Speaker Q&As 18
DAY 3
Antony Root
Executive VP and head of original production, WarnerMedia EMEA Why is non-English-language content growing in popularity among global viewers? In some cases, it's due to availability because, prior to the streamers, there wasn't much foreignlanguage material available via free-to-air or cable. But there's also been a change in audiences’ tastes, and that has perhaps to do with a generation of people becoming more disposed towards watching content in languages other than their own. How has the transition of HBO Europe to HBO Max changed your commissioning strategy? HBO Max is a broader service with local original programming that can be used to expand the audience beyond the viewers who would automatically come to HBO for its taste and sensibility. That means expanding into new genres and formats, whereas we’ve only been a scripted and documentary house before. In creating a more diverse slate, we also want to have a greater variety
Gergely Váradi in The Informant
Francesca Johnson Executive VP of content, Anyway Content
What were the biggest changes in the international TV business in 2021? The planned merger of Discovery and WarnerMedia; the roll-out of Disney+, HBO Max and Paramount+ to most global markets; and, overall, the ramp up in production postpandemic. The most significant changes brought about by the pandemic are the shift from linear and theatrical to streaming, and the subsequent decline of linear cable ratings. It’s also interesting to see how the established non-scripted brands have become even bigger during this time. How has the switch to D2C streaming by the US majors impacted the market? Worldwide rights are increasingly the ask,
of price points. We will have opportunities to make programmes at a price point that works for just the single market it is being produced for, as well as the more expensive programmes, whether it’s scripted or unscripted, that will have the potential to travel. What unscripted content do you want to commission? We need a full spectrum of content. However, the unscripted shows need to be distinctive because we might only greenlight one or two of these programmes in a smaller country. As a result, they need to punch through, so it’s unlikely we’ll buy hyper-niche shows that are only of interest to a narrow audience. We’re looking for shows that land in popular culture. How do you balance working with both established producers and new voices? We absolutely want talent from both ends of the spectrum. New talent is essential to keep us fresh and I’m keen that there continue to be opportunities for producers to break through. Nine years ago, we commissioned a miniseries called Burning Bush written by Stepán Hulík, who had written the first version of that script as a graduation project at university, and it was one of our most successful shows. We’ve also got a spy drama from Hungary called The Informant from up-and-coming creator and director Bálint Szentgyörgyi, which will be supporting HBO Max’s roll-out in Eastern Europe. Commissioning: HBO Max Europe Unscripted, 9.30am, Hall 1
making it even more important to have a desired rights position firmed up well in advance. But it is a starting point, and flexibility is key, as each project comes with a unique set of partners and considerations.
will allow brands and content creators to rise above the fold with strong networks and the momentum from honest, authentic creative dialogue that always pushes to make things better and stronger for the global audience.
How has demand for US content changed over the past 18 months? With the move toward more cultural diversity in the wake of BLM and other social justice movements, as well as the shift to streaming with global platforms expanding, just USfocused content simply won’t cut it anymore. Stories need to resonate globally, or they seem out of touch and out of date.
What content are you developing that will define the next phase of your programme strategy? We are increasingly looking at the areas where content and commerce collide, at smart ways to use brand partnerships and identify new opportunities. We’ve a healthy development slate for a recently established company that we are in the process of taking out – a mix of big-ticket properties with worldwide resonance, US/UK-led formats and authored local stories that have universal appeal and the potential to travel.
How will the international TV business in 2022 be different from 2021? There is a clear need to be smarter, faster, bigger, better and more plugged into social platforms and the trending conversations to remain relevant and entertaining. Partnerships
Development: International Formats, 10.30am, Hall 3
