here<\/a><\/strong>, the panelists discussed France\u2019s heritage of animation production and the challenges and opportunities facing the sector today.<\/p>\nHARI\u2019s Prigent referenced the country\u2019s robust animation training framework, tax credits, subsidies and content quotas as key benefits. Dandelooo\u2019s P\u00e9try-Sirvin mentioned the abundance of linear channels in France, while Superprod\u2019s Calvet highlighted the stability of the local market. \u201cWe are very lucky to have a system of very strong commissioners,\u201d Mediawan\u2019s Borde added.<\/p>\n
International partners \u201ctrust the French producers to be capable of delivering new, innovative, fresh ideas,\u201d Borde added. \u201cThey also know that we are capable of resolving many very complex financing situations.\u201d<\/p>\n
Calvet added: \u201cFrench animation can travel; more and more, you can see our content on the channels or platforms in every country in the world, including the U.S.\u201d<\/p>\n
P\u00e9try-Sirvin highlighted how French animation has matured. \u201cWe\u2019ve strongly improved, notably on the writing. And on the design, we\u2019ve proven our diversity in styles. We have great designers. The talent has increased so much.\u201d<\/p>\n
Borde added that French producers are also now \u201cnot only seen as people who can finance, who can find the right talent but also studios that can manage to build an IP. Many high-ranking shows in the U.S. originated in France.\u201d<\/p>\n
Calvet also pointed to France\u2019s acclaimed animated feature film output.<\/p>\n
As for what commissioners are looking for, Borde pointed to \u201cbroad demand\u201d from broadcasters, ranging from young preschool to adult animation. \u201cTraditional broadcasters are more open than ever. They can go to more serialized series to different demos. In the last months, we have seen the streamers moving to more commercial IPs. So it\u2019s an interesting time for us.\u201d<\/p>\n
In subject matter, commissioners are looking for \u201clovable characters who spark empathy, who are experiencing everyday situations that kids can relate to, but also emotional intelligence,\u201d Prigent noted. \u201cAnd a lot of comedy. With all that, if you can bring the family to watch the shows together, then you tick so many boxes.\u201d<\/p>\n
P\u00e9try-Sirvin also pointed to the enduring demand for comedy but added, \u201cThey\u2019re asking for more meaningful programs. Parents and broadcasters don\u2019t want kids to just be eyeballs anymore and be entertained, but they want to have takeaways. Not in an educational or preachy way, but intertwined into the story to have things that are helping kids feel better about themselves.\u201d<\/p>\n
As for styles, Calvet believes that \u201cCG is taking the lead.\u201d<\/p>\n
Carugati then asked the panelists to talk about the impact of the streamers on the French animation market.<\/p>\n
\u201cOne of the platforms is saying that they are looking for sticky programs,\u201d P\u00e9try-Sirvin noted. \u201cThey\u2019re talking about the thumbnail choice. The kid has to click on something they recognize as a brand or something extremely striking. That scares me; I have to say. It\u2019s good in a way because it\u2019s the essence of what the show is about. But at the same time, your series is judged on a very small image. You cannot explain what it\u2019s about and how good it\u2019s going to be. It\u2019s a way of judging that is extremely harsh. You have to be extremely impactful on two centimeters.\u201d<\/p>\n
\u201cDiscoverability is critical for the streamers,\u201d Borde added. \u201cNetflix has been such a big believer in the algorithm mechanism pushing content and a function of your taste. The streamers have seen that is not enough and that if you want to build an IP, a franchise, you need to help discoverability. You need to curate your content and market it. We are starting to see the streamers [using] the traditional ways of establishing an IP.\u201d<\/p>\n
The streamers have created new opportunities for local studios, Calvet added. \u201cBut that is mainly dedicated to service work. It hasn\u2019t changed the number of productions from French producers on their own.\u201d<\/p>\n
Addressing local content quotas on the streamers, P\u00e9try-Sirvin said there had been disappointment that animation wasn\u2019t carved out as a separate category. \u201cThey had no obligation to invest in kids\u2019 programming and animation. So it didn\u2019t change anything for us.\u201d<\/p>\n
On managing production costs, Calvet pointed to the \u201cstrong collective bargaining agreement in France that helps us to stabilize the prices. Of course, if you don\u2019t have enough talent, there\u2019s some pressure, and they have a better salary at the end of the day. But it varies. Sometimes, there\u2019s more work; sometimes, there is less work. It\u2019s not a big variation, I would say.\u201d<\/p>\n
Dandelooo is relying on the traditional co-pro model to manage financing productions, partnering with other entities within Europe and tapping into the regional subsidy program. It\u2019s the same at Mediawan, Borde said. \u201cIt\u2019s using the European toolbox that is here. We have real competition between the different tax credit systems in Europe to attract business. It\u2019s really something that is helping us cope with the different financing challenges we face.\u201d<\/p>\n
The conversation then moved to windowing and evolving views on exclusivity.<\/p>\n
\u201cThere is a better understanding that content needs to be everywhere,\u201d Borde noted. \u201cTo build an IP in such a fragmented environment, you need to be where kids are. Our partners understand that. But still, in their DNA, they love exclusivity. They need exclusivity for their own business. We understand that. But it is moving to sharing more.\u201d<\/p>\n
\u201cIn theory, they all say they want to share,\u201d noted P\u00e9try-Sirvin. \u201cBut when you boil down to two trying to make a deal, it doesn\u2019t work anymore. I\u2019d love it to be easier, but exclusivity still seems to be king in many situations.\u201d<\/p>\n
Prigent added: \u201cA lot of the platforms and broadcasters have been asking for known franchises and successful second runs. They\u2019re aware they can\u2019t necessarily get full exclusivity. Budgets have been a bit challenged recently. So we see more flexibility, but it\u2019s true that as much as possible, they\u2019d love to have that exclusivity, or at least they make compromises in one season or shortening the length of the holdbacks.\u201d<\/p>\n
Calvet noted the need for exclusivity is not coming from the streamers\u2014linear channels are still hesitant to take on a show that is already available on-demand. \u201cWe need to convince both sides to live together.\u201d<\/p>\n
For P\u00e9try-Sirvin, though, it\u2019s the streamers that are least willing to share, especially when it comes to shows already airing on a linear broadcaster in a market. \u201cThey will not touch it if France has already taken it. It\u2019s starting to slowly change a bit. They realize that if they don\u2019t make an effort there, they will walk away from great projects.\u201d<\/p>\n
Broadcasters launching free on-demand services complicates windowing further, Prigent noted. \u201cThey require the whole series to be there, unlimited, at any given time. That is making it a bit challenging for us to get the pay services to come in and have these multiple windows. In that sense, FAST channels work much better, I think, because it\u2019s linear still.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
Superprod\u2019s Cl\u00e9ment Calvet, Mediawan Kids & Family\u2019s Julien Borde, Dandelooo\u2019s Emmanu\u00e8le P\u00e9try-Sirvin and HARI\u2019s Sophie \u201cKido\u201d Prigent weighed in on the trends reshaping the thriving French animation sector at the TV Kids Summer Festival this morning.<\/p>\n","protected":false},"author":290,"featured_media":25244,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[21],"tags":[3764,4636,5297,7209,5690,3332,6869,880],"class_list":["post-25243","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-top-stories","tag-clement-calvet","tag-dandelooo","tag-emmanuele-petry-sirvin","tag-hari","tag-julien-borde","tag-mediawan","tag-sophie-kido-prigent","tag-superprod","pmpro-has-access"],"yoast_head":"\n
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