here<\/a>.<\/p>\nThe conversation began with a look at the ITV Studios structure and how Beale and Perrin collaborate to further scale the company\u2019s format business. \u201cThe creative network is across non-scripted development for the entire group\u2014U.K., U.S. and the international group,\u201d Beale said. \u201cWe\u2019re tracking everything that\u2019s coming through various stages of development with broadcasters or streamers or within the group itself. Over the last two or three years, we\u2019ve seen the growth of collaboration between labels, both in the development and production of ideas going forward.\u201d<\/p>\n
Perrin pointed to the deep well of talent across ITV Studios\u2019 production footprint, noting, \u201cMike and I work closely on the strategy about how and why and where we roll out formats first and where the best places are to do it. We\u2019re joined up not only in how formats are rolled up but the deal-making, where potentially to pitch them first\u2014that collaboration is key.\u201d<\/p>\n
That collaborative spirit includes bringing the labels together as often as possible, Beale said. \u201cIf one of the international labels can\u2019t sell an idea or it doesn\u2019t fit their territory this year, this month, whatever it might be, the others can put up their hands and pick it. We\u2019ve got two or three new formats coming that have come from one territory that are being produced in another first. That\u2019s happening more often, and I think we\u2019re well connected that we can make it happen easily and seamlessly.\u201d<\/p>\n
Perrin added, \u201cI don\u2019t think you can underestimate how interconnected the ITV companies are. It is a very strong collaborative, creative feeling between the MDs. That\u2019s part of the strength of being part of ITV. Not all studios have that. It\u2019s a connective tissue between production and creative networks. It\u2019s really important.\u201d<\/p>\n
On what she looks for when identifying properties that could easily travel from one territory to another, Perrin listed several qualities. \u201cWe\u2019re very lucky to be part of a network\u2014if something\u2019s being launched by ITV, we know people are going to be looking at it. That automatically gets it to the top of the pile. There are certain territories that you know people will look at. The Traitors<\/em> came from the Netherlands. That\u2019s a territory people look to for creativity. But also, it\u2019s just a little bit of zeitgeist.\u201d<\/p>\nOn ensuring successful adaptations, Beale discussed the crucial role of flying producers. \u201cThey are the brand guardians of our key titles\u2014our platinum shows: Love Island<\/em>, The Voice<\/em>, I\u2019m a Celebrity<\/em>, etc. They\u2019re there to make sure that those shows are followed. We held a Love Island<\/em> exchange last year. We held a Voice<\/em> exchange. We\u2019re bringing all the producers and broadcasters together to share their experience. What have they done to move the show on? We\u2019re constantly evaluating those shows and moving them on. That\u2019s done by what we call international executive producers. They have a brilliant balance of knowledge about the show, a brilliant working capacity in the number of shows they\u2019re able to support, and they get to know the producers and broadcasters in each territory well and become trusted quickly. It\u2019s not just about sitting there and saying, No, you can\u2019t have green lights, you\u2019ve got to have blue lights. It\u2019s about understanding why that question might be asked. And then working with the producer and the broadcasters to sort it out. They\u2019re also acting more and more now around sales. They\u2019re working very closely with our sales teams and our production labels to help provide solutions. ITV Studios Netherlands runs a Love Island<\/em> hub out of Gran Canaria. The international exec producers are talking to our third-party buyers and steering them toward that. Not just because it\u2019s more revenue for us. There\u2019s a knowledge base there of how to make that show. It speeds things up for them, makes it more reasonable and gives them an environment that\u2019s used to making that show.\u201d<\/p>\nThe conversation moved to format tweaks season to season, without messing with what made the show a hit to begin with. \u201cThe tinkering isn\u2019t too extreme,\u201d Perrin said. \u201cWhen you make massive, wild format changes, the viewers don\u2019t like it. They like it to feel familiar, but there\u2019s just enough newness to feel fresh and interesting. That could be coaches, little tweaks around the edges. People don\u2019t want big changes. One of the lovely feelings about The Voice<\/em> is [that] you know it\u2019s going to be a warm bath. It feels familiar and people love that. The same with Love Island<\/em>, too. We\u2019ve tweaked that a lot, but still at the heart, it\u2019s about love and people finding love.\u201d<\/p>\nBeale then weighed in on spin-offs, highlighting the numerous extensions to The Voice<\/em> and Love Island<\/em>, among others, as the conversation moved to managing formats as franchises. Beale referenced Zoo 55, ITV Studios\u2019 digital business that launched a Roblox game for Hell\u2019s Kitchen<\/em>. \u201cIt\u2019s a life beyond the first primary television screen. It broadens that audience. If they\u2019re a fan, they want to touch base with these shows wherever they can.\u201d<\/p>\nOn the potential to reboot older shows from the ITV Studios library, Perrin referenced the successful relaunch of Bullseye<\/em> but added, \u201cThere\u2019s still an appetite for new. Everybody\u2019s saying people are risk-averse. Yes, people do have an appetite for taking something new. We\u2019re in a really privileged position that we have got new formats coming through.\u201d<\/p>\nBeale added, \u201cIt\u2019s got to be an organic reboot. There\u2019s got to be an appetite for it\u2014maybe a broadcaster asks for something, or there\u2019s a resonance to that title today for some other reason. It\u2019s a shorter cut to an audience, marketing gets easier, so we\u2019re definitely on it. It\u2019s not our driving force; the driving force is probably new.\u201d<\/p>\n
On production models, Perrin said that more back-to-back productions are happening.<\/p>\n
\u201cI wouldn\u2019t say it makes it cheaper, but it makes things able to be commissioned because frankly, a lot of these shows we\u2019re talking about are incredibly expensive and we know broadcasters are challenged on their budgets. We are using remote production more and more. That\u2019s certainly also for sustainability reasons. We\u2019re using AI in production, and it\u2019s certainly cutting down workload and schedule, but it\u2019s not the magic bullet at the moment.\u201d<\/p>\n
AI tools are also being deployed on the development side, Beale said. \u201cHow do we make our pitch materials better? How do we envisage some of these worlds that we are creating? You can\u2019t shoot a pilot of a massive reality show, but could you create it in an AI environment? There are definitely tools to help us do things that we couldn\u2019t do before. I was watching a proof of concept which would have cost \u00a3100,000 to produce, but the AI can create the environment. That\u2019s where those tools can be used.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
ITV Studios\u2019 Lisa Perrin and Mike Beale joined the TV Formats Festival today to discuss group-wide creative collaboration, scouting for new ideas and managing format megahits.<\/p>\n","protected":false},"author":290,"featured_media":15090,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[69],"tags":[173,993,172,4199],"class_list":["post-15088","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-top-stories","tag-itv-studios","tag-lisa-perrin","tag-mike-beale","tag-tv-formats-festival","pmpro-has-access"],"yoast_head":"\n
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