Endemol Shine Poland’s Ryszard Sibilski

Part of the Banijay bouquet, Endemol Shine Poland is one of the most prominent TV production companies in the local market. Operating since 1997, its roster of local productions includes iterations of LEGO Masters, MasterChef Junior and The Money Drop. Ryszard Sibilski, managing director of Endemol Shine Poland, tells TV Formats about some of the nuances of adapting entertainment formats in the Polish market.

TV FORMATS: Talk to me about the current format landscape in Poland.
SIBILSKI: Poland has always been a format-driven territory, with entertainment, reality and game shows remaining hot commodities. However, these are predominantly international adaptations because as a market, we don’t have a long history of developing formats. International IP with tried and tested success guarantee viewers, especially when broadcasters and audiences witness the buzz generated in other territories. Being within the Banijay family means we have access to its rich cross-genre catalog of IP whose identifiable concepts we can tweak for Polish audiences such as LEGO Masters and The Money Drop.

TV FORMATS: What types of formats are working best in that market?
SIBILSKI: Big prime-time hits with proven international track records continue to attract the largest audiences. MasterChef, Your Face Sounds Familiar, Farmer Wants a Wife, The Voice, Top Model, Got Talent, Who Wants to Be a Millionaire?, Love Island, The Money Drop and other titles have dominated the schedules of all the major broadcasters for years. However, there are occasions where we see new IP hit the schedules that have international potential. Of course, at Endemol Shine Poland, we are always looking to build on these international titles, showcasing our expertise and demonstrating production efficiency. This has led to multiple countries, including the U.K. and Australia, traveling to Poland to produce formats such as The Wall and All Together Now.

TV FORMATS: How is entertainment commissioning there at present?
SIBILSKI: In Poland, the entertainment commissioning process for both free-to-air and commercial broadcasters is dynamic and competitive. All major free-to-air broadcasters look for outstanding prime-time entertainment series and events, with each having at least one such flagship show. This is a way they can clearly distinguish themselves from the competition and meet the demand for programs all ages can enjoy. Our recent season of Your Face Sounds Familiar (season 18) on Polsat averaged 1.5 million viewers and highlights the desire for upbeat entertainment is still very prevalent.

Scripted reality is a great fit for access prime time as it is the perfect co-viewing, it provides opportunities for reruns and is more affordable to produce. Long-running soaps are the cornerstone of Polish programming with established brands standing strong amidst competition. These titles give broadcasters daily engagement with viewers, and this, in turn, leads audiences to the prime-time slots, which drive revenues and feature the most well-known talent.

TV FORMATS: What are some of the keys to adapting a major brand, like Big Brother, LEGO Masters and MasterChef, for the Polish market?
SIBILSKI: It’s all down to casting. I can’t overemphasize how important it is to select the right contestants for a show. Polish viewers want characters they can connect with and who feel genuine and relatable. This must be in the DNA of every adaptation.

When adapting global brands, you are starting with IP that has a unique concept, innovative and is visually captivating. However, you need to make it compelling for your local audience. For example, MasterChef has been adapted in over 60 markets to date, and through Banijay’s creative community, we are able to share knowledge, ideas and best practices, which is invaluable. Of course, we must add our own local feel and authenticity, and the participants are fundamental to this. The format package elements like set and light design, music, graphic packages, etc., are important, but without captivating, local casting, a show is unlikely to generate and maintain audiences season after season.

TV FORMATS: How has the rise of streaming in the Polish market affected the format business there?
SIBILSKI: The rise of streamers like Netflix, Prime Video, Viaplay and SkyShowtime has undoubtedly had an impact on the Polish market, bringing both opportunities and challenges. Overall, we’ve found different platforms are looking for distinct programs and original ideas to set themselves apart, and this gives our talent creative freedom. For us as a platform-agnostic player, there are a lot of opportunities as demand for quality content continues, both non-scripted and scripted. Most of our success with streamers has come from the scripted side of the business with hits like the romantic comedy Squared Love.

In Poland, streamers seem to be almost exclusively focused on original scripted shows, and it is great to see some Polish films and series captivating audiences around the world. It is especially exciting to showcase Poland’s unbounded creativity with a range of titles—from our own festive film David and the Elves to High Water, created and produced by Anna Kępińska for Netflix—being well-received internationally.

Linear channels continue to have a significant presence in Poland and remain vital for our formats business. These broadcasters continue to seek formats that have consistently attracted audiences and tap into the very emotions of our country.

While we are seeing some streamers beginning to experiment with entertainment, it is nothing compared to the commissioning of these formats by the major linear channels. As a company, it’s brilliant that Endemol Shine Poland can partner with any platform or broadcaster to create content we know our local audience will love.