Distribution Chiefs Talk Business Post-COVID 19

A panel convened by the Edinburgh TV Festival saw Cathy Payne, Jens Richter, Louise Pedersen, Ruth Berry, David Cornwall and Jonathan Ford discussing the evolving role of the distributor and managing business amid the COVID-19 pandemic in conversation with Stewart Clarke.

Clarke, creative director of the festival, moderated the live session on YouTube this week titled International Rescue.

Louise Pedersen, CEO of all3media international, said that the position of the distributor has changed most notably in financing and development. “[There is a] reliance on distributors coming in with a big piece of financing. That’s a joint effort [with producers].”

Pedersen said that the company had five shows that were about to go into production or ceased production when the pandemic hit, so she and her team had to quickly look at the costs involved to determine how much all3media international would shoulder and how much the co-financing partners would bear. “When you are getting involved in financing shows, you’re evaluating risks the whole time.”

Cathy Payne, the new CEO of Banijay Rights, stressed the value of having a large catalog during these times. “Certainly where there have been gaps in schedules or production delays, buyers have been looking for programs that could fill slots. When you have a catalog with depth, you will have those go-to programs that can provide a solution.”

Fremantle International CEO Jens Richter addressed the demand for finished shows versus formats, given the production restrictions still in place in many markets. He pointed to the recent season of American Idol, which was able to resume production remotely. “We have examples where we were able to switch production gears, go remote and finish production, and deliver an awesome show and great ratings.”

Even with pressures on ad revenues, local broadcasters will continue to invest in local productions, Richter added.

Ruth Berry, managing director of global distribution at ITV Studios, talked about how the company has benefitted from being both a production and sales operation and “having a close broadcast partner in our U.K. channel,” especially for understanding how COVID-19 has disrupted scheduling and what audiences are looking for at this time. “For us, understanding how broadcasters are working amid COVID was really helpful in understanding what our buyers are experiencing in their countries. It’s been a geographical domino as the virus spread. We’ve been able to see and understand what’s coming next for them, what they might need… and how we can package our content differently.”

Berry went on to discuss the success ITV Studios has had with Bodyguard, with a new round of sales following the global Netflix window. “Bodyguard was such a phenomenal hit. It made the ability to sell it in a second window really strong. We just announced over 20 major markets that have bought the second window. It’s brilliant to be able to prove that there is a strong second window post-Netflix for a drama.”

Jonathan Ford, managing director of the newly formed Abacus Media Rights, talked about launching a business shortly before the lockdown in the U.K. “The planning certainly predated the virus and the lockdown. It was not my preferred period of time to launch a new business! But at the same time, it streamlined some of the costs. It’s been an interesting time to launch a new business. There is business to be done out there. Producers want to work with us, buyers want to work with us.”

Asked about what a “modern” distribution company looks like today, Ford responded, “The key thing is understanding the concerns and needs of the producers, and the clients. Building partnerships with producers so that they fully understand the strategy that you intend to pursue on their titles; they buy into that strategy, they feel involved in that strategy, and that strategy supports their needs in distribution and monetizing their programming.” Ford added that in this new world, “creating a tailored strategy for each individual title is going to be required.”

As for building a distribution slate at a time when production has been on hold, Ford noted the importance of being “inventive and strategic in what you go after.” Australia, for example, has gone back into production sooner than other parts of the world.

David Cornwall is the managing director of Scorpion TV. On what his independent operation can offer producers, Cornwall said, “We are bespoke. We have 250 hours in our catalog as opposed to the 20,000-plus hours that some of my esteemed colleagues have. Producers recognize that. Often [we represent] a one-off documentary they have sweated over for the last three years or more. Putting their film with us means that we will give it that attention and really strive to find the best homes for it. That is a key difference. Producers do respond really well to that.”

As for doing business without markets, Cornwall noted, “There isn’t that concentration of sales, that energy in the marketplace. It can be trickier to reach certain buyers, but otherwise, it’s been pretty much business as usual, which has been great for us.”