Cineflix Rights’ Tim Mutimer on Evolving Distribution & Financing Models

As CEO of Cineflix Rights, Tim Mutimer heads Cineflix’s international sales and acquisitions arm. He oversees the development and financing of a range of programming, including scripted drama, through a variety of formulas, from first-look and output deals to presales and co-productions. While shows based on known IP or featuring recognized talent are appealing to risk-averse buyers, Mutimer notes that bold, original ideas that resonate with the current culture are also able to find success.

WS: What are some of the main challenges the European scripted market has faced in the last year or so?
MUTIMER: It’s definitely a slower market than it used to be. People take a long time to make decisions. Every buyer has to go through several layers before they can make a decision and try to minimize risk, which is what everyone is about these days. That means the staples of procedurals and thrillers are what people are focusing on because they feel safest. Anything that goes slightly beyond that is a risk. The other thing is that there’s a lot of content out there, but the slots are fewer than they’ve been before. Maybe that’s partly because domestic production has increased a lot, maybe it’s partly because the streamers are there. So, the local broadcasters are pivoting to more entertainment and live shows as a way of differentiating themselves.

WS: Do scripted series based on well-known IP generally sell more easily than those based on original ideas?
MUTIMER: Yes. This links back to the de-risking nature of the industry at the moment. If you can launch a series that’s based on IP that already has recognition in your territory, that makes you feel slightly more secure that you’re going to have a hit and are going to find an audience. It’s no surprise that three of our new series are all based on IP—Anna Pigeon, The Walsh Sisters and Hildur—because that’s what our buyers are asking for; they’re asking for as many guarantees as they can get. The other thing that known IP brings is the ability to build a stronger package because writers, showrunners and actors are all attracted to something they feel has the potential to be really successful. The IP gives them a level of comfort, while a brand-new, original project would feel riskier to them.

WS: I imagine that talent can also be a bit of a risk diffuser, if you have a big name attached to a project?
MUTIMER: Yes, absolutely. Sunny Nights, a show we just launched and which debuted on Stan in Australia over the holiday season, stars D’Arcy Carden (Nobody Wants This, The Good Place, Barry) and Will Forte (The Four Seasons, The Last Man on Earth, Bodkin) as the leads. That really helps when you’re pitching to broadcasters because they’ve got a hook that they can market it with. We’ve sold Sunny Nights into some key territories, including the U.K. (ITV), Canada (Bell Media), Germany (ProSieben), the Netherlands (CANAL+), New Zealand (TVNZ) and Ireland (TG4), with a U.S. deal [signed with Hulu]. Trent O’Donnell (Hacks, Colin from Accounts) directs and executive produces it, so behind the camera as well as on the screen, you’ve got strong talent.

WS: On the other hand, everything starts as an original idea. What does a series based on a new idea need to be appealing to buyers? I imagine maybe talent is one of those things.
MUTIMER: Sunny Nights is absolutely that. It’s a dark comedy that’s original and fresh. It’s a clear concept of a show that you can describe and pitch in a couple of lines, and people get it. That’s really helpful. Boldness helps, which again has to do with the talent that you bring in, writing and directing it. If it’s clear, stands out from the rest of the market and speaks to the zeitgeist and what’s going on culturally, people can see a reason why this program is being made. Character is still key, so if you’ve got strong characters, that is something else that buyers look at, and audiences look at and fall in love with. You’ve got to have all the ingredients that make a great hit. There is still room for programs outside the traditional thriller, procedural or based-on-IP [genres], but it’s tougher. Everyone has to raise their game if they’re going to experiment in that area.

WS: How have you seen financing models evolve? Are co-financing and co-producing increasingly necessary?
MUTIMER: Our experience is that budgets are increasing. Maybe that’s because we’re competing with streamers who have much bigger budgets than legacy broadcasters have had, and the audience will seek the same quality regardless of where they watch. So, budgets are definitely increasing, and it’s getting harder and harder to find a project with only one broadcaster attached. Increasingly, we’re working with producers who maybe have a commissioning broadcaster attached and are [looking for] another partner to come on board. The Walsh Sisters, which we launched at MIPCOM, was originally commissioned by RTÉ. That’s based on a book series by Marian Keyes, which has sold more than 40 million copies worldwide, with many of those sales in our key territories. But with the budgets being significant, we needed to bring in another broadcaster before we could greenlight it, along with our distribution advance. Along with the producer, we talked to the BBC and negotiated a deal with them. Nowadays, it’s quite common to try to bring in a presale partner, which could be in another significant territory, as with Australia’s Stan for The Walsh Sisters, or the likes of BritBox or Acorn TV, which will take a window in more than one territory. As we advance money against projects, we look not just at the first window now, but also at how we can window quickly so we can get our money back as soon as we can. It has become more complex. Soft money is important as well, so we consider where we can film a project that gives us access to more funding that can go toward a bigger budget.

WS: Have distribution deals become more complex?
MUTIMER: The main thing now is when we do an initial deal in key markets like the U.S., Germany, France or the U.K., we’re thinking about how quickly we can build in the next window; how quickly after the premiere in that territory can we do a VOD window? Every deal is different because it depends on the level of exclusivity that the broadcaster that’s going first in the territory wants—how important it is to them to have some distance between the premiere and the next window. But we’re finding shared exclusivity is becoming much more common, and for people that are investing quite a lot, they will want the premiere, but then they’re quite comfortable with other parties within the territory coming on board.

WS: Has the drop in U.S. presales and commissions affected European drama production?
MUTIMER: The U.S. was a big source of large amounts of money that could either go to the budget or help to recoup a distribution advance. That market is certainly not as strong as it once was. So, when you look at a project and a U.S. number, you have to figure out: how secure is that? From which territories will we be able to recoup our investment? You really have to understand what the appetite is in the U.S. market. We’ve got Greg Johnson (executive VP for the Americas and Asia Pacific) based in L.A. He’s very close to all of the key streamers and broadcasters there. We’ve got a good sense of what broadcasters are looking for. That intel is essential for helping us assess which projects to invest in.

WS: Are there upcoming titles you’d like to mention?
MUTIMER: Yes, I mentioned The Walsh Sisters, which is great because the IP is so well-known. Hildur is our Nordic “blue” series that we are just launching. We know the Nordic noir genre, but in Hildur, we have the incredible backdrop of the Icelandic Arctic wilderness. We really like this show because the lead character, Hildur, is solving a contemporary serial killer case, and there’s a cold case that she’s personally involved in. She’s a fascinating character. One of her sidekicks is played by Rick Okon, the internationally known German actor who was in Das Boot, which is important when you’re thinking not just of the U.S., but also of other strong markets and what you can do to make a show more appealing to them. And we’re really excited because we’ve got Anna Pigeon for Versant’s USA Network, which is just completing filming and is based on the best-selling novels by Nevada Barr. It stars Tracy Spiridakos, who is incredible as a park ranger, and the show is set against the backdrop of national parks. It is filmed on location, which makes it look incredible. In such a competitive market, [it’s helpful] to bring to the table something extra that audiences are going to love, such as that backdrop, in addition to strong storylines and some great acting talent. We’re looking forward to showcasing Anna Pigeon at the London TV Screenings.