How tough is it out there? How are you finding the market?
If there was ever a time where experience and knowledge counted - it is now! But for the right content the opportunities are endless. And we are not just talking new content! The back catalogue now offers a huge amount of value in an ever expanding climate of consumption.

With so much change and a landscape that continually moves, the key is having the ability  to navigate rights, reach the right people and keep abreast of channel changes and programming demands. 

Broadcasters buying needs are changing, there is an accelerated focus on digital first content, and this means acquiring programmes that can easily translate across multiple platforms, budgets are stretched and the content needs to work hard, bringing rewards in terms of audience share, and marketing headlines. One of our big titles for MIP The Titan Sub Disaster: Minute by Minute ticks all these boxes.

Opportunities are continuing to present themselves and whilst there are lots of changes there are also lots of new channels as broadcasters flex to find what works best for their audiences.

What sort of trends are you seeing in unscripted programming?
Tentpole Programming that jumps out of the schedule and creates those must see moments.

True Crime with a particular thirst for in-depth stories, that bring a strong narrative leaning into a scripted style of storytelling. 

Lifestyle continues to remain popular and in particular long running series that generates loyalty and a reason for a viewer to return.

Content that offers a new perspective on an already well-trodden path, or content that attracts a younger audience but still has a strong story at heart. Double Bafta Award winner, Big Zuu’s new project Big Zuu goes to Mecca is a perfect example, popular amongst young audiences and offering insight and great access into a place notoriously difficult to film.

What new financing models are you using to fund programming?
The funding methods haven’t changed, we have always been in the market for Co-Productions, Pre-Sales and Deficit financing. What has changed is the increased demand in the amount of content that needs to be financed outside of the traditional commissioning routes.

The role of the Distributor has become intrinsic into the actual content being shaped, financed and ultimately made. As an independent we have invested over half a million in the last three months alone.

How is your role as a distributor changing in this current climate?
Our biggest asset at the moment is the ability to be nimble, reactive, and possess a strong level of experience and knowledge. We can move swifty to react to market changes and deliver quickly to a platform and producer needs. This is our Super Power when compared against our big competitors.

People value the expertise we can bring to the table and that means a more collaborative approach in all aspects of our role.

With fewer originals being commissioned it may be good to be a distributor now, but will the pipeline of content for your catalogue be a problem in 12/18 months time? How are you addressing that?
It doesn’t feel that long ago that we experienced the same challenges due in most part to Covid, but this actually led to one of our strongest years.

It also led to a gear shift in the way we worked, ensuring the content focus wasn’t just the next market. Those projects we are helping to get off the ground now, will be creating the pipeline in 12-18 months.