Mercury Filmworks on rising to the kids’ IP challenge
Chantal Ling, VP of original series and coproductions at Canada’s Mercury Filmworks, talks about the ongoing demand for existing IP in the children’s sector and how the studio is adapting to this with its slate of content.
Chantal Ling
Known IP is hot right now, especially among risk-averse buyers of children’s content trying to win the eyeballs in a competitive and fragmented market. Books, podcasts, games and even YouTube channels are therefore being snapped up by kids’ producers looking to adapt them into TV and video content.
“Existing IP is increasingly more important right now. Properties that come with a built-in audience and brand recognition help reduce the risks when media partners go to launch new projects. Broadcasters are more likely to support brands that have already been successful in other formats,” says Chantal Ling, VP of original series and coproductions at Canada-based animation studio Mercury Filmworks.
“As a buyer, you rarely go into a store and buy a car, shoes or a phone from a brand that you have never heard of: there is reassurance in buying existing brands that are familiar. And, in the extremely risk-averse market that we are currently experiencing, reassurance can go a long way.”
Mercury Filmworks has a few book-based properties on its slate, including author Joe Todd-Stanton’s A Mouse Called Julian, which it is adapting into a 52×11’ CG animated series and 26’ special in coproduction with Serious Kids in the UK. Another book-based series, in partnership with Trustbridge Entertainment, is Gustavo the Shy Ghost (52×11’), which is being adapted from the children’s books by Flavia Z Drago.
Joe Todd-Stanton’s A Mouse Called Julian
Books are a popular and well-known source of IP, but Mercury Filmworks has also taken an innovative approach by adapting YouTube channel Don’t Walk Home Alone After Dark into a 12×13’ animated horror anthology series for tweens and teens. The prodco is currently in development on the project with La Chouette in France and will be seeking further partners at Mipcom next month.
“We focus on IPs that have great storytelling potential, strong characters and an authentic vision above all else. We want stories that people can relate to from people that care. We also look at whether the IP and/or creator already has fans and if there’s room to grow that audience,” Ling says.
“Don’t Walk Home Alone After Dark, which originated on YouTube, is a great example of that as it already has over 200,000 subscribers on the channel and over eight million views.
“We plan to keep exploring a wide range of compelling and diverse IPs, including books and digital platforms like YouTube, and collaborating with creative storytellers who have a strong point of view. Our goal is to discover stories and creators that share our passion for high-quality storytelling and have the potential to resonate with audiences around the world.”
Mercury Filmworks is adapting YouTube channel Don’t Walk Home Alone After Dark
While existing IP may be dominating buyers’ wish lists now, Ling is confident there is still a place for brand new original ideas and that when the market improves, the demand for new originals will rise again.
“The industry is facing challenges like market fragmentation and changes in how kids consume content. It’s a lot to juggle right now but it’s important to keep storytelling quality high while adapting to these changes. We also need to trust that the pendulum will swing back, as there will always be a demand for original content. A great example of this is Bluey, which has found tremendous success by focusing on fresh, engaging storytelling,” she says.
“Developing original content is always challenging, especially in a market that currently favours existing IP. In the fractured market we have now, there have never been so many places to find and consume content, and it is incredibly hard to gather attention and build a new IP slowly. The key challenge lies in balancing innovative ideas with the demands of a constantly evolving market.”
The global economic crisis has meant that, even with a project based on known IP, it’s hard to get a commission right now and to secure the money needed to get a show off the ground. For many producers, this means creative financing and coproduction are more important than ever.
Ling says: “Budget constraints and a slowdown in commissioning have made it tougher for projects to secure funding. This is worldwide but very prevalent in North America right now, which means we need to be more creative than ever with financing and focus on IPs that really stand out with something truly unique to offer.
“Coproduction partners are essential to our strategy. We believe in building strong, collaborative relationships where all parties bring their strengths to the table. Working closely with partners allows us to create content with broader appeal and secure funding from around the world. We believe a coproduction can be even better than the sum of its individual parts when you have aligned goals and trust.”
