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Audiovisual451 - 17/11/2021 Click here to see the article online
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Cineuropa - 10/12/2021 Click here to see the article online
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CARTOON 2021 Cartoon Business
What future awaits linear pubcasters producing and commissioning animated content? by DAVIDE ABBATESCIANNI 10/12/2021 - At Cartoon Business, three experts shared parts of their reshaped editorial strategies, in response to the growing role of platforms and the most recent shifts in consumption
Benjamin Manns (on screen), Christophe Erbes, Yago Fandino Lousa and Daphné de Beaufort during the discussion (© Cartoon)
This week, Las Palmas de Gran Canaria is hosting the new edition of Cartoon Business (8-10 December), a top-level seminar focusing on key strategies for studio growth and business development in European animation. The second panel held on day 2 explored the future of pubcasters as the commissioners and producers of animated content, and how they are reshaping their strategies in response to the growing role of digital platforms and the most recent shifts in consumption, which see a steep decline in the number of children watching linear television. The event, titled “How Do Traditional Linear Broadcasters See the Future?” and chaired by Christophe Erbes, saw the participation of Yago Fandiño Lousa, of Spain’s RTVE; Daphné de Beaufort, of France’s TF1; and Benjamin Manns, of Germany’s SWR/ARD – DE (who attended remotely). After introducing himself and the three speakers, Erbes gave the floor to Fandiño Lousa, who highlighted that at the children-orientated Clan, they are currently rethinking their editorial strategies for the years 2022-2025, in response to the increasing difficulty inherent in intercepting audiences aged 8+ (a target defined as “a wild Cookies settingsyet, but frontier”) and the overwhelming growth in OTT services recorded in 2020. “We don’t have a metaverse
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they’re [children] in their own metaverse,” he argued. In this respect, he mentioned the importance of video games and digital platforms such as Twitch, which is somehow replacing the role once played by radio. These transformations imply the necessity for Clan to rethink what young-adult content is, since said segment is still significantly underexploited. Over the last five years, Clan has co-produced 19 animated shows and is currently menu in negotiations for 12 more, shifting to new audiences, rather than just focusing on pre-school, as itsection did in the past. Most of these projects are international co-productions with European countries (France, Finland, Italy, Ireland, Russia and Portugal) and Latin America (Brazil, Chile, Uruguay and Argentina). According to Fandiño Lousa, Latin American talents, in particular, are proving to possess a great “mix of creativity and new approaches to storytelling”. For the next three years, Clan will aim to produce music shows with a focus on digital distribution for the 0-3 target market; stories featuring charming characters and music with a primary focus on entertainment and a secondary one on values for the 4-6 segment; humorous fantasy stories with a fresh, stylish vibe for children aged 6-8; and “stories close to the real world”, created and developed by Generation Z artists. In her contribution, de Beaufort said that French pubcaster TF1, similarly to other competitors, is now facing a series of “threats”. She pointed out how the total TV views in France have been decreasing for several years now, in particular for audiences aged 4-10 (-7% since 2019), and how the TV advertising spend is also shrinking and not being compensated for by the digital spend. She added that worldwide players are “hunting” series’ talents and asking for exclusive and first-window rights, and that major studios are increasingly retaining rights for their own platforms. These trends are resulting in having less content available on the market for the first window. While many opportunities remain at the local level, these changes are making the international field more and more competitive. The answer to these challenges would be “creating rich, global services for kids”, she said. To do this, however, a series of actions and plans need to be put in place. Some of these include intercepting kids all day long through their consumption patterns, focusing on high-quality, diverse content for large audience segments, offering a “rendezvous” programming strategy to involve both kids and their families, creating a strong brand capable of “sharing positive vibes, generating loyalty and reassuring parents” as well as promoting serialised content through TF1’s media ecosystem. Despite its fragility, TV is still the leader for kids, and the most recent slate of productions targets audiences aged 5-10, with a special focus on the 6-8 segment. Among the implemented strategies, de Beaufort underlined the abundance of genderneutral characters, the presence of new mascots to increase brand identity and introduce the pubcasters’ core values and promises (“adventure, emotion, friendship and fun”), several efforts to stimulate co-viewing (TFOU is particularly successful in attracting mothers and kids), and the potential of TFOU MAX, which launched in February 2015. She also mentioned the pubcaster’s recent work on podcasts, and while this initiative is not particularly interesting “business-wise”, it does help to “build brand awareness”. Alongside podcasts, the company is also working on self-promotion on social-media channels, and developing the activities of its licensing and music divisions. Finally, TFOU’s first 2,500 m² theme park was inaugurated in Paris last September, and the group aims to open new ones in the coming years. Manns welcomed the recent industry changes, as he sees them as great opportunities to reach out to younger audiences, who are finding linear broadcasters, especially public ones, less and less attractive. He explained how complex the system of public children’s channels is in Germany. One-third of the content is being provided by ARD, one third by ZDF, and the last third by the KiKA department. The idea is “to meet children at eye level”, adopting a “show me” or “let’s explore” approach, rather than following a teacher-student dynamic. The main goal is to provide entertaining, diverse content, while educating, stimulating and empowering children. Ideally, these stories should be culturally connected to Germany (so that they can be appealing for local audiences) and should have the potential to be great co-viewing experiences. In his contribution, Manns added how important it is to support regional producers (often smaller studios that are rich in creativity) and to make a difference by experimenting and initiating new formats.
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Cineuropa - 10/12/2021 Click here to see the article online
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CARTOON 2021 Cartoon Business
“Investors want to see the green, but they’re also looking for passion and strong teams,” say the experts at Cartoon Business by DAVIDE ABBATESCIANNI 10/12/2021 - Philippe Alessandri and Reginald de Guillebon provided top advice on dealing with potential backers and how to create fruitful investment partnerships to drive the growth of animation studios
Philippe Alessandri and Reginald de Guillebon during the discussion (© Cartoon)
On day 2 of this year’s Cartoon Business (8-10 December), John Lomas-Bullivant chaired a panel entitled “Attracting Studio Investment. When? Why? Who? How?” The 45-minute discussion saw the participation of Philippe Alessandri, of Watch Next Media; and Reginald de Guillebon, of Hildegarde. The speakers broke down how studios can attract investments and provided top advice on how to deal with potential backers and bring their enterprises to the next level. After spending many years working for several groups in the industry, Alessandri founded his own company in 2015. Watch Next Media controls three outfits – Turin-based studio Animato’, France’s La Factorie (with studios in Lille and Paris) and Kids First Distribution – in addition to 51% of Je suis bien content. While Animato’, La Factorie and Je suis bien content focus on production, Kids First Distribution handles the distribution of the three studios’ catalogues. The choice to open a new division (Animato’) in Italy came after the realisation that the country is the second-biggest European market, wherein one can find a favourable mix of public and private investments, accounting for about €80 million a year. Moreover, he applauded Italy’s recent decision to
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implement a 20% levy in line with the French example and the recent legislative push provided by the European Union’s AVMSD (read our recent interview on the subject). A former investment banker, de Guillebon created Hildegarde in 2002 and defined it as an “entrepreneurial and decentralised family holding company that is committed to working with talents, teachers and companies the sectioninmenu world of creation and education in order to produce ambitious content with universal appeal”. Presently, Hildegarde controls several animation ventures and educational institutions as well as some prestigious film magazines, such as Premiere, Le Film français and Cahiers du Cinéma. To start with, Lomas-Bullivant asked what could entice investors to back children’s animation, or indeed what could discourage them from doing so. Alessandri said that investors still see the audiovisual business as risky, since it is a people-based sector: “If you lose key creatives, you might lose everything. This attitude is supported by bad track records, including stories with CEOs leaving their own company after two years and making them lose all of their value.” On a more positive note, he stated that the demand for content is growing and adult-orientated animation is on the rise, which is a market segment that’s still relatively untapped: “In France, they’re now investing €50 million in animation and €500 million in live action... If we can reach prime time thanks to animation, we can gain some [significant] market share. Besides, animation can be exploited with merchandising, and that’s a huge difference when compared to other genres. It’s a totally different economy.” De Guillebon provided an honest, no-frills take on the investors’ average profile: “Investors don’t love animation. They don’t care about kids. They want [to see] the green. They get money from some funds and look for hefty returns, generally with a 15%-30% profit margin per year. [...] Unfortunately, the media and animation business doesn’t provide that type of profit for these people. Still, the film business remains attractive, since it’s considered a ‘trophy asset’. People want to go to Cannes, maybe less so to Annecy, but is that good or bad money?” If producers decide to form a partnership and get an investor on board, de Guillebon warned that they need to be ready to share their power: “Someone is going to bring money and will be asking you for a lot of feedback, monthly figures, and so on. If you’re somebody who doesn’t like that, you shouldn’t onboard an investor. It takes time to find money and to follow up with these types of people.” He also made a distinction between corporate investors and finance investors. The former are the best to approach, since they can be your partners and understand the dynamics of your business. Speaking about how to search for this type of investor, de Guillebon said: “It’s the same thing: instead of having a bible, you have an investor deck. You draft a business plan instead of a financing plan. [...] It’s easier to sell a show than it is to sell yourself, so it’s better to have an ‘agent’, such as an investment banker, a lawyer or an accountant who can approach these people on your behalf.” Alessandri agreed with de Guillebon and added: “You [need to] sell them the future. When you sell the show, you’re selling a project that will be a hit in two years’ time. You’re basically selling their future revenue.” De Guillebon added how the presence of a financial officer is essential for these types of meetings, since investors don’t think like creative people, and someone going through the numbers would reassure them. This does not imply, however, that investors don’t want to see passion or meet a strong team with a positive track record. Thus, you need to establish a decent, friendly connection, and if you’re able to do that, you may gain trust, money will flow and things will go smoothly. During the last part of the talk, Alessandri reminded those watching of how important it is to focus on content to create “hits”, and mentioned the examples of Film Roman, which at the time sold just “one IP” (The Simpsons) for $500 million, and “the tiny British studio behind Peppa Pig” (Astley Baker Davies). However, de Guillebon warned that investors may be inclined to pay so much because they know they don’t need the original creators any more: “If I buy Peppa Pig, I can work on it without anyone present in the room. If you want to make a fortune, and that’s your goal in animation, the key is to create an iconic brand.”
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Canarias7 - 10/12/2021 Click here to see the article online
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Canarias7 - 10/12/2021
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Cineuropa - 13/12/2021 Click here to see the article online
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CARTOON 2021 Cartoon Business
At Cartoon Business, Antti Haikala and Solveig Langeland discuss the most recent changes in producing animated features by DAVIDE ABBATESCIANNI 13/12/2021 - The two speakers talked through the challenges of portraying diversity and touched on European animation’s USP, among other topics
l-r: John Lomas-Bullivant, Antti Haikala and Solveig Langeland during the discussion (© Cartoon)
The last day of Cartoon Business (8-10 December), held this year in Las Palmas de Gran Canaria, hosted a panel titled “The Economics of European Animated Features”. The discussion was chaired by John LomasBullivant and saw the participation of industry veterans Antti Haikala, of Finland’s Anima Vitae, and Solveig Langeland, of German sales outfit Sola Media. Haikala talked through the activities of his firm, founded in 2000 as a service production studio working for franchises such as Angry Birds [+], Lego and The Moomins [+]. In 2008, Anima Vitae started creating its first IP, producing the Christmas flick Niko & the Way to the Stars [+], followed by Niko 2 – Little Brother, Big Trouble [+] in 2012. While focusing on original IPs for feature-length projects, the studio still acts as a service producer on serialised content. After finding some business partners at another event organised by Cartoon, the Finnish studio opened a branch in Malaysia in 2013, and the two divisions now work as one company. Anima Vitae is also teaming up with Aurora Studios (a minority partner), starting from this year. Currently, the studio is working on three features, Fleak (slated for release in 2023 – see the interview), Niko 3 (to be released in 2024) and Trash Monsters (set for a 2025 release). The company can count over 100 employees spread ookies across settingsFi nland,
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Malaysia and other countries, producing an average of 404 minutes of animation each year for a turnover of about €2-3 million. In her contribution, Langeland mentioned her outfit’s focus on selling animated features and family-orientated live-action flicks, and she provided several key figures and reflections on the current state of European secu animation. In one of the slides she presented, she pointed out how the major global markets have proven to have different levels of resilience throughout the pandemic. In Europe, in particular, Germany (-20.8%, over the period 2016-2020) and the UK (-12.2%) have suffered the largest decline in terms of feature-film production, whilst France (-4.1%), Spain (-4.1%) and Italy (+3.1%) have recorded better results. In total, the world’s feature production declined by 25.1% in 2020. These trends are also visible from the global box-office results, whose revenue fell from $7,473 billion in 2019 to $2,038 billion in 2020. Meanwhile, content spend by leading streamers is on the rise – for example, Netflix increased its investments from $11.8 billion in 2020 to $17 billion in 2021, whilst Disney+ and Hulu did likewise from $5 to $33 billion. Despite the challenging scenario and the overwhelming influence of the streaming giants, Langeland remained positive and said that for animated features, theatrical exposure is still “the best you can get”, even though platforms keep on shrinking the windows. Arthouse films, she argues, will be the ones taking the stronger hit. Besides, Europe has much to offer, according to the two speakers. Langaland defined the continent’s coproduction system as “fantastic”, aligned with the European spirit, and capable of reducing financial risks and increasing the chances of a “win”. Haikala agreed with Langeland and added that Europe’s USP also consists of the possibility of producing a film for €5-10 million, whilst this budget is considered incredibly low by US players. Speaking about how Sola Media’s editorial strategy is being reshaped by the recent industry changes, Langeland stressed the outfit’s focus on the 6-10 segment and co-viewing experiences with parents. She added that they look for humorous content and prefer stories with animals as the main characters, since depicting people now needs much more sensitivity, while “a hedgehog looks the same everywhere”, and in many cultures, pets are considered “cuter than humans”. Langeland’s words opened up the topic of diversity, and Haikala chimed in, saying how “the whole concept of diversity varies [place by place]”. He mentioned his personal experience of discussing one of his projects with a Russian buyer. The main character had two mothers, but that was a rather marginal aspect in terms of the storytelling. However, the buyer was still reluctant to advance talks for a project in which the protagonist had “two lesbian mothers”. Moreover, animals seem not to be totally exempt from the debate around diversity and the depiction of dysfunctional families. Niko, the lead character of the IPs of the same name, is a reindeer born to a single mother after a one-night stand, and the US version was brutally cut, as CBS found said aspect problematic for its audience. On another production, Haikala disclosed, the lead character was a boy in a wheelchair, and while in talks with potential backers, many asked if they could make him able to walk again at the end of the film. While admitting the complexity of such a topic and how this often requires navigating difficult waters, Haikala said that it’s still possible to be respectful and go beyond the primitive concept of diversity as “ticking boxes”, but also pointed out how this occasionally leads to overreactions by the parties involved, and in particular during the scriptdevelopment phase.
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Cineuropa - 13/12/2021 Click here to see the article online
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CARTOON 2021 Cartoon Business
At Cartoon Business, experts reveal the golden rules for surviving animated co-productions by DAVIDE ABBATESCIANNI 13/12/2021 - Kristine M.I. Knudsen and Philippe Alessandri shared the dos and the don'ts for forming a creatively stimulating and financially solid co-production partnership
Left to right: John Lomas-Bullivant, Kristine M.I. Knudsen, Philippe Alessandri (© CARTOON)
On Day 3 of Las Palmas de Gran Canaria’s Cartoon Business (8-10 December), moderated a panel entitled “How To Stop Your First Co-Production Killing You and Your Studio.” The speakers taking part in the discussion were Kristine M.I. Knudsen of Norway’s Den Siste Skilling and Germany’s Knudsen Pictures, and Philippe Alessandri of France’s Watch Next Media. Knudsen, who moved from live action to animation, previously worked on Richard the Stork [+] and is now preparing its sequel, whilst Alessandri has been working on a number of co-productions with Ireland, Spain, Italy, Australia, Canada, Germany and other countries. The first topic of discussion was that of the mindset required to embark on a co-production journey, described by Alessandri as “generous, empathetic” and led by a “spirit of cooperation,” and by Knudsen as “humble but confident – humble because you are entering a new business, but confident because you still have something to offer” while “flirting” with potential co-producers.
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“First of all, it’s important to assess the qualities and the flaws of your potential co-production partner. Is he too confident or conservative in financing? Is he a great creative producer?” he explained, advising to take note of these and to divide each other’s tasks in line with the different profiles and expertise. “The good thing is that there are not that many players in animation attending markets, so you seesection the same men people over and over again,” added Knudsen, who mentioned how crucial it is to investigate other people’s experiences with the potential co-production partner. Alessandri agreed with Knudsen and said that it was crucial to form a partnership that is somehow organic and functional to the project. Specifically, he mentioned the example of a show he worked on for which he needed to find an Italian partner. The team chose to work with Maga, defined by Alessandri as “one of the best 3D European animation studios” primarily to access their expertise and not just because they could get RAI’s substantial backing through said co-operation. As the president of Animation Europe, Alessandri asked Creative Europe for incentives to share the co-production and service work with Eastern European studios, which may be 15-20% more expensive than employing the Asian ones, but could bring back all the work contracted there and enhance intra-European co-productions. After approaching a potential partner and before signing a formal agreement, Knudsen advised to start a testing phase with the common goal to work on a concrete deliverable – an animation test or a teaser, for example – to see how things could be in prospect, provisionally replicated on a smaller scale. Alessandri agreed with Knudsen and said that he usually writes a letter authorising his partners to pitch a show for a given period of time so that the teams involved can focus on different territories. With this approach, sometimes one can end up having two, three co-production partners and secure the budget, but a higher number of partners may include additional challenges, especially in terms of communication: “Most of the discussions focus on the creative and financing side of things. Creatively [speaking], it’s important to verify very soon that we’re all on the same page, and this also applies to broadcasters – the [collaboration] test could be done through a third script written in the co-production country, after providing a bible and two scripts, for example. [...] Financially speaking, the work on budgeting is the best experience you can gain. You’ll see whether the guy is honest and transparent, you’ll see if he is too confident or conservative, if he’s really experienced or if he recently switched to his role.” Next, Lomas-Bullivant asked what the two experts would recommend doing after signing the agreement. “You need to check on the economical situation of your partners. Sometimes, you might end up working with companies with very bad cash flow. I’d recommend that, especially when you start. You might not have the confidence to do it, but you might find things out later down the line. Then I’d focus on having regular meetings, keeping creatives up to date, not falling into ‘emailing,’ talking in person and establishing human contacts. It’s all about the trust you build and things can go wrong owing to our cultural differences, so I’d recommend spending a lot of time, money, wine and great food so that this trust can be developed,” suggested Knudsen. “I always ask my co-producers for approval on key creatives. The reason for that is that sometimes you work with a co-producer who is not so experienced with co-productions, so you realise he has hired the wrong person – a storyboarder or an artist, for example – and you might find that out after a test,” concluded Alessandri.
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Animation Magazine - 13/12/2021 Click here to see the article online
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Animation Magazine - 13/12/2021
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Animation Magazine - 13/12/2021
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Cineuropa - 15/12/2021 Click here to see the article
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CARTOON 2021 Cartoon Business
Karen Vermeulen and Diego Ibañez Belaustegui profile animation buyers at Cartoon Business by DAVIDE ABBATESCIANNI 15/12/2021 - The two speakers talked through how buyers’ habits have changed, their financial resources, the types of content they are looking for and the different types of deals they aim to seal
Karen Vermeulen (on screen), Christophe Erbes and Diego Ibañez Belaustegui during the discussion (© Cartoon)
What type of animated series are buyers looking for? How much money do they have? What type of deals do they seal? These are just some of the questions that were tackled during one of the last panels ofCartoon Business (8-10 December), held this year in Las Palmas de Gran Canaria. The debate, entitled “Animated Series – What Do Buyers & Co-producers Want?” and moderated by Christophe Erbes, involved contributions from Karen Vermeulen, of Gaumont (UK, who attended virtually), and Diego Ibañez Belaustegui, of Planeta Junior (Spain). During her presentation, Vermeulen talked through the different types of buyers, their levels of investment, their habits and content needs, as well as the usual types of deals they strike. Speaking about public service broadcasters (for example, ZDF, the BBC and France Télévisions), she explained that these buyers generally possess a stable, transparent budget and represent good value for money, but they also have limited slots. They normally commission content or seal co-production deals and provide marketing support. As these bodies promote “public values”, they look for culturally relevant content, local partners and stories, and have diversity
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and inclusion policies to comply with. They can cover part of the budget, but can also trigger applicable tax credits, grants and subsidies, funding up to 50%-70% of the costs. Private networks and streamers (for example, Paramount+, HBO Max, Cartoon Network, Disney+ and Nickelodeon) obviously follow different patterns. Their strategies are typically pre-buys, co-productions andmen section Original deals, as well as the very frequent (and much-debated) IP buy-out deals. These players can cover the budget totally or just in part. In terms of content, they look for groundbreaking, iconic IPs and hybrid animated shows (for instance, episodic ones with some serialisation), with a focus on pre-school and family-orientated pieces. Meanwhile, equity-driven investors can encompass animation studios, co-producers, master licensors, advertising or licensing-and-management agencies, private investors, or even private individuals, and these usually cover 10%-50% of the whole budget. They look for a positive track record and the presence of a demonstrable audience segment (for example, via YouTube or pre-existing IPs) with a long-term commercial value, or editorial SVoD content with an additional margin for strategic upside. Their deals include coproduction agreements (with cash or cash in consideration for services) and potential distribution advances, although the latter have reduced, owing to the shrinking second-window value. Their habits are difficult to pin down, as they are either business- or creative-driven, depending on the type of content they work on. The last buyer’s profile presented by Vermeulen was that of second-window distributors, which usually seal revenue share and one-time licensing deals. They focus on volume, known IPs and track records when looking for new content. They follow a repeat business model and do not invest any money in the production budget. In his contribution, Ibañez Belaustegui pointed out how the OTT world represents an opportunity with ample room for animated shows, as European animated TV content circulates significantly better than European TV content spanning all categories. Some recent OTT content trends highlighted by Ibañez Belaustegui include the focus on teen and tween content, whilst male- and female-focused content remains underserved. In terms of the stories, the top trending ones feature the themes of friendship and magic, and centre on a family, team or group as the lead characters, rather than an individual. For young boys, vehicle-based anthropomorphic characters are particularly successful at present, and overall, there is a push to create more gender-neutral content outside of pre-school across content for young kids, teens and tweens. Spin-offs, as things stand, still prove to be IP-efficient, and themes of adversity and adventure/mystery aimed at girls or with a female lead character may be an area that deserves further exploration. Later, Ibañez Belaustegui had a closer look at the figures collected by Ampere Analysis over the last six months. The data show that Amazon seems to be targeting pre-school with a push for classical, recognisable IPs, and in particular for mystery-related content, whilst Netflix keeps on intercepting teens and tweens, pushing for mystery-themed pieces, but also for book-based series and anime. In the last part of his presentation, he spoke about toy and game manufacturers as potential commercial partners (for example, Mattel, Bandai and Giochi Preziosi), which can also seal servicing or co-production deals. As potential buyers, these players tend to handle marketing initiatives to support sales, and may produce short-form content (to publish on YouTube, for example) and finance it in its entirety, while they may typically invest 50%-80% of the budget for broadcast-quality shows. They look for highly targeted content, aside from early pre-school and toddlers, including action, vehicle-driven, superheroes and humanoid characters for boys, and fashion, baby-nurturing, fairies and fantastical animals for girls. IPs recently benefiting from this type of partnerships include Gormiti, My Little Pony, Masters of the Universe and Transformers.
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