Israeli Formats Target World Stage

Last week, FOX in the U.S. debuted its midseason comedy Traffic Light. Focused on three thirtysomethings and their romantic trials and tribulations, the show is the latest in a string of Israeli concepts that have been adapted for the international market. Indeed, one of the world’s smallest television markets has become surprisingly adept at taking its local hits, both scripted and unscripted, to networks across the globe.

Many of the Israeli formats that have made an impact globally come from Keshet Broadcasting, including The Successor, sold worldwide by SevenOne International, and Deal with It!, which Zodiak Rights last week sold into Germany. Its latest export is the International Emmy-winning Traffic Light, which in addition to its U.S. adaptation is being produced for Russia’s CTC. In the works, meanwhile, is a U.S. pilot based on the dramatic thriller Prisoners of War.

The potential U.S. version, called Homeland, is being produced for Showtime by Fox 21, with a script penned by Gideon Raff, the creator of the original, in conjunction with 24’s Howard Gordon and Alex Gansa. Claire Danes is attached in the lead female role.

Keren Shahar, head of formats and acquisitions at Keshet, sees the U.S. deals on Traffic Light and Prisoners of War as a testament to the Israeli broadcaster’s creativity. In addition, she notes, “We tend to find that what performs well in Israel also performs well in the U.S. The markets have a lot of similarities.”

Shahar lists another reason for the international success of Israeli concepts: “I think it has a lot to do with the nature of Israelis and the culture here. We have very creative TV executives who are not afraid to experiment and take risks, because our audience is sophisticated and needs to be stimulated even with entertainment programming. So the TV execs in Israel give the creatives a lot of creative freedom, there is more risk-taking. Our schedules are not as ‘set’ as most territories. We do not have dedicated slots for a specific genre and it really is all about the content itself. If it’s a fresh concept, or a new way of storytelling, if it’s relevant, it will get made and we will air it. The fact that we work with tight budgets also forces us to be more inherently creative.”

Shahar adds that formats from Keshet have a certain pedigree. “We get to work with the country’s best talent. When we are offering a format to the international market you know that a) we believe in what we are selling, because we ‘bet’ on the format for our channels and b) not only do you get a tried and tested proven format, but really the whole package: the on-air and off-air promotion strategy, add-on applications and interactive derivative content, developed by our new-media department.”

With the growing awareness of Keshet formats worldwide, the company will begin distributing some of its own titles, after partnering with international distributors over the last few years. “We are working on two big entertainment formats and we have about three formats in development which are targeted primarily to the international market,” she says.

Shahar is optimistic about the continued success of Keshet formats, now that the economic recovery is in full swing and “buyers [are] more actively looking for fresh content.” As such, she continues, “We need the creative juices flowing again.”