Top International execs from ZDF Studios, Fremantle, All3Media and Banijay have said the potential U.S. writers strike and changing market economics can create opportunities to strike new business.
As Banijay Rights CEO Cathy Payne put it, likening the challenging of leaving previous market conditions behind to bouncing back after being dumped: “When one door closes, another one opens.” She was talking during a Series Mania panel on windowing and content financing this afternoon in France.
International distribution companies are already wrestling with myriad content financing issues as the U.S. market corrects after streamers’ spending momentum slows. All eyes are now turning to the discussions between the WGA and AMPTP, and one potential upshot if a strike kicks off will likely be more international business for U.S. networks.
All3Media International CEO Louise Pedersen said U.S. execs at the London TV Screenings at the start of the month had begun considering contingency plans.
“A lot of American buyers were planning for it and talking about shows as potential acquisitions. I suspect they’re doing research behind the scenes for back-up lists, but I don’t think you can plan for it. If you’re looking for a co-production partners, you have to continue with your normal conversations. We don’t know it will last or if it’s even going to happen.”
Fremantle International CEO Jens Richter added that many Europe-based super-indies had U.S. production assets and needed to take their own precautions. “The word for us is we want to be prepared. We all produce in America so it could harm us quite a bit on the production side.”
‘Some players don’t get talked about’
Elsewhere in the panel here in Lille on Day 1 of Series Mania, Banijay’s Payne said streamers were softening on their stance over rights and becoming more “flexible.” As global SVOD services drill down on their audiences bases and look to balance costs, “there are certain shows that they commission where they’ll be looking for a license for a domestic territory,” she added.
Payne pointed the levels of investment U.S. networks such as WGBH, MGM+ and PBS make in International co-productions and said they remained strong partners. “There are a lot of players out there, some of whom have been out there for a long time and don’t get talked about,” added Payne.
Richter also pointed to new market economics, saying Fremantle’s deal to revive Australian soap Neighbours on Amazon’s free streaming platform Freevee as “impossible two years ago” and noted Disney+ had in January swooped to become the home of Italy’s Got Talent. “Two years ago: Unthinkable,” he said.
Meanwhile, complex co-productions are becoming more frequent as traditional networks seek to put more money on screen and international streamers begin to consider local rights deals.
German network ZDF led one of the biggest co-productions of the moment in Frank Doelger-led drama The Swarm, attracting a trio of European public service networks, Hulu Japan and Viaplay before the series was made.
ZDF Studios VP of Drama Robert Franke, who oversaw the co-production, said the model was “a natural reaction to a complex world.”
“It shows coproduction comes down to accepting the fact you can’t align all needs perfectly. You end up by agreeing the common denominator and everyone takes it from there.”
However, Pedersen noted co-productionsrequire clever windowing strategies. “Windowing needs to be carefully managed. Copro partners usually want a decent period to exploit their rights.”
She noted that UK networks used to “struggle with day-and-date” agreements, as U.S. looked to created splashy marketing campaigns around their shows.
