{"id":6211,"date":"2015-03-09T00:00:00","date_gmt":"2015-03-09T00:00:00","guid":{"rendered":"http:\/\/worldscreen.com\/tvusa\/2015\/03\/09\/coming-to-america\/"},"modified":"2016-01-18T23:39:17","modified_gmt":"2016-01-19T04:39:17","slug":"coming-to-america","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvusa\/coming-to-america\/","title":{"rendered":"Coming to America"},"content":{"rendered":"

\"\"This article originally appeared in the NATPE 2015 issue of <\/em>World Screen.<\/em><\/p>\n

A number of Europe\u2019s biggest content companies are aggressively expanding their businesses in the U.S.<\/em><\/p>\n

The urge to \u201cGo West\u201d remains a powerful one, judging by the steady flow of European media companies crossing the Atlantic to set up or acquire U.S. production arms or to embark upon co-production ventures.<\/p>\n

The reason can be summed up in a word: scale. No territory, in short, comes close to delivering the audiences, channels, platforms, commissioning opportunities, talent, budgets and license fees, not to mention the worldwide profile that comes with a \u201cMade in America\u201d hit. And no European company with expansionist ambitions can hope to become a global contender without breaking into, or at least severely denting, the U.S. market.<\/p>\n

One such European player is Germany\u2019s Red Arrow Entertainment Group, whose stable of U.S.-based production companies includes Kinetic Content, Left\/Right, Half Yard Productions, Fabrik Entertainment and the Stateside branch of the U.K.\u2019s NERD TV. Red Arrow also holds a 20-percent stake in the U.S. multichannel network Collective Digital Studio (CDS) and has forged a strategic partnership with format pioneer Mark Burnett\u2019s One Three Media.<\/p>\n

\u201cI continue to be amazed by the scale of the U.S. market,\u201d says Red Arrow CEO Jan Frouman. Everything is bigger in America, he adds: \u201cthe demand, the number of players, the number of slots and outlets\u2014even the amount of food on set. We could have catered the entire 100 Code<\/em> production with one day of leftovers from the Bosch<\/em> set\u2026.\u201d<\/p>\n

Bosch<\/em>, based on Michael Connelly\u2019s best-selling crime book franchise, is produced by Fabrik Entertainment (AMC\u2019s The Killing<\/em>, FOX\u2019s The Good Guys<\/em>), Red Arrow\u2019s first strategic investment in the U.S. scripted sector. Starring Titus Welliver (The Good Wife<\/em>, Lost<\/em>) as the titular hero\u2014a flawed but fascinating L.A. homicide detective\u2014Bosch<\/em> is also a good example of Red Arrow\u2019s focus on producing shows with global resonance. And that\u2019s a mission more easily accomplished with a shiny U.S.-produced drama than with a purely European project. Amazon Studios\u2019 first-ever hour-long drama pilot, the first series of which is now in production for an early-2015 release on Amazon Prime Instant Video, has already been sold by Red Arrow International into Canada (Bell Media), the Nordic territories (HBO for pay TV, MTG for free TV) and Italy (Eagle Pictures). On the non-scripted front, Kinetic\u2019s The Taste<\/em> and Married at First Sight<\/em> are also doing brisk business around the world.<\/p>\n

BUILDING BLOCKS <\/strong>
\n\u201cYou can\u2019t build a large production group without a significant U.S. presence,\u201d Frouman observes. And that, he adds, takes time, commitment, capital and a bedrock of strong relationships.<\/p>\n

This echoes the experience of the U.K.\u2019s ITV Studios (ITVS), whose U.S. presence has grown dramatically on the heels of a shopping spree that started in 2012 with the acquisition of Gurney Productions (Duck Dynasty<\/em>). Its portfolio has since expanded to include High Noon Entertainment (Cake Boss<\/em>), Thinkfactory Media (Hatfields & McCoys<\/em>), DiGa Vision (Teen Wolf<\/em>), Leftfield Entertainment (Pawn Stars<\/em>, Real Housewives of New Jersey<\/em>) and a scripted studio partnership with Prison Break<\/em> producer Marty Adelstein\u2019s Tomorrow Studios, alongside its flagship U.S. production arm, ITV Studios America (Hell\u2019s Kitchen<\/em>, The Chase<\/em>, The<\/em> Good Witch<\/em>).<\/p>\n

\u201cThe business in the U.S. is built on relationships and these take time to form,\u201d says ITVS\u2019s managing director, Kevin Lygo. From a European perspective, he adds, \u201cdeal-making is very complex, as is understanding the cultural differences of the business environment and local audience tastes.\u201d For example, U.S. networks and studios are often uninterested in the original talent involved in a production. And, in the case of scripted projects, the level of investment in development and talent can be a shock. \u201cIf you are paying the deficit, you have to have the stomach not just for season one of a series, but for all the future seasons that a network may be ordering,\u201d Lygo notes.<\/p>\n

ITVS, which entered the U.S. non-scripted business in 2003, now claims to be the largest independent producer of unscripted in the U.S. It is also \u201cforging a strong path in scripted,\u201d Lygo says, citing three straight-to-series orders booked in the last year: Aquarius<\/em> (NBC), Good Witch<\/em> (Hallmark Channel) and Texas Rising<\/em> (HISTORY), the last co-produced by ITVS America and A+E Studios, and produced by Thinkfactory.<\/p>\n

Comparing the production culture in ITVS\u2019s home market to that of the U.S., Lygo points to the latter\u2019s rights regime, which is heavily weighted in the networks\u2019 favor. In 2003, new terms of trade between producers and broadcasters were introduced in the U.K. allowing indies to own and exploit the rights to the programming they create. This stands in stark contrast to the U.S., where producers do not automatically own their own content. \u201cAnd the rights situation is getting tougher in the U.S., with all networks becoming increasingly aggressive in rights retention,\u201d Lygo reports.<\/p>\n

PERFECT PITCH<\/strong>
\nThe pitching process is also \u201cmuch more formal and buttoned-down\u201d Stateside than it is in the U.K. \u201cYou need to present a wide range of high-quality materials,\u201d Lygo says. \u201cNetworks are also more risk-averse, so there are more steps to go through, which takes more time, which in turn can put projects at risk through change of teams, mandates, etc.\u201d<\/p>\n

Another key difference is that U.S. networks are accustomed to buying a showrunner\u2019s fully fleshed-out vision, whereas European broadcasters will buy directly from a producer and collectively build a show from concept, points out Craig Cegielski, executive VP of scripted programming and development at FremantleMedia North America (FMNA), the U.S. arm of the global mega-indie that has operations in 28 countries, generates some 8,500 hours of original programming a year and distributes more than 20,000 hours of content in 200-plus territories.<\/p>\n

\u201cThere are also pitch seasons in the U.S. that trend throughout the year in broadcast, while basic cable is open year-round, similar to the European market,\u201d Cegielski adds.<\/p>\n

SCRIPTING SUCCESS <\/strong>\u00a0<\/strong>
\nCegielski joined FMNA, whose U.S. production family includes nonfiction specialist Original Productions (Ice Road Truckers<\/em>, Deadliest Catch<\/em>, Storage Wars<\/em>) and reality hit factory 495 Productions (Party Down South<\/em>, Jersey Shore<\/em>), in 2013 to launch the company\u2019s push into scripted. Since then, he has guided a dozen or more projects into development, including FMNA\u2019s first scripted series, supernatural drama The Returned<\/em>, which is set to air on A&E in 2015. Based on the International Emmy Award-winning French format Les Revenants<\/em>, the U.S. incarnation is a co-production between FMNA and A+E Studios, in association with Haut et Court TV, which produced the initial series for CANAL+. When reversioning such a strong original format for the U.S. market, the only modifications needed are cultural, Cegielski says. \u201cEnsuring we deliver the same tone and energy as the original while allowing the U.S. audience to find access points to characters that are culturally identifiable is very important.\u201d He adds that showrunner Carlton Cuse has done \u201can amazing job\u201d of protecting the elements of Les Revenants<\/em> that made it CANAL+\u2019s highest-rated drama ever while massaging it into a shape acceptable to U.S. audiences.<\/p>\n

FMNA\u2019s relationship with its co-pro network partners is also a pivotal piece of the localization jigsaw puzzle. According to Cegielski, the decision on when and with whom to co-produce is driven by what makes the best creative sense. \u201cThe most important aspect of any co-production relationship is that we have a shared creative vision that works in service of the series,\u201d he says. \u201cWhen partnerships are built in service of the show and not just for economic reasons, the editorial is organically shared and the show is delivered as intended.\u201d<\/p>\n

This view is endorsed by Rola Bauer, president and partner at Munich-based Tandem, which is currently co-producing two high-profile dramas with U.S. partners: Sex, Lies and Handwriting<\/em> with Lionsgate, in development with ABC (U.S.), Sat.1 (Germany), TF1 (France) and Bell Media (Canada); and the second season of Crossing Lines<\/em> with Bernero Productions.<\/p>\n

CREATIVE AFFAIRS<\/strong>
\n\u201cThe creative aspect must always come first,\u201d Bauer insists. When this is sacrificed on the altar of business, and finance is allowed to dictate the narrative, the creative integrity of a project is invariably compromised. From there, she warns, it\u2019s a short step to the indigestible Euro-puddings that gave co-production such a bad name back in the \u201980s.<\/p>\n

And Bauer should know\u2014the Tandem chief is an acknowledged co-pro pioneer, with a track record of North American\/European creative alliances that dates back to the 1986 U.S.\/Canadian\/French TV\u00e2\u0080\u0088movie Sword of Gideon<\/em>. The content market of 30 years ago was a very different beast compared to today\u2019s risk-averse, cash-strapped, digitally disrupted business, where the sharing of the financial burden has become the norm. \u201cSo now everyone is talking about international co-production and wanting to get into the game,\u201d Bauer says. \u201cThis was not the case when I began doing co-productions.\u201d<\/p>\n

Another significant difference between those early days and the present marketplace is the relentless volume of original content now needed to feed the U.S. pipeline. \u201cWith the summer rerun season dying out, U.S. nets need fresh programming, where they are not carrying the full load of financing,\u201d Bauer observes. This has not only sparked a production boom, she adds, but the \u201cmost attractive option to close these gaps is international co-production.\u201d<\/p>\n

As to the ingredients needed to concoct a drama that will appeal to both U.S. and European audiences, Bauer believes it all begins, as it always has, with a good story, well told. But achieving such excellence takes both expertise and money\u2014not to mention partners with similar profiles, narrative voices and creative vision. Tandem works with top-level writers and showrunners who have proved themselves capable of generating \u201ceditorial lines that transcend borders,\u201d Bauer reports. \u201cOur budgets are also in keeping with the successful U.S. one-hour series that have ruled international prime-time slots for years,\u201d she adds.<\/p>\n

That said, the Tandem exec believes the editorial gap is closing between U.S. and European content. The U.S. success of Lilyhammer<\/em> on Netflix and Downton Abbey<\/em> on PBS has helped to make American audiences more open to shows with European themes. \u201cMore and more European elements are finding their way into U.S. productions, as well as more U.S. productions being set in Europe,\u201d Bauer adds, citing NBC\u2019s comedy series Welcome to Sweden<\/em>, 90 percent of which was filmed in Sweden, and Amazon\u2019s The Cosmopolitans<\/em>, which was shot in Paris. Some of the credit for this must go to SVOD services such as Netflix and Amazon, which have dared to \u201cpush the narrative envelope\u201d in the U.S. by airing edgier, more unusual stories, along with foreign content.<\/p>\n

Also motivated by creative rather than commercial considerations when it comes to co-production is L.A.-based Gaumont International Television (GIT), which bills itself as \u201cthe newest division of the oldest entertainment company in the world\u201d (GIT\u2019s parent company, Paris-based Gaumont, was founded in 1895). \u201cOur philosophy [is] that the editorial control should really be in the hands of the artist\/creator,\u201d says Katie O\u2019Connell Marsh, CEO of GIT, which currently has four series in production: Hannibal<\/em> with NBC and Sony\u2019s AXN; and Hemlock Grove<\/em>, Narcos<\/em> and F is for Family<\/em> with Netflix.<\/p>\n

COLLABORATIVE SPIRIT <\/strong>
\nWorking with NBC and AXN on the third season of Bryan Fuller\u2019s critically acclaimed Hannibal<\/em> has been a \u201cvery collaborative effort,\u201d O\u2019Connell Marsh reports. \u201cBryan Fuller\u2019s vision and execution on this series has been masterful,\u201d she says, adding, \u201cWe work closely with our partners to execute the best series for the needs of networks. And we work hand in hand on the marketing side to promote a clear, exciting and inciting message to the viewer globally.\u201d<\/p>\n

Gaumont\u2019s 2011 decision to set up shop in the U.S. was instigated by Paris-based Vice CEO Christophe Riandee, who saw the establishment of an international division to produce English-language drama and comedy as the French major\u2019s next logical step in building \u201ca company that is nimble, global and creative in [an] ever-changing television landscape.\u201d O\u2019Connell Marsh, a former head of drama at NBC, explains, \u201cHe had the idea that it would probably be best to locate that in Los Angeles\u2014and probably be best to hire experienced U.S. executives to put it together.\u201d<\/p>\n

O\u2019Connell Marsh says GIT takes \u201ca measured approach\u201d to its production slate. \u201cWe have not focused on a volume business, but rather one of quality and returning series,\u201d she says. Given that GIT has yet to have a series canceled, it is clearly a formula that works.<\/p>\n

Another notable difference between the European and American models is the central role of the agent in the U.S. entertainment ecosystem. The likes of Creative Artists Agency, International Creative Management, William Morris Endeavor Entertainment and United Talent Agency are \u201ca critical lifeline to the creative process,\u201d O\u2019Connell Marsh says. Indeed, Hollywood\u2019s \u201cBig Four\u201d agencies are said to represent upwards of 70 percent of the entertainment industry\u2019s actors, directors, musicians and writers and lurk at the heart of every significant project.<\/p>\n

CLOSE TIES<\/strong>
\nThese days, the top agents do considerably more than represent industry talent\u2014although that remains a creative art in itself. Crucially, they also \u201cpackage\u201d projects (attach a director, exec producers, stars and writers from their own stable prior to approaching a network) and \u201cprovide strategic guidance in understanding the marketplace,\u201d O\u2019Connell Marsh says.<\/p>\n

\u201cOur agency relationships have really helped grow our business,\u201d agrees Red Arrow\u2019s Frouman. \u201cThey can play a big role, especially when it comes to packaging a project and opening doors for newer or boutique market entrants.\u201d<\/p>\n

In the end, relationships\u2014with agents, networks, co-production partners, the new content pipelines and platforms\u2014appear to be the make-or-break factor for Europeans with U.S. ambitions. \u201cThe challenge is getting started,\u201d Frouman says. \u201cYou have to form relationships, learn the way the business is done, establish a name for your group or company. But it can be done, obviously. It\u2019s about diving in and proving you can deliver.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

This article originally appeared in the NATPE 2015 issue of World Screen. A number of Europe\u2019s biggest content companies are aggressively expanding their businesses in the U.S. The urge to \u201cGo West\u201d remains a powerful one, judging by the steady flow of European media companies crossing the Atlantic to set up or acquire U.S. production …<\/p>\n","protected":false},"author":1,"featured_media":6212,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[75,76],"tags":[],"class_list":["post-6211","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-analysis","category-features"],"yoast_head":"\nComing to America<\/title>\n<meta name=\"description\" content=\"Coming to America. A number of Europe\u00e2\u0080\u0099s biggest content companies are aggressively expanding their businesses in the U.S.. 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