{"id":7052,"date":"2019-06-25T14:46:36","date_gmt":"2019-06-25T18:46:36","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvformats\/format-execs-weigh-state-industry-natpe-budapest\/"},"modified":"2019-07-02T09:23:23","modified_gmt":"2019-07-02T13:23:23","slug":"format-execs-weigh-in-on-state-of-the-industry-at-natpe-budapest","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/format-execs-weigh-in-on-state-of-the-industry-at-natpe-budapest\/","title":{"rendered":"Format Execs Weigh in on State of the Industry at NATPE Budapest"},"content":{"rendered":"

BBC Studios\u2019 Sumi Connock, Banijay Rights\u2019 Andrew Sime, Viacom International Studios\u2019 Laura Burrell and A+E Networks\u2019 Crispin Clover took part in a NATPE Budapest panel moderated by <\/em>World Screen\u2019s Kristin Brzoznowski to discuss the state of the format business and how best to navigate the challenges and opportunities in the current marketplace.<\/em><\/p>\n

The session kicked off with the panelists each sharing their view of the overall health of the format business at present. \u201cWe are still in a good place,\u201d said Clover, director of international formats and acquisitions at A+E Networks. \u201cWe have a strategy of having more formats, [but they are] in fewer territories. We consider success now five, six or seven territories. I think the days of the juggernaut formats, unless they\u2019re already established, are gone.\u201d<\/p>\n

\u201cThere was a time where you needed to get ten or 12 licenses in order to get into the top ten format sales of the year, but now it\u2019s more like five or six in order to get into the biggest-selling formats,\u201d added Sumi Connock, creative director of formats at BBC Studios. \u201cFormat adaptations are actually up year on year, but I think it\u2019s a mixture of heritage shows coming back and also new formats. We\u2019ve seen both of our [biggest heritage] titles go back into the top ten this year, so I don\u2019t know if that says something about risk-averse broadcasters.\u201d<\/p>\n

\u201cThe other thing is the arrival of all the on-demand platforms mushrooming across the world; that\u2019s really changed the landscape,\u201d added Laura Burrell, head of formats at Viacom International Studios. \u201cEveryone has had to kind of pull their socks up a bit. It\u2019s great! It means new opportunities, certainly for us at Viacom. A lot of our content suits on-demand platforms because it\u2019s tailored to niche audiences, like youth or kids or comedy. We\u2019re seeing it as a time of opportunity, and it\u2019s exciting.\u201d<\/p>\n

\u201cWe\u2019ve seen a real broadening of what people want,\u201d said Andrew Sime, VP of formats at Banijay Rights. \u201cWe\u2019re fortunate to have some very strong international brands. Whereas a couple of years ago there was a focus on what your top new formats were every market, what is particularly valuable about a market like this is that we\u2019ve been able to come and talk more leisurely with clients about their specific needs, and it\u2019s not that focused on the brand-new stuff. It\u2019s about what\u2019s right for the platform or channel. That might well be a format that\u2019s ten years old or that was originally made for digital. We\u2019re having to raise our game and broaden our offering to clients.\u201d<\/p>\n

In regard to what\u2019s working best in today\u2019s format landscape, Burrell said that the genres that Viacom is traditionally known for, reality and dating, are still performing well, highlighting the success of Ex on the Beach<\/em> in multiple territories around the world. \u201cWe\u2019re seeing an emergence of a new trend, certainly in the 16-to-34 age group, for formats that play around with diversity, question identity and what\u2019s real versus what\u2019s fake in a world inundated with fake news.\u201d She pointed to True Love or True Lies<\/em>, in which fake couples are weeded out from the real ones. \u201cThe level of social engagement [on that show] was huge, as everyone was trying to guess. I think we will see more formats in that space.\u201d<\/p>\n

BBC Studios’ Connock noted that factual entertainment is traveling well at the moment. \u201cPartly because it\u2019s more cost-effective than the big shiny-floor shows, but also they launch slightly more under the radar, so there\u2019s not as much expectation for it to be an overnight hit.\u201d She added that there\u2019s a particularly strong appetite currently for \u201cfactual entertainment with a purpose,\u201d as younger audiences seek out realness and authenticity. She highlighted the series One Hot Summer<\/em>, which puts together diverse groups of young people on a holiday adventure.<\/p>\n

\u201cBranding is particularly important,\u201d added Banijay’s Sime. \u201cBroadcasters want shows that are visually very striking and easily identifiable. With so many channels now, they want shows that quickly stand out when a viewer stumbles upon them. They want the branding to be extendable. So, there\u2019s a big focus now on live events and ancillary.\u201d He mentioned that broadcasters are also making use of a show\u2019s back catalog to very closely associate the brand with their channel in a given territory. \u201cWith something like Wife Swap<\/em>, they might want the local version, but they also maybe want the American versions or the classic versions, to really own the whole brand.\u201d<\/p>\n

A+E Networks’ Clover agreed with Connock that factual entertainment with a purpose is important. He pointed to Bride & Prejudice<\/em> and Seven Year Switch<\/em>, \u201cboth relationship-based, both entertaining, but both have some grit as well and resolving relationships at the end.\u201d Clover also highlighted the series Alone<\/em>, which is on its sixth season in the U.S. and has been adapted\u00a0in both Denmark and Norway. \u201cIt\u2019s an example of a format that is so simple in its production and what is involved in the show,\u201d as it follows ten contestants who are dropped in a remote area and film themselves as they try to survive to be the last one standing. \u201cAs a broadcaster, you have to be quite daring to commission something like that, because, on paper, not a lot is happening: there are no challenges, no setups, no set pieces and no filming\u2014you\u2019re relying on your contestants to do that. But the beauty is the simplicity of the show.\u201d<\/p>\n

Regarding the demand for large-scale formats, Banijay Rights has continued to see success with Survivor<\/em>, both in terms of finding new markets and seeing recommissions in territories where it\u2019s been on for many years. \u201cIt\u2019s something we\u2019re also able to scale down for smaller broadcasters,\u201d Sime added. \u201cWe have a hub set up in the Philippines. That\u2019s working really well, allowing people to share resources with up to three productions at a time.\u201d<\/p>\n

The company also recently launched a new large-scale game show, Catch<\/em>, on SAT.1 in Germany. Sime noted that the format is close to landing a deal with a broadcaster in Eastern Europe, \u201cand we\u2019re working closely with them to scale it down a bit and make it more easily adaptable. It\u2019s a big format, but where the creators have done us a favor is that if you look at the set, the components aren\u2019t particularly big or involved; it\u2019s quite easily replicable.\u201d<\/p>\n

\u201cThe key is the adaptability and, as the distributor, allowing the territories to adapt it and scale it up or down as necessary,\u201d BBC Studios\u2019 Connock chimed in. She noted how that strategy has worked well for Dancing with the Stars<\/em> in various territories. \u201cThere\u2019s nowhere near the same budget in say Ukraine or Poland as there is for the U.K. or U.S. shows. But we just did our Dancing with the Stars<\/em> creative exchange, and the ones that blew us away were Ukraine, Slovakia, the Czech Republic. [It was impressive] what they are doing with marketing, with a lower budget but using social media really well. They were standout territories in terms of innovation and doing something creatively on smaller budgets.\u201d<\/p>\n

\u201cHaving a format that\u2019s broad enough to be adapted is the key,\u201d added Viacom\u2019s Burrell. \u201cYou can have something that\u2019s really large scale, but if it\u2019s got a unique piece of DNA to it, you can make changes.\u201d She gave as an example Stranded With a Million Dollars<\/em>, which aired on MTV with a large-scale approach. When Viacom Latin America adapted the concept, they changed it from the original ten one-hour weekly episodes to 95 episodes stripped daily, and along the way added in new challenges to the show and an elimination stage, \u201cbut they always kept true to the heart of the format.\u201d<\/p>\n

Many of the panelists said they are actively mining their respective companies\u2019 back catalogs to rediscover hidden gems. Connock highlighted BBC Studios\u2019 The Week the Women Went<\/em> as one that\u2019s now particularly timely, given the demand for factual entertainment with a purpose and fueled by the #MeToo campaign.<\/p>\n

Sime cited the recommissioning of long-running hits, including Psychic Challenge<\/em> and Wife Swap<\/em>,\u00a0<\/em>in Central and Eastern Europe. \u201cWe\u2019ve got brands that have really built themselves into the culture and continue to perform. The [challenge] now is to try to take those long-running brands and almost reverse-engineer the success.\u201d<\/p>\n

The Viacom catalog is home to \u201cone of the oldest examples of heritage IP coming back,\u201d Burrell said, highlighting the return of The Real World<\/em>. Facebook Watch recently brought back the show, which originally aired on MTV, with three international versions: the U.S., Mexico and Thailand. She sees the\u00a0potential for other back-catalog shows to make their way to new platforms as well.<\/p>\n

And as these new digital platforms ramp up their commissioning, linear broadcasters have been looking to live entertainment and interactivity as a way to gather audiences around the TV set. \u201cThe thing about live is that it drives the conversation,\u201d said BBC Studios\u2019 Connock. It has the watercooler effect of people wanting to discuss together what happened on the show the night before, but also the ability for the audience to dictate the narrative with elements such as voting. \u201cThe interactivity has got to be relevant, and it needs to be used to engage the audiences,\u201d she added.<\/p>\n

\u201cLive and interactivity are very important to us,\u201d said A+E Networks\u2019 Clover, highlighting Live PD<\/em> on A&E in the U.S. \u201cIt\u2019s been a phenomenal success. But there has to be a reason for the show being live. With Live PD<\/em>, it\u2019s 40 cameras across the U.S. all feeding into one gallery from eight cities.\u201d Clover added that it\u2019s been challenging to get international versions made, for legal reasons: \u201cYou can get away with a lot more in the U.S. than you can in other territories! But we\u2019re working on it, and we have the technology to make it work.\u201d<\/p>\n

In scouting for new format concepts, Clover said that A+E Networks is \u201chappy to start from paper,\u201d and added, \u201cwhen you are pitching to us, forget our channels. You\u2019re not pitching to HISTORY or A&E or Lifetime specifically. You\u2019re pitching to me to get a format in the catalog that we can then nurture and develop and distribute.\u201d<\/p>\n

BBC Studios is also open to paper pitches, Connock said. \u201cWe have a paper-to-pitch fund, which allows us to work with new partners that we haven\u2019t worked with before\u2026. It\u2019s all about helping producers get their project over the line, so it\u2019s about coming to us at the very early stages of development so that we can help make something happen.\u201d BBC Studios has also been working with channels to pick up formats and recently took on shows from Ireland\u2019s RT\u00c9 and TV3.<\/p>\n

\u201cViacom has a long and proud tradition of commissioning risky concepts,\u201d said Burrell. \u201cOur doors are definitely open, particularly for any ideas that you think, I\u2019ve got this idea but I can\u2019t imagine it on a mainstream channel. Come to Viacom! We\u2019re also really open to co-developing ideas, co-producing ideas.\u201d<\/p>\n

Sime pointed out that some of Banijay Rights\u2019 strongest formats are from third parties. \u201cAs a distributor, it\u2019s kind of hard for us to take paper formats and successfully pitch them because it\u2019s transferring the risk to the buyer and we find that that\u2019s not particularly successful. We can work with paper formats centrally as a production group. We have a production presence in most major territories.\u201d<\/p>\n

Looking ahead, A+E Networks\u2019 Clover said he is keeping an eye on Israel for new concepts. Connock said BBC Studios is \u201cstill looking for the next big shiny-floor show, but it\u2019s been interesting to see what\u2019s been going on in the U.S. They\u2019ve been launching such big shows with huge talent attached, but that doesn\u2019t necessarily make it a guaranteed winner. We almost managed to get through [the session] without mentioning The Masked Singer<\/em>, but if you look at that show, it bucked the trend. They went for B-list celebrities; not big names. It\u2019s all about the creativity and the confidence to create those exciting new formats from every angle\u2014the channel, the producer, the marketing, the whole package\u2014that\u2019s going to get us the next big hit.\u201d<\/p>\n

Sime noted that more content is being consumed nowadays than ever before. \u201cI\u2019m optimistic about the future. Recently, we\u2019ve done clever deals with broadcasters. When we did season two of Survivor<\/em> in Hungary, RTL made sure that they also acquired the rights to their previous versions of the show from \u201903 and \u201904 and put them on a secondary channel. That\u2019s a really clever way of owning the brand.\u201d<\/p>\n

\u201cI\u2019d agree that the future is bright,\u201d said Viacom\u2019s Burrell. \u201cThere\u2019s lots of opportunity for local content. For us, the emergence of online platforms has been absolutely key. Some regions are more advanced than others in that respect in terms of what they can afford to spend on local programming, but you can see a pattern starting to emerge. We\u2019re ready to embrace those opportunities.\u201d<\/p>\n

\u201cThere\u2019s a fear about the SVODs, but competition is actually really good for creativity,\u201d added Connock. \u201cThere\u2019s room for everybody!\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

BBC Studios\u2019 Sumi Connock, Banijay Rights\u2019 Andrew Sime, Viacom International Studios\u2019 Laura Burrell and A+E Networks\u2019 Crispin Clover discuss the state of the format business at NATPE Budapest.<\/p>\n","protected":false},"author":350,"featured_media":7053,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[68,69],"tags":[413,1126,1033,1337,1776,1076,1038,868,1567],"class_list":["post-7052","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-profiles","category-top-stories","tag-ae-networks","tag-andrew-sime","tag-banijay-rights","tag-bbc-studios","tag-crispin-clover","tag-laura-burrell","tag-natpe-budapest","tag-sumi-connock","tag-viacom-international-studios","pmpro-has-access"],"yoast_head":"\nFormat Execs Weigh in on State of the Industry at NATPE Budapest - TVFORMATS<\/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\/tvformats\/format-execs-weigh-in-on-state-of-the-industry-at-natpe-budapest\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Format Execs Weigh in on State of the Industry at NATPE Budapest - 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