{"id":12877,"date":"2020-03-10T09:00:07","date_gmt":"2020-03-10T13:00:07","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvdrama\/worldscreen.com\/"},"modified":"2020-03-11T08:22:54","modified_gmt":"2020-03-11T12:22:54","slug":"euro-drama","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvdrama\/euro-drama\/","title":{"rendered":"Euro Drama"},"content":{"rendered":"

The scripted bubble shows no signs of popping anytime soon, as leading producers and distributors step up their efforts to secure, finance and sell standout European concepts. And as the cost of production rises worldwide\u2014driven in large part by the well-funded streaming giants\u2014cross-border partnerships remain essential.<\/em><\/p>\n

\u201cThe co-production model is the rule rather than the exception nowadays,\u201d observes Chris Stewart, commercial\u00a0director for scripted at Banijay Rights. \u201cPretty much everything we do is co-produced with at least two territories. It\u2019s tough to fund shows with premium budgets out of one territory.\u201d<\/p>\n

\u201cTo produce bigger-scope series with more ambitious budgets, we are working more and more with European partners on co-productions and presales, starting very early on in the process,\u201d agrees Fran\u00e7oise Guyonnet, the executive managing director for TV series at STUDIOCANAL. \u201cWe are able to work closely with Canal+ in France and Poland to get the ball rolling for many productions.\u201d<\/p>\n

Robert Franke, the VP for ZDFE.drama at ZDF Enterprises, believes that co-productions will become even more important against a backdrop of \u201cstreamers popping up like mushrooms\u2026and massive consolidation\u2014everyone is trying to build huge catalogs to feed their own platforms. I think there will be even more co-productions going on because everyone is trying to mitigate the investment risk. They are seeking partners. One result of that trend is that content companies are trying to integrate their business models into the value chain. As a distribution company, our revenue model is distribution, so traditionally we would take something once it\u2019s finished and bring it to market. Now, to make money along the way, we get involved earlier, we help to package and finance from a very early stage. We are evolving into being a financing-producer. We\u2019ve always been active in co-productions, but in this market environment, we are doing more co-productions to earn money in different ways.\u201d<\/p>\n

Alexandra Heidrich, the head of acquisitions and sales for international TV and SVOD at Global Screen, reports that it\u2019s also crucial to use a variety of different funding models: \u201cOur huge acquisition department is not just looking for MG deals; we do the full range of financing. We are an all-in-one partner with financing, production, world sales and distribution. We have to be very flexible and look at each project individually. Sometimes if a one-pager fascinates us, we finance the development of the first script or the concept. Sometimes people come to us with a bible and the first script, and they just need co-development money. From A to Z, we do whatever is necessary to finance a production. It all depends on the project.\u201d<\/p>\n

Like STUDIOCANAL\u2019s Guyonnet, ZDF Enterprises\u2019 Franke stresses the importance of early involvement in projects: \u201cOur philosophy is that we don\u2019t want to be involved in something that is too far developed or already fully developed. Our USP is we know the European market; we know the worldwide market. We know what those platforms look for and what the channels look for. Of course, we can always come in as a distributor and pay a minimum guarantee against the rights. But we prefer to come in as a co-producer. We have a whole department of people scouting the worldwide market. We changed our structure in a way that merged acquisitions and sales, so my sales team is also acquiring content. That gives us a holistic view of the market. We have early access to relevant projects and then we take those projects and talk about them with the team to evaluate whether there is a chance to sell them worldwide. The sooner we are involved, the greater the influence we have in the development process. It\u2019s not because we want to be involved in the creative process; we want to make sure we steer the financing process. If you know how to package something, you know who your potential clients are, the more you can tailor-make things. Otherwise, it\u2019s a shot-gun approach, and you acquire content opportunistically. We\u2019d rather do it strategically.\u201d<\/p>\n

Eccho Rights is also looking at a variety of financing models, Fredrik af Malmborg, the company\u2019s managing director, notes: \u201cFirst of all, I think the original platform should pay for most of it, and the producer should keep as much IP as possible. If they can\u2019t afford that, then we [can help with the] financing. Financing should be in return for a small share of the IP, rather than just being an advance. We\u2019ve done some deals with external investors; for example, we did a series in Turkey called Wounded Birds<\/em>, where we had [some financing] from a Korean investment fund, Timewise. With the existing model, it\u2019s quite difficult for investors to go into TV series. We can get more investment in the industry if we share a bit of IP with the investor and if we have a transparent distribution model.\u201d<\/p>\n

CLEVER CONCEPTS<\/strong>
\nAs for what kinds of shows companies are investing in, it\u2019s a little bit of everything in this landscape. High-concept serialized shows, blue-sky procedurals, lush period pieces, gritty crime and cost-effective family dramas are all vying for the attention of financiers, commissioners and distributors. \u201cWe often get asked what genres we\u2019re looking for,\u201d says Global Screen\u2019s Heidrich. \u201cWe have clients that are only looking for romantic stories. Others are looking for crime stories. I\u2019ve seen some exciting horror and high-concept supernatural series. So it\u2019s not really about the genre.\u201d<\/p>\n

Heidrich has her eye out for standout ideas and authentic stories. \u201cYou have to have an emotional bond with the characters right away,\u201d she says. \u201cAnd, of course, a sophisticated script that has a multilayered narrative.\u201d<\/p>\n

The company\u2019s diverse current slate includes a crime series from Belgium called A Good Year<\/em>; Turbulent Skies<\/em>, about airline pioneers Albert Plesman and Anthony Fokker; Dark Woods<\/em>, a true-crime drama; and the Canadian series Amber Alert<\/em>.<\/p>\n

Banijay Rights also has an eclectic offering, including new seasons of Bang\u00a0<\/em>and Rebecka Martinsson<\/em>, as well as the brand-new GR5: Into the Wilderness<\/em>, B\u00e4ckstr\u00f6m<\/em>, The Hunt for a Killer<\/em>, Thin Ice<\/em> and We Got This<\/em>.<\/p>\n

On what it takes to stand out today, Stewart notes: \u201cIt could be a piece of casting or some strong IP or subject matter that is relevant. Thin Ice<\/em> is interesting because, although it\u2019s been in development for five years, it\u2019s now very of the moment in terms of climate change and even Trump talking about buying Greenland, where it\u2019s set and filmed. [A project] needs something that is either very relevant to contemporary culture or has some kind of IP that people are familiar with. That\u2019s why we\u2019ve seen a huge resurgence in series based on true crime or real-life historical events.\u201d<\/p>\n

STUDIOCANAL\u2019s Guyonnet observes that buyers and commissioners are keen on a fusion of genres, including dramas that come with a dose of comedy. \u201cNot necessarily laugh-out-loud, but a clever and sophisticated look at life in all its forms,\u201d she notes.<\/p>\n

On that front, STUDIOCANAL is pre-selling RED Production Company\u2019s Finding Alice<\/em>, which has Keeley Hawes in the lead role. The studio has a pair of new thrillers: the period piece Shadowplay<\/em>, set in 1946 Berlin, and the multi-language Possessions<\/em>, which was filmed in Israel in French, Hebrew and English.<\/p>\n

Eccho Rights, meanwhile, is plugging what it is calling \u201cNordic romance\u2014instead of Nordic noir!,\u201d af Malmborg quips. \u201cIn general, there is a saturation of crime procedurals\u201d on the market, he notes. \u201cI think we\u2019re going more toward human stories, romantic stories, real-life, easier-to-relate stories.\u201d<\/p>\n

The company is showcasing Love Me<\/em> from Viaplay and Swiping <\/em>from SVT. \u201cWhat\u2019s unique about Nordic romance is it tends to be more realistic in a way, more relatable, more blue sky and very involving,\u201d af Malmborg explains. \u201cAt Series Mania last year, it looked like all the series were imitating Nordic noir because it was raining in every city! I think people are tired of that.\u201d<\/p>\n

BLUE-SKY FORECAST<\/strong>
\nZDF Enterprises\u2019 Franke agrees, stating, \u201cThere is a massive shift away from the dark, heavy shows. Those are no longer what people want to watch. Frankly speaking, if we want to see bad news, we can turn on the news! We have climate change, we have Trump, all these things in the news right now. I think people are getting tired of that. They don\u2019t want to see people with super-existential problems. It\u2019s more about blue-sky crime; we see that is in demand. And genre blends. A lot of channels are looking for elevated genres, for example, taking a crime show and blending it with light sci-fi or fantasy. It enables you to cross more demographics. You\u2019ll take something known to one audience and add something else to the mix, and all of a sudden, you\u2019ll get viewers who would not necessarily watch a crime show, and vice versa. We like that trend very much. Our development slate is going in that direction.\u201d<\/p>\n

Meanwhile, the ZDFE.drama team is promoting the sports thriller The Window<\/em>, the first-ever European-Japanese scripted co-production. The English-language series is made with Fuji TV. Also on the company’s slate are the Swedish crime series Top Dog<\/em>; Sl\u00f8born<\/em>, produced by Syrreal Entertainment; and Standing Tall<\/em>, made by Publispei for RAI.<\/p>\n

Franke adds that there remains a strong demand for procedurals, with exhaustion setting in for over-complicated, heavily serialized shows: \u201cThere is so much out there, and it takes a lot of commitment to finish a series. That\u2019s why we see commissioning editors and platforms looking for miniseries and series with fewer episodes and procedurals. Sometimes you want to come home, switch on your TV and just watch one episode and have a satisfying viewing experience; the crime is solved and there is a catharsis at the end of the episode. It\u2019s low commitment, and it\u2019s escapism. We will see that more and more from the streamers.\u201d<\/p>\n

Global Screen\u2019s Heidrich sees equal demand for both returnable series and event miniseries. \u201cI recently read that 2020 could be the year of miniseries,\u201d she notes. \u201cThey appeal to audiences worldwide. I think we will see more limited series, but the long-running shows are still very popular and very profitable for the broadcasters. It always depends on the story, of course. For some territories, especially Eastern Europe, they are looking for long-running, episodic series. We are looking for those, but they are harder to find! When people come to us and pitch us their ideas, it seems like 95 percent are horizontal, and the rest are episodic storytelling. If we can\u2019t find them out there, we just have to produce them ourselves.\u201d<\/p>\n

MAKING A COMMITMENT<\/strong>
\nBanijay\u2019s Stewart says that six to eight episodes per season has become the norm, down from ten-plus, and he also sees a resurgent demand for event productions. \u201cThere are certain people in certain territories that are more risk-averse, so a six-episode run is a bit of a safer bet to launch a first series rather than going in with ten. Equally, people are looking for returnable series that they know will perform well for their audiences. As are we\u2014we want those series that we know are going to come back year after year. But I think there has been an increase in demand for those big showpiece miniseries. With things like Chernobyl<\/em> doing so well, there is a lot of interest in close-ended series that people can throw a lot of marketing weight behind.\u201d<\/p>\n

As STUDIOCANAL\u2019s Guyonnet puts it, \u201cevent miniseries are key to help entice and retain subscribers; whereas returning series keep viewers loyal to a channel.\u201d<\/p>\n

Meanwhile, the industry as a whole continues to shift as the global streaming landscape braces for the arrival of the new Hollywood-backed services, while local platforms proliferate. \u201cWe are continuing to be very pragmatic and aware of this ever-changing world and are open to different ways of selling our series,\u201d Guyonnet says. \u201cThere is no longer a one-size-fits-all approach to sales.\u201d<\/p>\n

WINDOW-SHOPPING<\/strong>
\nGuyonnet\u2019s words reflect a sentiment that is widespread across the distribution landscape: windowing is just not what it used to be, and there\u2019s no easy way to figure out how to best exploit a property around the world.<\/p>\n

\u201cIn the past, it was quite obvious: you had a series and you knew precisely if this was something for free TV or pay TV or a platform,\u201d Global Screen\u2019s Heidrich says. \u201cNowadays, when I look at our clients, even the free-TV channels, they have become much more courageous. We have to look very carefully at each project and make a strategy. Do we sell it territory by territory or go with a streamer first and then the second window on free TV? Or go the other way around? You have to look very closely at each project to make sure you find the right windowing.\u201d<\/p>\n

\u201cIt\u2019s difficult to pin down any particular windowing strategies anymore because this is such a fluid place,\u201d agrees Banijay\u2019s Stewart. \u201cThere are so many platforms and broadcasters seeking to get full exclusivity on things to stay competitive. It\u2019s difficult from the outset to say that we will do a linear first window here and a VOD second window there. Ultimately, it depends on the content and who is interested and how we work it from there. It\u2019s much harder to map that out than it used to be. It\u2019s not the traditional windowing system. It\u2019s more on an ad-hoc basis.\u201d<\/p>\n

ZDF Enterprises\u2019 Franke adds: \u201cIt\u2019s more sophisticated now. Two years ago, you could say, generally speaking, you would have a six-month window for linear and then another 12-month window for another [service]. Right now, you have to negotiate every window individually because every channel, every platform, has a different strategy. You have to tailor-make your whole exploitation strategy and you build it around the anchor partner on a project.\u201d<\/p>\n

FIRST MOVERS<\/strong>
\nAnd as the competition intensifies, distributors will be focusing on making sure they can move quickly to adapt to changes in the market. One trend that Heidrich is keeping her eye on is OTT platforms upping their commitments to local programming worldwide. \u201cWe have to look out for the original local productions from the streamers and see how they change the habits and the tastes of viewers,\u201d she says. \u201cThat, of course, changes our strategy for what we have to acquire. Also, short-form and snackable content are trending. This seemed to be something for the younger generation, but I don\u2019t think that\u2019s the case any longer. As a distributor, we\u2019re still trying to analyze if we can make a financial success with short-form.\u201d<\/p>\n

Companies are also keeping an eye on budgets as costs continue to escalate. For creative producers, that shouldn\u2019t be an issue, Banijay\u2019s Stewart notes. \u201cI\u2019ve never bought into the rule that bigger budget means a better show. The size of the production budget does not necessarily have a reflection on how good a series is. We have plenty of fantastic series that are of a lower budget than some of the U.S. or premium U.K. shows that I would argue are nowhere near as creatively written or directed or produced.\u201d<\/p>\n

Af Malmborg at Eccho Rights predicts that on-demand platforms will become more open to non-exclusive deals. \u201cIn Korea, it\u2019s pretty much standard that American series are on ten different platforms, with some revenue share. We\u2019re doing the same in Russia; we have deals with multiple platforms. Direct-to-consumer rev-share deals are also getting more important.\u201d<\/p>\n

With new platforms arriving, beginning with Disney+ landing in Europe this spring, \u201cThe superiority race is going to continue for at least another 12 months as everyone tries to find their place in the market,\u201d says Stewart. \u201cThe only real way they can do that is to buy more premium or super-premium content. It doesn\u2019t feel like there\u2019s going to be any slowdown in the demand for drama. Whether that will last longer than 12 or 24 months remains to be seen. I can\u2019t see everyone surviving in that marketplace. But for the time being, it feels like it\u2019s not on any kind of slowdown. It feels like we\u2019re still ramping up.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

The scripted bubble shows no signs of popping anytime soon, as leading producers and distributors step up their efforts to secure, finance and sell standout European concepts.<\/p>\n","protected":false},"author":290,"featured_media":12878,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[77,70],"tags":[],"class_list":["post-12877","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","category-top-stories","pmpro-has-access"],"yoast_head":"\nEuro Drama - TVDRAMA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worldscreen.com\/tvdrama\/euro-drama\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Euro Drama - TVDRAMA\" \/>\n<meta property=\"og:description\" content=\"The scripted bubble shows no signs of popping anytime soon, as leading producers and distributors step up their efforts to secure, finance and sell standout European concepts.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvdrama\/euro-drama\/\" \/>\n<meta property=\"og:site_name\" content=\"TVDRAMA\" \/>\n<meta property=\"article:published_time\" content=\"2020-03-10T13:00:07+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-03-11T12:22:54+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvdrama\/wp-content\/uploads\/sites\/11\/2017\/07\/2020-03-09-Standing_Tall.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"337\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Mansha Daswani\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Mansha Daswani\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/euro-drama\/\",\"url\":\"https:\/\/worldscreen.com\/tvdrama\/euro-drama\/\",\"name\":\"Euro Drama - TVDRAMA\",\"isPartOf\":{\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#website\"},\"datePublished\":\"2020-03-10T13:00:07+00:00\",\"dateModified\":\"2020-03-11T12:22:54+00:00\",\"author\":{\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\"},\"breadcrumb\":{\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/euro-drama\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/worldscreen.com\/tvdrama\/euro-drama\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/euro-drama\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/worldscreen.com\/tvdrama\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Euro Drama\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#website\",\"url\":\"https:\/\/worldscreen.com\/tvdrama\/\",\"name\":\"TVDRAMA\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/worldscreen.com\/tvdrama\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\",\"name\":\"Mansha Daswani\",\"description\":\"Mansha Daswani is the editor-in-chief and associate publisher of World Screen. 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