{"id":4766,"date":"2013-07-18T00:00:00","date_gmt":"2013-07-18T00:00:00","guid":{"rendered":"http:\/\/worldscreen.com\/tveurope\/2013\/07\/18\/david-ellender-exiting-fremantlemedia\/"},"modified":"2013-07-18T00:00:00","modified_gmt":"2013-07-18T00:00:00","slug":"david-ellender-exiting-fremantlemedia","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tveurope\/2013\/07\/18\/david-ellender-exiting-fremantlemedia\/","title":{"rendered":"David Ellender Exiting FremantleMedia"},"content":{"rendered":"<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">LONDON: David Ellender announced today that he is stepping down from his role as  CEO of FremantleMedia International. He recently spoke exclusively to <em>World Screen<\/em>  about how he has expanded the company&rsquo;s portfolio and global reach. <br \/>\n<\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">Ellender, who has been with FremantleMedia for 12 years, will be leaving the company at the beginning of August &quot;to pursue new challenges.&quot; During his time at the company he served as managing director of FremantleMedia International Distribution and then global CEO of FremantleMedia Enterprises. Following a restructure at the company he was named CEO of FremantleMedia International.<\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">In  announcing his departure, Cecile Frot-Coutaz, CEO of FremantleMedia,  noted that Ellender &ldquo;played a significant role in shaping and growing  FremantleMedia into one of the world&#8217;s leading independent media  companies.&nbsp;We would like to thank him for his vision, leadership and the huge contribution he has made to the company. We wish him continued success in all his future endeavors. The&nbsp;announcement&nbsp;of a new head of FremantleMedia International will be made in due course.&rdquo;<\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\"><strong>WS:<\/strong> You have been with the company for quite some time. What has been your strategy in diversifying and growing the catalogue? <br \/>\n<strong>ELLENDER:<\/strong> You&rsquo;re so right to point  that out! I&rsquo;ve been with the company for 11-and-a-half years! It has  gone quickly and it&rsquo;s been so much fun. Part of that fun has been trying  to plot a course for the distribution group and our content gathering. <\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">When I joined the company 11-and-a-half years ago,  the catalogue was U.S.-drama heavy. This came at a time in 2001 when  there was probably an oversupply of programming for the free-to-air  channels, due to the growth of commercial channels and of pay TV, which  we had seen in the &rsquo;90s. So at that point, all of those channels had  maxed out on output deals, volume deals and content creation. All of the  pay channels had bought a lot of content and put it on the shelves and  there was just an oversupply in the market. What was just very apparent  when I joined the company was that they were in U.S. drama in a very big  way and really didn&rsquo;t do much else in the distribution space. Of  course, when you are in oversupply, it&rsquo;s difficult to get output deals  or volume deals. It was difficult to sell product because there was an  abundance of it and obviously the channels and the platforms at that  time could pick and choose. The company then had quite a big deficit: it  couldn&rsquo;t sell enough to make back the advances that it had put down  acquiring content.<\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">Secondly, at the time, FremantleMedia had 11 sales people, ten based in London and one in New York.<\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">So for me it was really about two things: first, we  needed a broader portfolio in terms of genres. We needed to be in  drama, but not in the volumes we were in, we also had to have a point of  difference, so not just U.S. drama, it needed to be U.K. and  Australian&mdash;English-language drama from three different regions of the  world. And that complemented what Fremantle was doing in the soap opera  and telenovela space&mdash;it didn&rsquo;t conflict, it was complementary. Second,  on the distribution side, we took a look and said, we&rsquo;re a global  company, we&rsquo;ve got production offices around the world, what we need to  do is restructure ourselves and get people on the ground in the regions.  So in addition to pumping content out to them and getting market  intelligence back, with local people you get a better sense of what&rsquo;s  working and how it&rsquo;s working and can feed that back to your producers.<\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">We really looked at what the market opportunities  were. We looked at growth in thematic and niche channels and that&rsquo;s  where we could see the opportunity for factual programming, lifestyle,  food, fashion, travel and documentary series. We could never be the BBC  doing <em>Planet Earth<\/em>, big landmark documentaries, but we could  still provide good quality high-end factual content that would work for  commercial channels, or some of new niche cable players. This was  content that could fit their needs. <\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">And our own company had huge success in the reality space, with <em>Idols<\/em> at that time, and then with <em>The X Factor<\/em> and <em>Got Talent<\/em>.  We were looking for other similar entertainment shows that we could  take into the market. So by having a wider portfolio of content,  particularly with the catalogue of 20,000 hours we already had, we knew  we could be a relevant supplier, particularly to cable and satellite  channels that had a voracious appetite for good quality content in  various niches. <\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\"><strong>WS: <\/strong>You also started establishing relationships with talent.<br \/>\n<strong>ELLENDER:<\/strong> For me it was very much  about building talent relationships, like the ones with Martha Stewart,  with Jamie Oliver, with also a number of Australian&mdash;primarily in the  food area&mdash;talent as well. We would take their franchise, and try to grow  it as a television brand, which would aide their ambitions to grow  their own brand and ancillary rights on a global basis. <\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">That was really a focus for us. And we learned a  lesson from 2000 when we had all our distribution eggs in the U.S. drama  basket and we got burned. Even though the company was particularly good  for quite a number of years in drama, coming off the success of <em>Baywatch<\/em>  and the ACI catalogue of TV movies and mini-series, you can&rsquo;t put all  your eggs in one basket. So we tried to have quite a broad portfolio of  genres and not just be a distributor, but really look for quality  content in each of those genres. Quality above volume was always and  remains a consideration. On the drama front, we got back into drama in  about 2006, 2007 with first-look deals with producers and\/or writers in  the U.K., Australia and the U.S. and with some acquisitions, where they  were appropriate, we&rsquo;ve taken a lot of content. In 2009, at MIPTV and  MIPCOM, we launched more than 25 different drama series from the U.S.,  Canada, the U.K. and Australia.<\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\"><strong>WS:<\/strong> What are some of the partnerships you have made with drama showrunners and writers?<br \/>\n<strong>ELLENDER:<\/strong> The TBS drama series <em>Wedding Band<\/em>, which played last December, came out of Tollin Productions and Michael Tollin of <em>One Tree Hill<\/em> and <em>Smallville<\/em> fame. We have a partnership with Barry Josephson, known for <em>Bones<\/em>, and in the U.K. with Paul Abbott, who is known for <em>Shameless<\/em> &amp; more recently <em>Hit and Miss<\/em>,  which was a big show here for Sky Atlantic, it was their first original  drama series. That was one of the first acquisitions that Netflix and  DIRECTV made in the U.S. and that was based on a script and they made a  very big commitment very early on. <\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">We&rsquo;ve got a relationship with Pukeko Pictures in  New Zealand, a television company co-founded by Richard Taylor, who is  the head of Weta Workshop, which is Peter Jackson&rsquo;s creative workshop.  Peter uses it for all his big theatrical pictures: <em>Lord of the Rings<\/em>, <em>The Hobbit<\/em>, <em>Master &amp; Commander<\/em>.  All those big CGI franchises were made at Weta Workshop in New Zealand.  We made a deal about 18 months ago where we have a development person  based in Los Angeles, who is developing U.S. cable dramas that will be  made in New Zealand using the Weta studio.<\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\"><strong>WS:<\/strong> Do you look for a certain balance between scripted and nonscripted programming?<br \/>\n<strong>ELLENDER:<\/strong> There is sort of an  imbalance. It&rsquo;s partly because when we&rsquo;re looking at nonscripted we&rsquo;re  in five or six different genres. And invariably we&rsquo;re feeding cable and  satellite thematic channels that are volume driven. So we are looking  for volume. The turnaround on those properties is relatively quick.  Whereas drama, depending on whether you are in a limited run series or  in a returning drama, the development process is obviously much longer  and the way you put funding together is becoming a little bit more  complex. So you might put equal effort in, but it may take longer to get  these properties out because you&rsquo;ve got to write scripts, you&rsquo;ve got  perhaps a second write on the script, or maybe even a third, that just  takes time. You&rsquo;ve then got to find your broadcasters, and broadcasters  these days very rarely will wholly commission a drama property,  particularly one that is likely to travel. So you have then got to find  either co-production partners or a co-financing partner. That whole  process is lengthier in the scripted space than it is in nonscripted.<\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">Also the other thing for us, once again, it&rsquo;s about  quality but it&rsquo;s about finding those projects that [have not been done  before]. And obviously we&rsquo;re really looking for returning drama.<\/span><\/span><\/p>\n<p><span style=\"font-size: small\"><span style=\"font-family: Verdana\">If there is an unbalance between scripted and  nonscripted, it&rsquo;s really based on those reasons rather than we&rsquo;re driven  to one rather than the other. Those are two very different processes,  two very different business models.<\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>LONDON: David Ellender announced today that he is stepping down from his role as CEO of FremantleMedia International. He recently spoke exclusively to World Screen about how he has expanded the company&rsquo;s portfolio and global reach. Ellender, who has been with FremantleMedia for 12 years, will be leaving the company at the beginning of August &hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[69],"tags":[],"class_list":["post-4766","post","type-post","status-publish","format-standard","","category-top-stories"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>David Ellender Exiting FremantleMedia<\/title>\n<meta name=\"description\" content=\"David Ellender Exiting FremantleMedia. LONDON, July 18: David Ellender announced today that he is stepping down from his role as CEO of FremantleMedia International. He recently spoke exclusively to World Screen about how he has expanded the company\u00e2\u0080\u0099s portfolio and global reach. . 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