Deutschland 83<\/em> in 2014.<\/p>\n\u201cWe\u2019ve seen a massive increase in production and distribution of drama at Fremantle since then and have now become one of the leading producers of non-English drama globally,\u201d McCourt said.<\/p>\n
Much of that demand has been driven by the streamers, McCourt said. \u201cI understand that about 60 percent of Netflix\u2019s TV and films are made outside of the English-speaking world now. Disney+, which only launched a couple of years ago, plans to commission 60 series from Europe by 2024. This increase in streamers commissioning content from Europe will really increase the competition with the linear broadcasters. I see the demand and quality increasing.\u201d<\/p>\n
New regulations requiring streamers to invest in local commissions have also had an impact, McCourt said.<\/p>\n
On the challenges for the industry, McCourt said, \u201cThere is such demand for content and for great talent, behind and in front of the camera. Inevitably budgets are going up, which is making projects harder to finance. The budget levels of the broadcasters may not be able to increase to that extent. So more and more, we\u2019ll have to look at co-production models to help finance these shows. Funding of shows can be an issue where you\u2019ve got big, big budgets, and you\u2019re trying to piece together the financing with three or four co-production partners and potentially taking a big risk by putting a big distribution advance in.\u201d<\/p>\n
McCourt then discussed funding models. \u201cThe straight distribution model is still around, where the broadcaster may be putting in 70 percent of the budget. You might get some tax credits, and then we can put a distribution gap in. Or there may be a co-production model where you have two or three broadcasters coming together and then still have a distribution gap. Or the rare occasion the show does come fully funded by a number of broadcasters, and they come to Fremantle just for the distribution capabilities. More and more, we\u2019re needing two or three broadcasters to come in early to fund the show, or we take a big risk if we think we can sell it internationally and recover the advance.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
Bob McCourt, the COO of Fremantle International, discussed the opportunities the company is finding amid a renaissance in European drama production at the TV Drama Festival.<\/p>\n","protected":false},"author":290,"featured_media":17138,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[70],"tags":[5078,4882],"class_list":["post-17136","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-top-stories","tag-bob-mccourt","tag-fremantle-international","pmpro-has-access"],"yoast_head":"\n
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