DORI MEDIA EXPANDS ITS PRODUCTION PIPELINE
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DICM / ATF 2023
INTER MEDYA LAUNCHES A NEW DRAMA HIT
MIA MARKET, THE DATE TO MEET ITALIAN NEW PRODUCTIONS
#208 ∙ YEAR 23 ∙ NOVEMBER 2023
TOP 15 FORMAT OWNERS Banijay ITV Studios Warner Bros. ITVP Fremantle All3Media Paramount NBC Universal BBC Studios Love Productions Red Arrow Studios Sony MBC Netflix Talpa MTV
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ST
NO. OF MARKETS SOLD TO 42 49 28 41 27 27 23 35 23 22 24 29 12 18 13
NO. OF TITLES BASED ON FORMATS 824 464 421 402 267 254 190 179 115 115 112 99 79 77 70
-6%
WHILE THE VOLUME OF FORMATS IN NORTH AMERICA FELL BY 14%, GLOBAL FORMAT COMMISSIONS HAD JUST A DECREASE OF JUST 6%.
36%
OF ALL FORMAT-BASED COMMISSIONS WERE BASED ON UK FORMATS.
15%
SVOD COMMISSIONS MADE UP JUST 15% OF ALL FORMAT-BASED COMMISSIONS.
With 824 titles announced based on its formats between H1 2019 and H1 2023, Banijay Rights leads the field with almost twice as many titles based on its formats than any other owner.ITV Studios was second with 464 titles.
NICELY ENTERTAINMENT LAUNCHES DARKLY ENTERTAINMENT Nicely Entertainment launchd Darkly Entertainment, a new label dedicated to producing and distributing darker elevated dramatic content for theatrical and digital distribution. The new venture was officially launched at this year’s American Film Market. “Darkly Entertainment will focus on films and series that explore the complexities of human nature, taking viewers on exhilarating and emotionally charged journeys,”Nicely Entertainment’s Founder & CEO, Vanessa Shapiro, said.∙
BANIJAY UK ACQUIRES SCRIPTED PRODUCER THE FORGE Banijay UK acquired leading scripted independent producer, The Forge. This acquisition will bolster Banijay UK’s scripted output and bring the number of scripted labels under the Banijay UK umbrella to eleven, including wholly-owned labels Kudos, Tiger Aspect, and Wild Mercury. This deal includes a first-look deal for Banijay Rights. The Forge’s senior creative team features experience and stellar track record.∙
FEDERATION STUDIOS LAUNCHES INTERNATIONAL THEATRICAL LABEL Federation Studios launched global theatrical film sales under the label Ginger & Fed, created in partnership with Sabine Chemaly, through her recently formed company Ginger Films. “I am thrilled to join forces with Federation to launch this label at a time when cinema worldwide is on the cusp of a new era and revival,” Chemaly said. In charge of both film acquisitions and international sales, Sabine Chemaly will spearhead Ginger & Fed, while working closely with Federation’s sales team and their business affairs, servicing and marketing team.∙
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BBC STUDIOS COMPLETES NEW APPOINTMENTS FOR KEY MARKETS BBC Studios has announced a series of appointments for the EMEA region. Based in Amsterdam and reporting to Arran Tindall, Chief Commercial Officer, EVP, EMEA Key Markets, Bram Husken has been appointed to the newly created role of Vice President, Benelux. Moreover, Hale Mouritz has been promoted to the newly created position of Director of Programming, Western Europe, for services in Benelux and Nordics. Finally, Andrea Raman has been promoted to Business Development Director, Nordic, MENA, Turkey, in which she will be responsible for the distribution partnerships of BBC branded services within these regions.∙
AUSTRALIA SPENT $2.34 BILLION IN 213 SCIPTED PRODUCTIONS IN 2022/23 Screen Australia’s 33rd annual “Drama Report” shows the second highest expenditure ever on scripted screen production in Australia, with $2.34 billion spent across a record 213 titles in 2022/23. Despite being slightly down (4%) on last year’s record expenditure, which saw $2.43 billion spent across 171 drama productions, this is significantly above the 5-year average. Australian
NIPPON TV LICENSED MEDYAPIM’S DRAMAS FOR MBC’S ARABIC ADAPTATIONS Nippon TV has licensed to Medyapim the Arabic language adaptation rights of the scripted formats “Mother and Woman – My Life for My Children.” The titles will be produced for MBC. The announcement was made jointly by Keisuke Miyata, Head of Sales for Nippon TV, and Fatih Aksoy, Chairman of Medyapim. “This is a new initiative for two of our most valuable scripted formats for the Arabic speaking territories, with our long-time strong partner Medyapim and a new collaboration with MBC, the largest media company in the MENA region,” Miyata said.∙
titles made up $1.13 billion of total spend. Although expenditure by Australian subscription TV and SVOD has decreased, growth in free TV and BVOD has helped to offset those declines to deliver the second-highest Australian expenditure on record.∙
ATV’S “SAFIR” WILL BE AIRED BY ANTENA TV IN ROMANIA ATV Distribution has confirmed that the new hit Turkish drama “Safir” was licensed to Romania. The show was picked up by Antena TV shortly after it was presented to international broadcasters and platforms at Mipcom last October. As a result of a strong storyline, “Safir” has continued to grow on the rating rates as well as building a huge fan community in its local market in Turkey. One of the most prominent families in Cappadocia, the Gulsoy, is the focus of “Safir”. The story starts when the Gulsoy family finally comes together after a long period apart upon the arrival of the eldest son, Ates, from America.∙
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DISTRIBUTION
"THE IVY" PHENOMENON STARTED ITS GLOBAL JOURNEY THE SERIES HAS ATTRACTED GREAT INTEREST IN TURKEY AND THE MENA REGION AND OFFICIALLY DEBUTED AT MIPCOM. ESRA ÖZARAL ALTOP, CHIEF ENTERTAINMENT CONTENT OFFICER AT BEIN MEDIA GROUP & DIGITÜRK, AND CAN OKAN, CEO AND FOUNDER OF INTER MEDYA, EXPLAIN THE PROJECT.
"T
he Ivy," a Tod Originals series that has attracted great interest in Turkey and the MENA region, made its official debut last month at Mipcom. "The Ivy," for which Inter Medya has taken on international distribution, was the center of attention of the press and guests at the special event that made its European premiere. "With the increase in international and local platforms, we see that exports of local series are proliferating. Sales abroad are precious for the sustainability of local content. Along with the economic impact of this increase in exports, the promotion of our culture to the world and its contribution to tourism cannot be ignored. We consider these criteria when planning original content for TOD. Thanks to the impressive story of 'The Ivy,' the successful performance of our actors, and the high level of production quality, we believe that this series will attract international interest," Esra Özaral Altop, Chief Entertainment Content Officer at beIN Media Group & Digitürk, said. "The Ivy" gathered great reviews due to its intriguing story and impressive cast. Burçin Terzioglu and Onur Tuna, the stars of TOD's "The Ivy," attended the event in Cannes and gathered attention as they walked the red carpet. "The sales we have achieved on numerous digital platforms, both locally and globally, have become an essential component of our export activities. At 8
Can Okan, Burçin Terzioğlu, Onur Tuna, Esra Özaral
Inter Medya, we proudly undertake the international distribution responsibility for many mini-series produced for Turkish digital platforms, and our catalog continues to expand. We've named these bold and boundary-pushing productions in our catalog 'New Generation Turkish Series,' and we are actively working on establishing this concept as a global brand. 'The Ivy' stands out as one of the most successful works in our catalog thanks to its compelling storyline, outstanding production quality, and dazzling performances. Following its success in Turkey and the Middle East, we introduced this series to Europe, where it garnered significant interest, especially from our Western European clients. We believe that 'The Ivy' will also be well-received in Latin American and Asian markets after its launch in Europe, and we are proud to partner with beIN Media Group to promote this exceptional series worldwide," Can Okan, CEO and Founder of Inter Medya, stated. "It makes us very happy that our work in our country has such a positive response in international markets. Our content includes universal stories as much as our own cultural narratives. Even if our language is different, the most important for us is to bring emotions," Burçin Terzioglu added about the show. "We trusted the story in such a way that we surrendered ourselves to it. We are grateful to promote 'The Ivy,' and we are pleased with the response from the audience. We thank our writers, directors, actors, and technical teams for their wonderful work," Onur Tuna added. By Diego Alfagemez
INTERVIEW
“WE LAUNCHED ONE OF THE BIGGEST SLATES WE EVER HAD”
NADAV PALTI, CEO & PRESIDENT OF DORI MEDIA GROUP, EXPLAINS THE COMPANY'S PRODUCTION STRATEGY BEHIND THE MASSIVE CONTENT OFFER JUST LAUNCHED, WITH OVER A DOZEN NEW SERIES IN PRODUCTION GLOBALLY.
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t the last Mipcom, Dori Media Group launched a massive content offer, with over a dozen new series in production globally. Two of its big new action-drama series, "Amia" and "Indal," are part of the company's new global expansion strategy. Nadav Palti, CEO & President of Dori Media Group, spoke with Señal News and described that approach. How would you describe the content slate that Dori launched this year? "This may be one of the biggest slates of content we ever had. We have six new dramas that we launched at Mipcom. We are now set to around 12 different products. We continue to sell 'Shtisel' and 'Losing Alice' to different windows, and we also have a new Israeli drama, 'Hammam,' so it's really a massive offer. Clients already started to watch the trailer, and we expect to have the show ready by the end of the year. The Israeli format was sold to Paramount, who will produce it in Spanish. Of course, we have our non-scripted content, so it's a big slate of content we offer. Unfortunately, we are not under the right circumstances with what is happening in Israel,
“Amia”
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Nadav Palti
but we have an international team. We are a global company, so we have to continue." What is the company's approach to new business models like FAST Channels? "We created two FAST Channels for our content, but we used our library for that project. One channel is in Spanish, and the other one is in English. We promote it under the brand of Novabox because we want to differentiate it from Dori Media, a high-end content brand. We work in a revenue share model with Prime Video, Pluto TV, and all the main players. We use library content, not exclusive rights, so we have nothing to lose". How would you describe the global potential of “Amia”? "'Amia' is 75% Spanish, 25% English and Hebrew, mainly shot in Uruguay and a little in Argentina. We created the show; it is a huge production. We managed a great production value, a big-budget show with a great cast from Israel, Uruguay, and Argentina. Hopefully, this will be a success, and we already have planned a second season. The production included a lot of action shots, with cars, ambulances, patrols, and fire trucks from those days".
How was the development process of “Minimum Wage”? "The show is about three cleaning ladies: two are undocumented, and the third is from Puerto Rico. Each one is carrying a difficult past and an even harder present and decides to take charge of their destiny and open a cleaning service business, becoming business partners and family. It was very successful in Israel." What are the main features of the action series "Indal"? "Dori Media and Abot Hameiri produce the series, and will debut in 2024 on HOT in Israel. It has eight episodes with great production quality. It follows a group of Ethiopian-Israeli youth who decide to kidnap the police officer who peppered their adolescence with abuse and eventually murdered their closest friend. What starts off as a personal revenge scheme quickly boils over into a massive national protest movement against police violence and equality. Led by the pain and rage of Selam, the beautiful sister of the police's victim, and the small-time crook Indal, the group captures the officer in an abandoned public pool and turns the whole area into an autonomous zone for the struggle. It mixes action with social issues and how the tension is built in a certain society. It is a great story." By Karla Florez and Fernando Calviño
OVERVIEW
MIA MARKET 2023, A NON-STOP GROWING EVENT THE NINTH EDITION OF THE EVENT, DIRECTED BY GAIA TRIDENTE, HAD AN ATTENDANCE INCREASE COMPARED TO THE 2022 EDITION, WITH 2,600 PARTICIPANTS FROM 66 COUNTRIES.
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he MIA, Mercato Internazionale Audiovisivo, has held its ninth edition in Rome from October 9-13, registering an attendance increase compared to the 2022 edition, with 2,600 participants from 66 countries around the world (+10% more countries than in 2022). The event, directed by Gaia Tridente, hosted over 80 panels and events, five content showcases, four pitching forums, over 60 market screenings, and film presentations. "This year, we focused on a new expanded version of MIA," asserted Tridente. The Italian Audiovisual Producers Association (APA) presented the 5th Report on Italian Audiovisual Production, revealing that the total value of investments in original Italian productions (of all genres) is €1,800 million and that
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Gaia Tridente
investments on linear platforms (free and pay) were about €1 billion in 2022. "The steady growth of the online component is now worth almost a third of the TV component. Films and series for TV and fiction VOD constitute the main genre in terms of investments (55%), but we have seen significant growth in documentaries and animation, mainly in the VOD segment," commented Chiara Sbarigia, President of APA. Italian linear and digital players analyzed the current and dynamic audiovisual landscape and presented their most recent projects. "Italy is certainly one of the most interesting countries for Netflix," remarked Tinny Andreatta, VP of Italian Originals at the platform, who also added that the streamer has made essential investments in the country during the past but since has opened the Rome office. She mentioned "Il Gattopardo," "'Il Treno dei Bambini," "Wanna," and "Rhythm + Flow Italia" as Netflix's last Italian projects. Antonella D'Errico, Executive VP of Content from Sky Italy, commented that the company is
MIA Terrace
celebrating its 20th anniversary, and Italy remains a central country for its strategy. "In the last ten years, Sky has invested in content, productions, purchases, and rights, about €15 billion, 75% in Italy, more than €11.5 billion," she detailed while mentioning "L'ultima notte di Amore'" and "Adagio" as recent Sky Italian projects. Paramount+ arrived in Italy in 2023 with the ambition to entertain the entire family. "The goal is to offer a consolidated catalog that comes from the United States, with very strong IPs, serial content, and very well-known unscripted and integrate it with local productions," affirmed Antonella Dominici, Senior VP of Streaming South Europe, Middle East & Africa, Paramount+, and Pluto TV. Paramount+'s last Italian originals are "Circeo," "Corpo Libero," "Francesco il Cantico," "Ti Mangio il Cuore," and "Miss Fallaci." "The audiovisual market, after the extremely positive rebound that followed the COVID season, is in a waiting phase. The operators, the producers, but also the institutional and regulatory dynamics, they want to understand how they have to move to enhance the Italian audiovisual market," asserted Giampaolo Rossi, General Manager, Rai. Today, Rai invests about €180 to 190 million in fiction, €140 in cinema, €6-7 million in documentary," he added. From Mediaset's point of view,
Netflix
Italian Industry
Gina Nieri, Executive Director at the company, said that the Italian State invests less than other countries in the audiovisual industry. "There is a problem of the amount of investment that our country dedicates to the national audiovisual, so, there is a pressure, certainly, on the type of resources." As a broadcaster, Nieri said Mediaset has invested €20 billion in the last ten years in content production. NEW COLLABORATION During MIA, eight public broadcasters launched New8, a groundbreaking drama collaboration between ZDF (Germany), NPO (The Netherlands), VRT (Belgium), SVT (Sweden), DR (Denmark), YLE (Finland), RÚV (Iceland) and NRK (Norway). "New8 is a trust-based collaboration between eight public service broadcasters in North and Western
New8
Europe, exchanging eight highquality drama series annually. The Nordics deliver four series, Germany delivers two titles, VRT in Belgium, and NPO in the Netherlands delivers one show yearly," said Hans-Jørgen Osnes, Head of International Financing Drama at NRK. "We do this to stay relevant in a highly competitive landscape and fill the audience's expectations. Building sustainable relationships is crucial for us, as public service broadcasters, and we openly share our experiences and learn from each other. We share the same values and mission, and through this collaboration, we can finance and create high-quality drama," he added. NETFLIX TOOK THE CENTRE Diego Avalos, VP of Content Spain and Portugal, and Jenny Stjernstromer Bjork, VP of Content Nordics, showed Netflix's
European trajectory to date. In the Nordics, authenticity is related to finding relevant stories that feel like they come from that country. "We'll continue developing Nordic Noir and crime stories, but the stories coming from the Nordics are so much more diverse, like 'Young Royals,' the love story of the prince and his forbidden love that has this super dedicated fan base, and it is coming with a third season next year," commented Stjernstromer Bjork. Regarding Spain, Avalos said authenticity in Spain means recognizing the country as multicultural with multiple languages. "We're looking at stories throughout the country and showing the depth of storytelling, culture, even different tones in the series that we do, whether it's 'Intimacy,' a thriller that we shot in Bilbao or 'Elite,' a young adult series portrayed in Madrid or 'Valeria,' where you can truly feel the relationship with four women. For us, authenticity means reflecting the lives and that every Spaniard can see themselves in some way reflected in those stories," he added. Tinny Andreatta affirmed that being faithful in Italy means recognizing the difference between one part of the country and the other with titles such as "The Leopard," which talks about Sicily, or "La legge di Lidia Poët" in Turin. "The biggest challenge we have nowadays is to overcome the big success that Italy had in the 60s that created some stereotypes about the country, and now the ambition is to relaunch a more modern, more actual, truer, stereotypical image of Italy," she said. By Romina Rodriguez
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Echo Gu
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“WE INCREASED THE CONTENT WE PRODUCE TO 4,000 MINUTES ANNUALLY”
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INTERVIEW
ECHO GU, VP OF WINSING ANIMATION, DETAILS THE COMPANY'S DIFFERENT BUSINESS AREAS AND EXPLAINS THE OBJECTIVES IN ASIA AND MENA TERRITORIES.
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insing Animation has been committed to original IP creation, production, and distribution since 2003. Its business has also encompassed licensing and merchandising, brand marketing, stage plays, theme parks, and toy development. Echo Gu, VP of Winsing Animation, spoke with Señal News and stated the company's global expansion strategy.
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What are Winsing Animation's main projects for DICM and ATF? "We will showcase four latest IPs that gained much attention during Mipcom. 'Shadows of the Void' is Winsing's debut anime series; the title is a thrilling 3D sci-fi and hot-blooded series for teenagers and young adults, featuring two heroines whose interlaced destinies lead them on an astonishing trip. 'Mega Meow' is a 3D animated series for children ages 6 to 9. It occurs on a magical planet where alien cats can transform into humanoid superheroes fighting to protect Earth. Furthermore, we will launch 'Mongo,' an animated slapstick comedy series that follows naughty husky Hubro, ginger cat Habibi, and parrot Heddy, who cause mischief around the GA house. The series has no conversation, ME which eliminates translation barriers and OW captivates audiences of all ages. In addition, we are also planning to launch a racing-related series, 'RacingVelocity City.' This heart-pounding show is set to take viewers on a wild journey through the exciting world of motorsports. An unprecedented blend of stunning visuals and intense competition will be well-delivered to the audience." E
How would you define Winsing's performance in the MENA and Asian territories? "In the Asian market, Winsing already enjoys a sizable fan base and several reliable partners. However, we also highly value collaboration with the Middle East and North Africa region. Therefore, to expand the 14
company's influence in the area, we want to strengthen the large audience and engagement by establishing strategic partnerships and producing high-quality content that resonates with the partner regions. It will be Winsing's first venture into the DICM, and we are immensely excited about its possibilities. Besides seeking new distribution deals, we hope to discover more in-depth brand/toy partners. Additionally, we believe that DICM will help us forge deep and lasting partnerships with animation media companies in the MENA for brand development, distribution, and production. Winsing is poised to make a lasting impact." Winsing has consumer products and event production divisions. What is the latest news on these segments? "Our consumer products and event productions divisions continue to evolve. We had the 'New Products Fall Launch Event' in August. Six new toylines based on the popular animation properties, 'GG-Bond' and 'Gogobus,' were unveiled at the event, along with their related recent animated seasons to debut. GG-Bond and the fitness App 'Keep' also recently announced a cross-border co-branding campaign. Participants must run a specific number of kilometers to get the GG-Bond style medal. This activity not only involves a large number of people but also greatly maximizes the brand value. We plan captivating live events and immersive experiences to bring our IPs to life, providing an even deeper connection between our content and the audience. The amount of content produced by Winsing has increased to 4,000 minutes annually. Our shows have been aired on over 100 TV stations and platforms worldwide, including BeIN and 1001TV in Qatar, and translated into over ten languages. Winsing's brand licensing division has done exceptionally well in China this year. The toy export business has also grown steadily, and the 'Gogobus' series toys are sold in South Korea, Indonesia, Vietnam, CIS, and other regions." By Romina Rodriguez
PRODUCTION
AN EUROPEAN ANIMATION STUDIO THAT AIMS TO THE GLOBAL MARKET Jiella Esmat
HEADQUARTERED IN PARIS, WITH STUDIOS IN THE CANARY ISLES, AMUSE ANIMATION CONTINUES ITS GROWTH OFF YOUTUBE. THE COMPANY IS NOW DEVELOPING PREMIUM COPRODUCTION SHOWS, EXPANDING ITS IP DISTRIBUTION FOOTPRINT INTO BROADCAST, AND OFFERING 2D AND 3D ANIMATION PRODUCTION SERVICES.
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ounded in 2014 by Arthur Lener as a digital-first animation studio, Amuse Animation quickly grew on YouTube and now has hubs in Paris, London, and Beijing and a studio in Las Palmas, accessing the local 54% animation tax rebate. Amuse Animation has created and self-funded more than 30 preschool properties since 2016 and has provided production services for global hit series such as "Molang," "Louis," Nordic sensation "Tulipop," and most recently "Odd-Paw Vet" for Hasbro.
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STRONG IN CHINA Their catalog of original preschool animated shows comprises almost 5000 episodes in 26 languages. Amuse's most recent concept in development is "Red and Friends," a 52x11' upper preschool animation being produced for linear. "It's a standalone show with a digitalfirst spin-off planned for scaling awareness on YouTube," explained Jiella Esmat, Chief Revenue Officer at Amuse Animation. The company is also developing premium spinoffs of its "Car City" brand, which has amassed over 30 billion views on YouTube, and "Animacars," another digital IP. Amuse Services offers a wide range of 2D and 3D production services to third parties in Spain and internationally. "There's an increasing demand for a faster and cheaper digital production workflow for animated content," Esmat stated. The studio produces Hasbro's first digital-led preschool animated series, "Odd-PawVet." "Our structure in the Canary Isles allows significant production savings via tax local government incentives. Our studios' output is considered EU quota for
Last May, Amuse Animation opened an office in China headed by distribution, coproduction, and licensing executive Entin Liu. As Head of APAC, reporting to Esmat, Liu manages local distribution and coproduction relationships and develops consumer product opportunities throughout the region. "Having a presence in the region will help bring more opportunities to the company while continuing to deliver a steady stream of great preschool content to our partners and future clients," Entin Liu said.
the Audiovisual Media Services Directive (AVMSD). We can produce at very competitive rates with an output of one episode a week on a rolling 52-week basis," she explained. Amuse Animation has recently secured its first free TV broadcast distribution deals. The company has partnered with other IP owners in China to distribute their content in mainland China. "Our unique access to the Chinese market provides an opportunity for us to distribute on behalf of other IP owners," Esmat said. By Romina Rodriguez
INTERVIEW
"ON THE COPRODUCTION SIDE, WE DELIVERED TEN NEW SHOWS IN 2023" Max Einhorn
MAX EINHORN, SENIOR VICE PRESIDENT, ACQUISITIONS & COPRODUCTIONS AT FILMRISE, EXPLAINS THE COMPANY'S COPRODUCTION STRATEGY, ITS NEWEST CONTENT ACQUISITIONS, AND THE GROWTH OF THE FAST BUSINESS.
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ilmRise attended last Mipcom with two big coproductions: "Statue of Limitations" and "Not Like Mama," along with its latest acquisitions: "Hot Ones" and "The Wiggles." Max Einhorn, Senior Vice President, Acquisitions & Coproductions at the company, spoke with Señal News about the strategy to create a robust catalog and the growth of its FAST channels business. FilmRise content strategy is based on two areas: content acquisition and coproduction. What are the latest acquisitions to your catalog? "We've continued to execute our strategy in terms of acquisitions. We recently picked up the Buzzfeed and Complex Library, one of the leading digital publishers worldwide. The deal includes the famous' Hot Ones' interview series, a top-rated and known digital show. We also finished a deal with 'The Wiggles', the beloved children's brand, and we're very excited to be rolling the classic series out digitally across the globe." Is it the first time that FilmRise is involved in kids' content? "No, we've been focusing on the most beloved franchises, which have been a singular part of our strategy because the kids' space is extremely competitive. You need to be paying attention to brands that are household names."
How would you describe FilmRise's coproduction strategy? "On the coproduction side, we delivered ten new shows in 2023. It's about 120 hours of content, and we will continue to expand on that next year. We're renewing shows that have succeeded in distribution over the last year but are also green-lighting new formats and continuing to be strong in the true crime genre. We're also looking for ancient history and mystery titles and productions about the American West. We brought two big coproductions to Mipcom, 'Statue of Limitations,' hosted by Mike Sorrentino, a confessional type show where people talk about non-violent crimes they have committed. The other new big show is 'Not Like Mama,' starring Tia Mowry and Terrell Grice, a notable YouTuber and musician. The show's concept is that every family has a recipe passed down through generations and is never written down; it's always been memorized. The show consists of a member of the family who challenges the 'torchbearer' of that recipe, believing that they can make it better or put their unique spin on it. It's a very wholesome show." FilmRise has also added a creator partner program to its strategy. How important is that part of the strategy? "Our creator partner program is our partnerships with major
YouTubers, those of the size that command viewership as high as network television in the U.S. We partnered with a few management companies and a couple of production companies, and YouTubers themselves, to take their library content that they publish to YouTube and repackage it into half-hour formats, then bundle those into seasons and shows that we syndicate widely. It's one of the fastest growing parts of our content business; entrenching this content onto streaming services with traditional film and television is a unique approach because most people typically watch it on their mobile devices or YouTube, and now they can watch it on the couch." What are the company's main achievements in the FAST business model? "We're the leading FAST channel operator with about 100 truly unique channels and syndicated multiple times. There are almost 300 access points for our FAST channels worldwide in different territories and on different platforms. We have a footprint over twice the size of anyone playing in the FAST space. It's fascinating because it allows us to work with people worldwide who have content in different languages so we can acquire in multi-territory capacities and take new risks like coproductions." By Romina Rodriguez
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PHOTOGALLERY
David Martínez (SECUOYA), Augusto Rovegno (TELEVISAUNIVISON), Raúl Bardones (SECUOYA), Guillermo Borensztein (TELEVISAUNIVISON), Sergio Pizzolante (SECUOYA)
Dan Cohen, Lisa Kramer, Bob Bakish (PARAMOUNT)
Nadav Palti & Dar Palti (DORI MEDIA)
MIPCOM 2023 The whole Eccho Rights team in Cannes
Francesc Gratacós, Paco Gratacós and David Henden (LUK INTERNACIONAL)
Angela Colla & Marcela Parise (GLOBO)
Sergio Pizzolante, Eduardo Galdo (SECUOYA), José Salso, Sonia Vesperinas (ATRESMEDIA) Ates Ince (MADD)
Mercedes Feu & Darío Turovelzky (PARAMOUNT)
Melissa Pillow, Dulce Ávila (AZTECA), Patricia Jasin (WARNER BROS DISCOVERY), Fernando Muñiz, Andres Rico Payá (AZTECA)
Debkumar Dasgupta (MERZIGO) Shaun Levin (PROFILE), Faraz Ansari (URDU1), Cathy Baker (PROFILE)
Tims&B team in Cannes
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Guillaume Hellouin, Corinne Kouper and Patricia De Wilde (TEAMTO)
Greg Johnson, Augustus Dulgaro, Ruth Berry & Gisela Minbergh (ITV)
Tomas Yankelevich & Cris Morena
Aegena Tay, Sonia Fleck, Wendy Chong, Gleyce Soares and Effa Syaqilla (BOMANBRIDGE)
Benoit Dura, Alexandra Marguerite and Laëtitia Porlouis (Prime Entertainment)
Cassy Kwong and Sophie Lau (Winsing Animation)
Ezequiel Inzaghi, Ylka Tapia and Pablo Lacroix (El Reino Infantil)
Kristina Simon & Francesco Manfio (Gruppo Alcuni)
Dean Devlin (Electric Entertainment)
Sarah Budriesi, Romane Cot-Ogryzek & Laurene Voilliot (Only Distrib)
Audrey Kamga and Josephine Letang (ARTE Distribution)
Mélanie Errea (MIAM! distribution)
Team The Kitchen
Alfonso Blanco and Alfonso López (Portocabo)
Mayuri Dutta and Vinayan V (Prayan Animation Studio)
One Take Media team
Nelson Sato, Victor Sato and Jacqueline Sato (Sato Company)
James Mill (Hat Trick International)
GoQuest Media Team
Marie Laure Hébrard (Film & Picture)
Annelies Noest, Gepke Nederlof, Karen De Schutter, Martijn Plaizier, Dorienke Kraak (Be-Entertainment)
Arnaud Renard (Can't Stop)
Sepide Kazemi (Magic Picture)
Aleksandra Kaźmieruk, Slawomir Dabrowski and Ursula Suszko (TVP)
Natalya Zakharova (Rymanco)
Valentín Romero (3Boxmedia International Sales)
Marc Ellington (Magic Light Pictures)
Zirong Zheng and Jiella Esmat (Amuse Studios)
Gaurang Nemlekar, Rajat Agrawal and Brinda (Ultra Media)
Pamela Martínez Martínez and Ester Català (Limonero Films)
Emmanuèle Petry and Gennarino Romano (Dandelooo)
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