big Easy for deals, discussions extravaganza at the art in forgone revenue during the 4th
and drinks aplenty. deco-inspired Alfred I. quarter by taking back rights to
Attendees packed into the event’s awards ceremony DuPont Building during shows such as Friends
to pay homage to shows including Lifetime’s Surviving
R. Kelly, while Alfred Street Industries’ duo Jane
NATPE, proffering
cocktails, canapes and 420 Netflix CEO Reed
Hastings said new
competitors and price changes
Lipsitz and Dan Cutforth (pictured) were inducted into crooning from talents
had slowed US growth, with just
the hall of fame. Organisers also revealed the annual such as Despacito singer 420,000 subscribers added in Q4
event would be moving to Austin, Texas as of 2022. Luis Fonsi and Becky G. - missing its 600,000 target
TBI UK Screenings February/March 2020 3
p03 Diary TBI FebMar20 RJM.indd 3 31/01/2020 16:11
TBI UK Screenings | UK TV exports
ROW MENA Sub-Saharan
2.3% 2.2% Africa 1.4%
Earning potential Latin America 2.6%
The top 10 export markets (£m)
Pan-worldwide
£m 4.2%
400
Annual export figures reveal the UK to be keeping pace with Asia 6.6%
North
global demand for content across genres
300 Australasia
8.8%
32% America
38.1%
T
of all exports
he global plans for US-based streamers went to the US
might have been the story of the past 200
year but UK producers and their eye-
Europe
catching shows continue to provide fuel
New Zealand
33.8%
100
for the country’s surging export numbers.
Germany
Australia
Canada
Nordics
France
Drama was again the frontrunner in 2018/19,
China
Spain
Italy
US
with series such as Bodyguard and Killing Eve
0
propelling the UK’s TV exports to record sales of
£1.4bn ($1.8bn), while worldwide deals between
UK companies and global SVOD’s surged by more Regional breakdown
than 50% over the same period. 2018/19 MENA
£58m
The figures, revealed in UK trade body Pact’s ROW 2.3% 2.2% Sub-Saharan
TV Exports Report, show that drama accounted Latin America 2.6% Africa 1.4%
for 48% of total sales during 2018/19, with Pan-worldwide
non-scripted factual series such as Blue Planet II 4.2%
pulling in 23% of revenue and entertainment shows
including Love Island accounting for 15%. Asia 6.6%
Demand for library content also remained strong, 2017/18
Total UK
North
with programming that was four or more years old £37m Australasia
8.8%
TV exports
America
38.1%
estimated to account for 36% of sales. Broadcasters
and streamers also spent similar amounts on UK £1.4bn
shows, with free TV outfits accounting for £322m,
pay TV buyers spending £293m and SVOD’s 2016/17
contributing £342m. £14m Europe
33.8%
That helped drive figures up by 7% overall on
2017/18, with the US remaining the dominant Pan-territory deals
buyer, accounting for 32% (£444m) of all sales. from SVOD’s
North American revenues as a whole were down Deal breakdown
1% year-on-year to £531m. Other 2%
TVOD & EST 2%
The report, produced for Pact by media
consultancy 3Vision, also showed that UK revenues
Formats
from worldwide deals with services such as Netflix 6%
and Amazon were up to £58m, a 56% increase Co-
productions
on last year. North American firms were the key
partners for co-productions, contributing £81m. India, 9%
Europe maintained its position as the primary China
and Latin
Int’l
productions
55%
destination for formats, with £47m in both 2017/18 of format exports
12%
and 2018/19. The sale of formats to the US doubled America are sold into
from £9m to £20m year-on-year, but European Europe Finished
programming
companies remained the key buyers, accounting for Territories where UK 69% of all exports
55% (£47m). However, formats accounted for just companies feel best
6% of UK total sales, with finished programmes opportunities for
securing 69%. TBI expansion
4 TBI UK Screenings February/March 2020
p04-05 Export Globe FebMar20 RJM MH.indd 4 31/01/2020 13:36
TBI UK Screenings | UK TV exports
Genre breakdown Best sellers
Kids 3%
Other 4%
TV Comedy
7%
48% Killing
Eve was
among shows that
helped fuel UK drama
Unscripted Total TV
TV drama growth, accounting
entertainment
drama sales 48% for almost half of
15%
£675m the country’s total
exports in 2018/19
Unscripted
factual 23%
Who’s buying?
23% BBC Studios’
natural history
epic Blue Planet II propelled
non-scripted factual, which
reeled in almost a quarter of UK
Pay TV 30%
SVOD export revenues
36%
Total SVOD
sales
£342m
Free TV 34%
15%
was among the
ITV’s Love
Island
UK’s entertainment
offerings, securing
a sixth of export
revenues
200+ David
Tennant
187 Richard
Madden-
fronted Bodyguard
and Michael Sheen’s Good aired in the UK on BBC
Omens aired on the UK’s BBC One but was snapped up
Two but debuted on Amazon - which by Netflix in 187 countries
claims to be available in 200+ territories after a global deal was struck
TBI UK Screenings February/March 2020 5
p04-05 Export Globe FebMar20 RJM MH.indd 5 31/01/2020 13:36
BBC Studios | Showcase
New horizons
BBC Studios is looking to capitalise on new streaming entrants with myriad financing models that will keep it
relevant as competition hots up. Distribution chief Paul Dempsey talks to Richard Middleton
F
ew companies in the cluttered world of The North Water stars most of those headed to UK shores.
content compare to BBC Studios. The Stephen Graham and is Talent including Will Arnett, Stephen Merchant,
distribution and production giant has being shot in the Arctic Freddie Flintoff, Paddy McGuinness, Chris Harris and
international tentacles but is finding itself Bollywood stars Ishaan Khatter and Tabu are among
in competition with an increasing number of US those set to appear, with attendees getting first-looks at
competitors with deep pockets. scripted projects such as See-Saw Films and Rhombus
Meanwhile, its own mothership, UK public Media’s The North Water, comedy The First Team,
broadcaster the BBC, is facing budgetary and political Terry Pratchett-inspired The Watch and A Suitable
pressures like never before. While most buyers heading Boy, produced by BBCS-owned Lookout Point.
to BBC Studios Showcase in Liverpool consistently talk Those shows highlight the variety of programming
up the public broadcaster’s impact on the world of TV, on offer but also shine a light on how BBCS is fighting
domestic forces mean BBCS’s contribution to its home to remain relevant in the ever-inflating scripted market,
country’s broadcast operation has arguably never been with A Suitable Boy – about the story of a spirited
more important. university student who comes of age in North India
Certainly, few other companies could entice so in the 1950s – coming from its wholly owned prodco
many international buyers in one go to view its wares. Lookout Point.
Inadvertently, BBCS has helped to develop an entire Such deals help to provide BBCS with a pipeline of
week of events that are propelling UK-based content content and Dempsey says his company is focused on
forwards – but Showcase remains the key event for supporting both established talent and up-and-comers.
6 TBI UK Screenings February/March 2020
p06-08 BBC Showcase UK Screenings FebMar20 RJM MH.indd 6 31/01/2020 12:23
BBC Studios | Showcase
He adds that the cost of drama per hour “is going
into unseen ambitions” and that, combined with the “All sorts of Mark Reynolds,
surging demand for the best creatives, means BBCS different models are director of Unscripted,
gets involved “much earlier in the conversations.” operating adjacent BBC Studios
But he is clear that there are “no blueprints around to each other - we’re
the bigger, high profile projects now.” The influx of working out the best At this month’s BBC
streamers – with WarnerMedia’s HBO Max and for each project” Showcase, a key launch
NBCUniversal’s Peacock set to join incumbents such Paul Dempsey, will be Perfect Planet – a
as Netflix and Amazon plus Disney+ and Apple BBC Studios series that BBC Studios
TV – means that the “quality spectrum” is changing, unscripted portfolio director Mark Reynolds
Dempsey says, providing opportunities that can be describes as “the next landmark natural history
exploited across genres. series” to air on BBC this year.
NBC, for example, recently ordered 10-part blue Produced by Our Planet maker Silverback
chip wildlife series The New World from BBCS’ Pictures and co-produced by Tencent Penguin
acclaimed Natural History Unit, with Peacock Pictures, France Télévisions and The Open
retaining “significant distribution rights globally and University, the series examines how wildlife is
across platforms.” affected by weather, ocean currents and humans.
In times gone by, BBCS might have looked to sell As well as natural history, Reynold’s remit at
the show globally but the increasing international BBCS encompasses all specialist factual, music,
reach of US-based companies means BBCS must documentary and current affairs – investing
adapt to a new environment. in shows, brokering co-production deals and
“It’s a period when all sorts of different models handling distribution, both for BBCS Production
are operating adjacent to each other,” Dempsey programming as well as from other UK
says. “We’ve long ceased to be only in the finished independent producers.
tape sales business, now we are much more at the BBCS has stakes or first look deals with indies
forefront and working out the best commercial including Expectation, Amazing Productions and
models for particular projects. Mighty Productions, and Reynolds says the key
“That could be working with a partner, where we focus on deals is “what fits with the best interests
primarily bring production capability or on others we of the producer” – making sure that BBCS brings
can make the most of our distribution reach.” in the right partners and maximises the value of the
The lure of BBCS’s science and natural history producer’s IP. Players like Amazon and Netflix, he
programming remains strong, Dempsey adds, with adds, provide “a fantastic opportunity”.
buyers in Liverpool offered an exclusive first look at Reynolds adds that there’s a growing appetite
Silverback Films’ A Perfect Planet and the new series for long-form documentary that can help explain
of Spy In The Wild, from John Downer Productions. the complex political and economic forces affecting
The format front, meanwhile, remains solid. the world. He picks out upcoming series Putin:
Doctor Foster has been remade in India (known as The latest instalment of Spy A Russian Spy, made by Rogan Productions for
Out Of Love), entertainment veteran Dancing With In The Wild is among BBC Channel 4, as a notable addition.
The Stars recently entered Lithuania, marking its 57th Studios’ factual slate Tim Dams
territory, and Discovery Networks Nordics has just
remade Top Gear in Denmark, Sweden and Norway.
Stars of the UK original – still a global hit as a
finished tape - will be in attendance at Showcase, with
Freddie Flintoff, Paddy McGuinness and Chris Harris
sharing an exclusive look at their latest adventures.
While BBCS is employing all manner of models
for programming, its direct-to-consumer dalliances
have been limited. Dempsey reiterates that North
American streamer Britbox could be launched into “a
handful of other markets” but adds that its channels
“are pretty stable.”
“Of course the long-term prognosis for linear is an
evolution to digital over time,” he says, “but we’re
being very careful not to leave linear behind.” TBI
TBI UK Screenings February/March 2020 7
p06-08 BBC Showcase UK Screenings FebMar20 RJM MH.indd 7 31/01/2020 12:23
BBC Studios | Showcase
Caroline Stone, director of Independent
Drama and Martin Rakusen, director of
Drama, BBC Studios
The First Team is being exec Jonathan Blyth, director
BBC Studios is taking a broad range of drama, both produced by Liverpool FC of comedy, BBC Studios
in tone and budget, to this year’s BBC Showcase. chairman Tom Werner,
Director of drama Martin Rakusen, who who worked on Roseanne As director of comedy at
focuses on dramas produced by the BBC Studios BBC Studios, Jonathan
Productions division, picks out three very different Blyth has a broad remit.
series to highlight: sci-fi drama The Watch, inspired He works with
by Terry Pratchett’s Discworld novels, which is the in-house comedy
being produced for BBC America; crime drama We team in BBC Studios
Hunt Together, which is being made for UKTV’s Productions, led by Josh Cole, as well as some 50
Alibi channel; and BritBox commission The Sister indie comedy producers to develop, finance and
Boniface Mysteries, a light-hearted murder mystery. monetise shows on a global basis.
Meanwhile, Caroline Stone, director of To underline the role that BBCS plays in comedy,
independent drama, selects Steve McQueen’s he cites upcoming series The First Team, which will
London-set 1970s anthology Small Axe from launch at BBC Showcase. Produced by Fudge Park
Turbine Studios, See-Saw Films’ thriller The North and written by Iain Morris and Damon Beesley
Water, and Drama Republic’s adaptation of David (The Inbetweeners), The First Team follows the
Nicholls best-selling novel, Us. misadventures of three young football players.
“They show we’re working with the best film BBCS financed development and scripts for the
and Hollywood talent,” says Stone, who leads series, which was subsequently greenlit by BBC2,
on shows made with indie producers. She says and is handling global distribution rights. BBCS
BBCS is now working much more closely with US was “heavily involved in the editorial” with Morris
broadcasters such as HBO (His Dark Materials), and Beesley, says Blyth, helping to develop a show
streamers such as Netflix (The End of the F***ing that both had global appeal but also worked for a
World), and broadcasters like ZDF and France home audience on BBC2.
Televisions (The Majorca Files), as well as financiers He adds that BBCS can also help bring extra
like Anton (McMafia), to fund shows. Rakusen resource to shows, citing Michaela Coel’s January
adds that the quality “benchmark” has never been 22nd. The show explores the question of sexual
higher. “It’s a constant reminder that the strength The Watch is set in a world consent in contemporary life and is “really of
and conviction of storytelling have to cut through.” where crime has been the moment” says Blyth. He flew out with Coel
Tim Dams legalised (Chewing Gum, Black Earth Rising) and producer
Various Artists to pitch January 22nd to possible
US partners last March, ahead of production
starting. HBO boarded for US, Canada and
international distribution later in the year.
Similarly, BBCS helped to bring Amazon Studios
on board Stephen Merchant’s recently greenlit
BBC1 series The Offenders. The streamer has rights
in the US, Canada and Australia, helping to “up the
ambition” of the series.
Tim Dams
8 TBI UK Screenings February/March 2020
p06-08 BBC Showcase UK Screenings FebMar20 RJM MH.indd 8 31/01/2020 12:23Thin Ice We Got This
BRAND NEW DRAMA
Bäckström GR5: Into The Wilderness
pXX Banijay TBI FebMar20.indd 1 29/01/2020 13:38
Banijay_LONDON SCREENINGS AD TBI_AW.indd 1 29/01/2020 12:33Distributor profiles | ITV Studios
Studious thinking
ITV Studios is taking to the UK Screenings stage with an eclectic scripted slate, following an expansive
structural revamp over the past six months. Managing director of global distribution Ruth Berry tells Richard
Middleton what’s in store and what its slate says about the international TV business
I
t has been a busy six months at ITV Studios. In Romulus is among the first strength to strength with our partners,” she says,
October, the global arm of the UK commercial dramas to use Latin as a adding that the rise in cost of drama – largely derived
broadcaster unveiled plans to restructure spoken language from ever-increasing streamer ambitions – continues.
its distribution business, rejigging its senior “There is still an inflation in drama costs, but in
management structure as part of the process. my recent experience, the producers that we are
Fast-forward to February and the appointment of working with are seeking to manage it really well.
former Endemol Shine Group exec Lisa Perrin, who It’s a challenge, but with a broad portfolio and a
had headed up its Creative Networks division, marked scaled business, we’re well placed to find great drama
the final step in the new-look team. spanning multiple budget levels for our wide range of
She will head up international production in the buyers,” she adds.
new structure, which sees what was ITVS Global Crime drama continues to surge, evidenced in ITVS’s
Entertainment split into three divisions: Creative scripted slate at UK Screenings, but there are also
Network, headed up by Mike Beale; Global “feel-good dramas” like Cold Feet, the ninth season
Entertainment, led by Maarten Meijs; and Global of which returns this year, and remakes. “Une Belle
Distribution, fronted by Ruth Berry. Histoire [the French adaptation of the UK comedy],
For the latter, it’s been a busy period following the is also being well-received internationally and Schitt’s
launch of series such as The War Of The Worlds Creek and Brassic are some of the other brilliantly feel-
and World On Fire, and returners such as Vera and good shows, which are part of our broader portfolio.”
Poldark. Berry is preparing to unveil sneak peaks and Berry and ITVS have also been adapting to the
more to buyers at its drama event at UK Screenings but fast-changing landscape for distributors, in which they
she admits competition for eyeballs is high. are now marketers, commissioners and financiers. And
“It is a tough and competitive world but with the that’s not just on the scripted side.
right titles, we absolutely cut through and go from “It’s fair to say over the last 12 to 24 months that
10 TBI UK Screenings February/March 2020
p10-11 ITV UK Screenings FebMar20 RJM MH.indd 10 31/01/2020 13:26Distributor profiles | ITV Studios
also looking to short-form as a revenue stream. The
Real-life drama focus “There is still drama company invested in soon-to-launch Quibi – along
cost inflation but with numerous others including BBC Studios – and
Honour ”From Hera Pictures and for ITV, this is a producers are it’s commissioned Blood Orange from ITVS-owned
really powerful story,” says Berry. It stars Keeley Hawes managing it really World Productions, interactive dating show The Hot
as the detective who brought five killers to justice in the well” Drop from ITV Entertainment, and an all-female
heartbreaking true story of Banaz Mahmod, the young Ruth Berry, practical jokers series hosted by Cara Delevigne from
Londoner murdered by her own family ITV Studios ITV America-owned Sirens Media. Berry says short-
form is an area that’s “evolving”.
Pembrokeshire Murders World Productions is So too is the role of UK Screenings week. “We have
behind this three-part mini-series depicting the real-life had an influx of buyers, hundreds of them are now
pursuit of a cold-blooded serial killer. Berry describes it as “a attending. We’ve had to move venues several times and
really important story to tell” we’re bursting at the seams this year too,” she says.
“It’s a fantastic opportunity to have our buyers in
town, captivate them in one place, immerse them in
distribution businesses have started to see deficit our most exciting dramas and catch up as the year
financing becoming more and more commonplace for kicks off. It’s definitely something we’d like to extend
non-scripted productions,” Berry says. “It’s not new to more of our catalogue - so watch this space.” TBI
to us, we’re very experienced in dealing with that on
the scripted side, so it’s something we’re really quite
comfortable with. Key ITV Studios dramas
“The ability to deficit non-scripted shows too
has really helped us grow the base of projects we’re Romulus ”This one is from Cattleya for Sky Italia and takes period content to a whole
working with in the genre and very soon we’ll be new level,” says Berry. “It is set in pre-Rome and is shaping up to be absolutely amazing, the
needing a factual festival too,” she jokes. ability to shoot in archaic Latin is incredible and with its ambition and scale, it’s everything we
For ITVS and other global distributors riding the hoped it would be and more”
peaks and troughs of the sales business over the past
12 months or so, the allure of new buyers – from HBO Vigil From World Productions for the BBC, this is “a really great contemporary and pacey
Max and NBCUniversal’s Peacock to smaller entrants action thriller, in a very claustrophobic setting,” the ITVS exec says. “We’re super excited about
such as Topic and fast-growing AVOD’s such as Tubi it, it has a fantastic cast and scripts. I can’t wait to see the likes of Suranne Jones, Rose Leslie and
– is clear. Joseph Paterson on screen, and I’m sure our clients can’t too”
“Deals with OTT players and streamers are still
really exciting for us, we’ve been having lots of Little Birds Berry describes this one as “a gorgeous, racy, sumptuous and sexy show.
interesting discussions about our new projects coming It’s something very unique on our slate and an indulgent luxury for viewers. Warp Films has
up with them,” Berry says, dismissing any notion that done an amazing job - we’re very excited. Sky is really excited too and I’m looking forward to
deals with global operators such as Netflix are losing seeing our partners reactions to the extended scenes for the first time at the drama festival”
their lustre. “We’re looking forward to the increased
competition with the new streamers coming out of The Singapore Grip (below) This is another “brilliantly luxurious” period family saga, Berry,
America imminently. They’re our biggest new buyers says, filmed in Singapore and produced by Mammoth Screen. “There is great warmth, comedy,
and it’s a great opportunity for us - it has been for a wit and high drama – so it adds great breadth and depth to our catalogue”
while and continues to be.”
Determining how long the likes of HBO Max will
want to co-produce with European partners remains
to be seen, particularly with US-based operators’ eyes
on longer-term vertical integration, but Berry says “an
element of local content remains key.”
“We absolutely expect all of those services to get
global scale, it makes complete sense for them to do
so. As a studios business with content that comes from
all around the world, and that we sell as a distributor, I
think it’s great for us and could result in some brilliant
new partnerships.”
ITVS, which has also seen format growth with
its reality stalwart Love Island amongst others, is
TBI UK Screenings February/March 2020 11
p10-11 ITV UK Screenings FebMar20 RJM MH.indd 11 31/01/2020 13:26QUALITY CONTENT FOR 2020
SCRIPTED
BLOODLANDS HTM Television KATE AND KOJI Hat Trick Productions
for BBC One for ITV 1
FACTUAL
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BREAKING DAD for ITV 1 MISSGUIDED for Channel 4
FORMATS
WAR ON PLASTIC Keo Films DENMARK Tiki Media and STV
for BBC One PLANTS TREES for TV2
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p12 Hat Trick TBI FebMar20.indd 1 30/01/2020 17:23Distributor profiles | All3Media
Real life, feel good
All3Media is doubling down on UK Screenings with both format and scripted events,
with dramas such as The Nest and Baptiste, as well as Studio Lambert format Hustler
A
ll3Media International’s decision to move new idea needs a lot of work and patience. Directors
to a new location for its scripted event at and cast are equally in demand, it’s about balance.”
this year’s UK Screenings - in the heart of Horchner adds that All3’s stable includes established
Leicester Square at the Odeon Cinema – writers such as Jack Thorne but the company is also
represents a renewed focus on the genre. looking to tap into rising talent. “A new writer can be
Shows on offer include returners such as Baptiste accepted with an experienced producer and established
plus forthcoming BBC One surrogacy drama The Nest director. If the main lead is a big name also, that
from All3-backed Studio Lambert, New Pictures real- helps to push it across the line. Equally, young and
life serial killer drama Des, which stars David Tennant, unknown cast can flourish with a strong script from an
and Russell T Davies’ show about the AIDS crisis in experienced writer… simply mix and match.”
Red Productions’ Boys, which will air on Channel 4. On the formats front, All3’s slate includes Hustler –
The latter three all tackle real-life subjects, reflecting which will air on ABC in the US – and a surreal show
a wider trend apparent in the drama space and from Studio Ramsay, titled The Fantastical Factory Of
underlining the buoyant nature of UK scripted fare. Curious Crafts. Talent shows include The Search, from
“There are more players in the market and all of ModestTV for BBC One, which follows British band
them are hungry for quality scripted content,” says Little Mix creating a new supporting band.
Maartje Horchner, All3’s EVP of content. Broadcaster It builds on the ongoing trend for feel-good series
budgets aren’t increasing but they “will put their hands and Nick Smith, EVP of formats, believes the demand
in their pockets for the right show.” for such IP won’t dissipate.
Horchner points out that All3’s slate last year “We’re still seeing success with Gogglebox around
included the hit series Fleabag but that show’s much- the world,” he adds, while newer formats such as
vaunted creator, Phoebe Waller-Bridge, recently joined Celebrity Call Centre and The Dog House are warm
the growing number of writers to strike overall deals and uplifting, with “cruel reality” out of fashion. Smith
with streamers - and securing talent is tough. adds that he expects SVOD’s to “bet big on unscripted”
“The competition is fierce, writers who are hot with this year and says the recent success of The Masked Baptiste is returning for a
broadcasters are often signed into multi-year deals with Singer will encourage broadcasters to take more risks on second season on BBC One
different projects and persuading them to develop a original, big entertainment shows. TBI in the UK
TBI UK Screenings February/March 2020 13
p13 All3Media Profile FebMar20 RJM MH.indd 13 31/01/2020 12:58TBI UK Screenings | London events
London screenings
Buyers attending Screenings face a multitude of events taking place over the week, so TBI has put together
a handy map to show you where and when everything is happening
Chalk Farm
StudioCanal
Possessions Banijay Rights
Screening Screening
ITV Studios ITV Studios
12 February 12 February
Formats Drama
08:30-11:00 11:00-13:00
Festival Festival
12 February 12 February
St John’s 09:00-13:00 14:00
Wood
Warner Bros.
Passion
Int’l TV Prods Distribution King’s Cross
Formats Showcase
12 February 12 February
14:00-17:30 St Pancras
16:00-18:00
Euston
Lionsgate
London TVF
NBCU International
Screenings Formats London
13 February Showcase
Screenings 13 February
09:00, 12:30, 13 February
Cineflix Rights 16:00 15:00-18 :00
13:00-15:00
Party
12 February
18:00-21:00
Goodge St
Tottenham Cineflix Rights
Court Road Scripted
ViacomCBS Oxford Circus Screenings
Global Distribution 13 February
Group 14:30-17:50
Covent Garden
12 &13 February
Time TBC Leicester Sq Blackfriars
All3Media TCB London
Int’l Formats Screenings
Screening Piccadilly
Circus 12 February
14 February Green Park 19:00-22:00
11:30
Entertainment
One Drama All3Media Southwark
Preview Fremantle Int’l Scripted
13 February Presents Screening
08:30-11:30 14 February 13 February
09:00-12:00 12:30
*Please check with organisers as some events may be strictly invitaion only
14 TBI UK Screenings February/March 2020
p14-15 London map FebMar20 V2.indd 14 31/01/2020 15:44TBI UK Screenings | London events
Day by day
Wednesday 12 February Thursday 13 February
StudioCanal Possessions Screening and Q&A Entertainment One Drama Preview
08:30-11:00 08:30-11:30
Everyman Cinema, Picturehouse Central, Shaftesbury Ave, W1D 7DH
14-18 Handyside Street, N1C 4DN Genre: Scripted
Genre: Drama
Lionsgate London Screenings
ITV Studios Formats Festival 09:00, 12:30, 16.00
Charlotte Street Hotel,
09:00-13:00
15/17 Charlotte Street, W1T 1RJ
The Roundhouse, Chalk Farm Road, NW1 8EH
Genre: Drama
Genre: Formats
All3Media International Screening
Banijay Rights Screening
12:30
11:00-13:00
Odeon Leicester Square,
Everyman Cinema, 22-24 Leicester Square, WC2H 7LQ
14-18 Handyside Street, N1C 4DN Genre: Scripted
Genre: Drama
NBCU Formats London Screenings
ITV Studios Drama Festival 13:00-15:00
14:00 NBCUniversal, 1 St Giles High Street, WC2H 8NU
The Roundhouse, Chalk Farm Road, NW1 8EH Genres: Formats (scripted & unscripted)
Genre: Drama
Cineflix Rights Scripted Screenings
Warner Bros. Int’l TV Production Formats Showcase 14:30-17:00
14:00-17:30 Soho House, 76 Dean Street, W1D 3SQ
Abbey Road Studios, 3 Abbey Road, NW8 9AY Genre: Scripted
Genre: Formats
TVF International Showcase
Passion Distribution Showcase 15:00-18:00
16:00-18:00. Icetank Studios, 5-7 Grape Street, WC2H 8DW
The Standard, 10 Argyle St, WC1H 8EG Genre: Factual
Genres: Unscripted, factual, entertainment
ViacomCBS Global Distribution Group
Time TBC.
ackfriars Cineflix Rights Showcase & Party
The Soho Hotel, 4 Richmond Mews, W1D 3DH
18:00-21:00
Scarlett Green, 4 Noel Street, W1F 8GB
TBI UK Genres: Scripted, factual, unscripted
Friday 14 February
Screenings Social
11 February. 18:00-21:00 TCB Media Rights London Screenings
Sama, Fremantle Presents
3 Robinson Road, SE1 8BU 19:00-22:00 09:00-12:00
uthwark Lively speaker sessions and The Groucho Club, Picturehouse Central, Shaftesbury Ave, W1D 7DH
networking drinks 45 Dean St, Soho, London W1D 4QB Genres: Scripted, unscripted
Genre: Factual entertainment
All3Media International Screening
ViacomCBS Global Distribution Group 11:30
Time TBC. Boulevard Theatre, 6 Walker’s Court, W1F 0BT
The Soho Hotel, 4 Richmond Mews, W1D 3DH Genre: Formats
TBI UK Screenings February/March 2020 15
p14-15 London map FebMar20 V2.indd 15 31/01/2020 15:44Distributor profiles | Banijay
Moving on up
Banijay Group’s distribution chief Tim Mutimer tells Richard Middleton how the company’s scripted plans are
developing ahead of a momentous 2020, which is set to see it subsume Endemol Shine Group
B
anijay Group will look a lot different this Bäckström has been For Banijay, the aim seems to be focusing on
time next year compared to the company commissioned by C More building up talent but not necessarily getting into the
preparing for February’s UK Screenings. and Swedish sibling mega-bucks talent deals, which have seen Sharon
The Marco Bassetti-fronted producer network TV4 Horgan move to Amazon, for example.
and distributor pulled off the deal of the year in 2019, “Talent is increasingly something that buyers ask
adding the giant library and production interests of about and want to know about. We had it with
Endemol Shine Group to its existing - and already Carrie-Anne Moss on screen in Wisting and that really
extensive - operations. helps to sell the show and helps the platforms and
That takeover at present is moving through the broadcasters to sell it too.”
glacially slow anti-trust process, meaning execs are Mutimer says Banijay will continue to work with
unable to discuss how the future company might look, production companies through first-look deals and
but it’s clear that his own company’s expansion is not joint ventures, adding that big name talent agreements
the only thing on the mind of distribution chief and “Thin Ice is really are considered – potentially building on the recent
Banijay Rights CEO Tim Mutimer. topical and that is agreement with adventure star Bear Grylls.
The roll-out of US-based streamers are providing one of the trends we The exec also highlights that despite the soaring
fuel to an increasingly hot drama market, potentially are trying to work - prices attached to some UK prodcos, interest remains
pushing up the price of talent but also creating yet we’re hoping it can because of a favourable rights situation. “We’re
more demand from buyers. Incumbents such as Netflix repeat Occupied’s definitely interested in exploring there,” he adds.
and Amazon, meanwhile, are finding themselves in a success” For UK Screenings, Banijay is focusing on scripted.
more crowded space too, with Mutimer expecting “a Tim Mutimer, Shows include Thin Ice, a multi-layered drama from
really interesting 12 months” when it comes to rights. Banijay Banijay’s prolific Nordic prodco Yellow Bird that
Incumbents, he says, are keen to be seen to be explores the impact of geo-politics on potentially
flexible, but there remains “an ideal where if you have harmful oil drilling in the Arctic.
a show commissioned in one territory they’ll still want “That is a really topical show and that is one of
a second window and rest of world, that’s the aim.” the trends we are trying to work with. Occupied was
Competition is affecting that dynamic, however, and on trend too, so we’re hoping Thin Ice can repeat
Mutimer says that deals for per-territory rights are now its success,” Mutimer says. Others include Belgian
more feasible, something that looks set to potentially psychological thriller GR5 and detective series
grow as the new entrants make bigger moves. Bäckström, also from Yellow Bird.” TBI
16 TBI UK Screenings February/March 2020
p16 Banijay Profile FebMar20 RJM MH.indd 16 31/01/2020 13:09IT’S
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pXX TCB TBI FebMar20.indd 1 29/01/2020 13:47Roundtable | Distributors
Deal makers
No other sector has had to adapt as quickly to the rapidly changing content
Chris Bonney, CEO of rights market as distributors, but select boutique and mid-sized players have been among
at Cineflix Media those to have retooled themselves fastest. TBI’s latest roundtable gathers some
of the brightest UK-based distribution minds together to discuss the financing,
commissioning, selling and marketing of content – and finds out who the key
buyers will be in the coming years
Richard Halliwell, MD
at DRG/NENT Studios UK
Jimmy Humphrey, head of
acquisitions & co-pros
at TCB Media Rights
Diane Rankin, EVP rights
at D360
The entire content business has consolidated a trusted commissioner, the right price and of course
rapidly recently, what is the role of boutique and the right timing.
mid-sized distributor in this world and how can
you capitalise? Karen Young: It’s a completely different service we
Will Stapley, head of offer, too. If you want a big brand that is known and
acquisitions at TVF Chris Bonney: The opportunity is in our service has a huge catalogue - and in the case of BBC Studios,
International a very prestigious line-up that they are very fortunate
to producers and broadcasters. Ultimately, it’s about
finding a platform or home – or these days, homes to get - then you can go there because that brings
- to get the show financed in a world of decreasing brand confidence, but it also takes you further down
commissioning funding. It’s all in delivering something the catalogue. It doesn’t necessarily mean people selling
tailored and niche, and broadcasters appreciate that. your product have seen it either, because how can you
watch so many thousands of hours. With a smaller
Nick Tanner, director of sales Will Stapley: Absolutely, although it is tricky. We boutique, we all watch our content and are passionate
& co-pros
at Passion Distribution always lose out to people gazumping content and about all our shows. We must work hard and sell hard.
people who are paying too much, so we have to be
working with companies we really trust and who trust Richard Halliwell: We have almost thrown away
us and who know what we do, which is specialist - the older systems and processes in terms of what we do
it’s just factual. But it is harder, there’s a Goldilock’s when we get a piece of content. Now, it is about what
tendency now in pre-buying and commissioning: if it’s a particular project will require, we encourage a degree
too hot it’s not quite right, if it’s too cold it’s not quite of hustle both for our acquisitions side and our sales
Karen Young, CEO
at Orange Smarty right - it has to be just the right temperature for buyers teams in terms of what the producer needs in each
to want it. And that means we need the right producer, particular case.
18 TBI UK Screenings February/March 2020
p18-21 Round Table FebMar20 RJM.indd 18 31/01/2020 12:52Roundtable | Distributors
Diane Rankin: Absolutely. We don’t just have a team
that only looks after certain territories, we have people
saying I can move this forward by doing this and we
move the project forward together in that way, we
work as a collective.
Consolidation has created a pinch point for
distributors in securing a content pipeline,
leading to some of you commissioning your own
shows. How is this developing?
Jimmy Humphrey: We have been allowed to
fail, which is refreshing. Not every project we have
commissioned has recouped and perhaps some will
never recoup, that is the nature of it and that is very
important. For us, the most important thing is to
have a mixed economy, we need straight acquisitions,
we need to be doing deficit financing, pre-selling, co- budgets. Gone are the days when you’d get a call from
producing and commissioning. Without all that, we a producer asking if you’d like to sell their six-parter
aren’t offering enough value to the producer. for Channel 4.
RH: That is one of the fundamental changes. For us Nick Tanner: I tend to agree - we find in the UK, for
in scripted, terms like gap and deficit are redundant. example, there is a compelling story to tell the producer
We are very often the first at the table, the gap is the that we could give you a first-look deal and over the
first thing in. Then there’s tax credits and broadcasters. next two or three years we wait for you to finally get a
We’re not in deficit financing very often anymore, script read at the BBC. Or, we could just forget about
unfortunately. the UK and take that project - which is brilliant - and
anchor it outside of the UK. Then, we can back it into
How hard has it become to secure talent, given the UK. You cannot sit back and wait for a producer
the soaring demand? to get a script in and wait six to 12 months.
CB: A beauty parade goes on, but it’s about striking Talking of scripted, how hard is it to play in the
a chord with the producer who you’ve worked with market now?
before and building trust. It means we need to be
talking regularly. There’s also forecasting - we’ll all CB: There were more than 500 series last year and
have similar values on shows but some will have more “If you want a big there are always some nuggets that don’t get picked up.
value to us than others, because we’re stronger in one brand that has a Or if you go to the festivals early enough you will come
genre to another and we know what we can do. So a huge catalogue across them. We picked up Israeli series Tehran, which
we might pay a bit more and even look at a loss leader then that can bring has made a lot of noise and offers have been coming in
on a certain title because you know what it will do brand confidence thick and fast, which is great. You have to be scouring
for you across your catalogue. Those are the sorts of but it also takes you the market. We see investment back from unscripted
things we have to do at our scale to not be taken out of further down the pretty quickly, whereas with scripted, you might have
the market by a BBC Studios or Fremantle or the US catalogue” to wait for second or third season.
studios. And it happens relatively regularly, particularly Karen Young And perhaps unlike most unscripted, if you have a
if we’re playing in the US market - we can put really Orange Smarty scripted flop that can be major problem.
good solid offers down and they can just disappear.
RH: It can be, which is why we only back winning
JH: We’ve definitely been used as a stalking horse. For horses! From a broad perspective, you balance
us, those first look and development deals - while they between scripted and unscripted, where the return
definitely work sometimes - can feel a bit old fashioned. is quicker. Waiting for a primary UK broadcaster
Ten years ago, it seemed OK to give a producer increases the risk so a relationship with the producer
$200,000 over two years in return for X hours but is key to allow you to step out of the UK with their
that was when there were thriving commissioning beautifully crafted piece of work. The risk is increasing,
TBI UK Screenings February/March 2020 19
p18-21 Round Table FebMar20 RJM.indd 19 31/01/2020 12:52Roundtable | Distributors
we’re paying early stage development on scripted and Direct-to-consumer is also growing, but
we’re starting to engage with talent, so we’re much “We don’t just have is putting content onto YouTube still
more invested before a project has even been pitched. a team that only predominantly a marketing tool?
We have to be more selective and cautious, and make looks after certain
sure we have the right people making those decision. territories... we NT: It goes further than that. We have a small network
You need someone with serious editorial chops to move the project of YouTube channels managed directly – we had clip
make those decisions. forward as a rights so we thought why not truncate some of the
collective” docs and put them on YouTube within a brand and
And how are things looking for unscripted? Diane Rankin look at the data. It’s now grown into a viable business
D360 that we’re expanding. There are more barriers to
WS: Co-production is something we’re doing and have entry and it is acorns at the moment, but our strategy
done since we began. It’s maybe not to such a great is evolving day by day. We’re looking at the value of
scale but we’re going out to producers and saying you commissioning our in-house to produce for You Tube
film what we need and we have our in-house who too, and maybe reversioning and repackaging content.
can put it together, and we know it will sell and make
money for everyone. We then co-own that property There are so many potential buyers now, who is
too. And there’s reversioning - turning existing shows key now?
into something else, or taking a foreign language show
and translating it and putting an English voiceover and CB: There are more routes to markets, for sure. The
selling it again. It works. We had Snake Master, with a challenge is still finding the best route for each show
Thai talent who goes into the jungle and wrestles with and finding the best home - and then you are often
snakes - and that has sold really well to some of the narrowing down quite quickly in terms of targets.
pan-regional channels. In scripted, we often find there are only two or three
buyers, and that’s scary and exciting. I wouldn‘t say
JH: We are very fortunate to have someone as prices are escalating on individual deals, but there are
brilliant as Hannah Demidowicz to oversee our now more windows and routes to exploitation so
commissions but it doesn’t often make sense rights management is key. Exploitation on YouTube,
commercially to do shows with talent. We’ll making difficult decisions about non-exclusive AVOD
absolutely still acquire shows with talent but for rights on a title when that might preclude a US deal
commissioning, it is much riskier. Saying that, we down the line - that’s where we have to make strategic
are launching an adventure survival show at MIPTV decisions. One of the biggest things is money now over
with two very new pieces of talent out of Canada, money in three-to-five years. And that is the producer’s
which is a full commission - that’s more risky than decisions and it’s dependant on their business plan.
normal but it’s looking good so far. It depends, but it can make complete sense to give a
show a global deal if it’s topical or needs to be aired.
NT: We have commissioned over a number of years.
We have supported internal production companies RH: I do think the sheen from those deals is dulling
internally by fully financing too and are continuing to a bit though, in all genres. A year ago it’d be, “Oh,
do that but it is supply and demand. Male-skewing you’ve got a Netflix show.” It was good for reputation
factual has boomed... now it’s about identifying the
next patch for distributor led-financing.
It seems the marketing burden on distributors
has surged too, is that a fair assessment and what
does it mean to distribution longer term?
WS: We are spending more on advertising for sure, but
we had our best year ever in 2019 and it is probably
because we are shouting louder. We’ve been quite
modest about blowing our own trumpet but the more
we do that the more people believe us - it is quite a
British thing, but we are finding that the more we say
we are actually very good at this, give us your show,
producers start to take note.
20 TBI UK Screenings February/March 2020
p18-21 Round Table FebMar20 RJM.indd 20 31/01/2020 12:52Roundtable | Distributors
and there was a good premium to be had. That international market - but they’re going to be pulled
premium is diminishing and the talent is less attracted “We’ll absolutely by the broadcaster to make a show they want, which
to the deals they have to sign up to be on those still acquire shows can be put across their various channels for the next
platforms. And, although it is still really important with talent but for few years. There is something in between – they have
especially in scripted, there is increasingly now an commissioning, to be thinking with an international head and be
eyebrow raised - because we know that a Netflix show it is much riskier. collaborating with us more. There has to be a bit of a
means the premium has gone down, it’s been given Saying that, we reality check to say this is your profit, don’t squeeze it.
away for a hamburger today rather than payment are launching an
tomorrow. It’s not looked upon negatively but it’s not adventure survival WS: And some broadcasters seem to expect
that incredible deal anymore – it’s more, “Oh, you show at MIPTV with distributors to contribute ever more. Their budgets
took an Amazon deal.” two very new pieces are lower, fair enough, but if we are putting that risk
of talent out of in and the pre-sales aren’t coming in left, right and
WS: And as buyers are becoming more picky in linear, Canada, which is a centre, then why should the distributor take a bigger
with VOD there are some really surprising numbers full commission” risk if they won’t take any more risk as a buyer? There
generated for one-offs, for example, that in broadcast Jimmy Humphrey has to be more shared risk across the whole industry.
wouldn’t have had a chance. They’re generating TCB Media Rights
extraordinary numbers, and it makes us think, yes, I’m DR: And some of those UK broadcasters know
glad I did that deal as a tester - these things are proving who the international partners will be on some
themselves as subscribers go up. shows they commission - so they know when they
commission X, broadcasters Y and Z are going
DR: It’s true – but so many producers come to us and to come in, so they’ll pay less because those other
say, “Can we have it on Netflix?” And we say, do you channels will come in.
really want it on Netflix? Is that right for the show, is
that the best deal you can get? Maybe it isn’t actually JH: There is that and increasingly, which is not good
best for the show. news for the producer, deals happen between the
broadcaster and distributor directly. That gap that
Who are the key players going to be over the next might have been there, which would have ordinarily
few years? been the producer’s to control, is not theirs anymore.
Most broadcasters now operate that model, so as a
WS: Roku is going to be a huge player, because they distributor you have to adapt too. The producer is
have their own channels and streaming service, they making show for less money and they are mortgaged
got in there for the future and it’s so easy to use. even more to a distributor, so it’s not attractive being
a producer. I can understand that frustration.
NT: There has been a lot of talk about AVOD and
there’s huge growth there. Roku is definitely one of the So what has to give?
examples, as is Pluto, they’ve made huge strides. Their
distribution is growing by the day and they are open to JH: It’s probably on the broadcaster’s side but they
different types of approaches – portfolios, selling single are squeezed as well. Greater risk will probably end
content to existing networks, or channels. up landing on distributors.
WS: They’re not too fussy either, they can have content WS: But only if we let it. There is so much
on three, four, five platforms at once, they have that consolidation and change, we have to ride the wave.
flexibility, which is great.
RH: Broadcasters will always commission at the
JH: It’s about the revenue share. And we have that lowest possible rate they can but now you don’t have
responsibility to be exploring that back catalogue. to play that game. There are very few producers who
aspire to be at the bottom end of the market. There
The next 12 months look set to offer more is a role for us to play, to say, “yes that’s fine, that’s
challenges, not least with producers’ terms of what we can get out of the UK market, but let’s go
trade shifting in the UK. How will things change and play with the rest of the world.” Content from
over the next few years? the UK is among the best internationally and the
world knows that. Just because the BBC isn’t paying
KY: Terms of trade could be great because they what it should because it is so squeezed, that’s fine -
will recognise the profits that could come from the the money exists out there in the world. TBI
TBI UK Screenings February/March 2020 21
p18-21 Round Table FebMar20 RJM.indd 21 31/01/2020 12:52You can also read
