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Programming Profile
Distributors line up affordable factual as budgets fall
20-03-2024
With cash-strapped broadcasters turning away from original commissions and towards acquisitions, this could be a good time to be a distributor. But how are the independent sales houses not attached to channels or large production groups keeping a pipeline of content flowing and what models are they using to pay for it?
Looking around the content business at the moment, you’d be forgiven for thinking we’re in the midst of some doomsday, extinction event – and perhaps we are.
Not absolutely everybody is having a terrible time of it, though. For now, schedules and streaming services still need content to stock their shelves and if there isn’t the money to commission new originals then the obvious stop-gap is in acquisitions.
That means it’s a relatively good time for distributors that have catalogues of content to offer embattled channels in bulk and at affordable prices. However, if nobody has any money to commission anything new, where are the independent distributors that aren’t related to channels or large groups of producers going to get goods to stock their shelves for next year and beyond?
It was perhaps Lilla Hurst, global head of acquisitions and content strategy at Blue Ant Media, who summed up the situation best when talking to C21 during the recent London TV Screenings.
“It would be disingenuous for me as a distributor to say it’s really tough right now because actually it’s quite good for us purely while channels are leaning heavily into acquisitions rather than commissioning originals,” Hurst says. They’re coming to us asking for help and a higher volume of content than they did before.
“That said, the nuances of those deals, the time it’s taking to close those deals, has definitely stretched because the manpower at those channels in things like business affairs is stretched. We’re being leaned on increasingly to invest and find ways in which we can do that with the producers we work with.
“If I was a producer it would be really tough out there right now and depending on how established I was and what content I make the answer would be varying degrees of awful. That’s why we can’t say it’s wonderful because what about our pipeline? Where does that come from?”
Hurst believes there are things channels could be doing now that wouldn’t cost them anything but would help the dire situation, such as not insisting on worldwide premiere dates or exclusivity when not fully funding the project. For now, though, who’s got what content to sell and what models are they using to pay for it?
Abacus Media Rights has quickly become one of the main players in independent distribution since former Kew Media exec Jonathan Ford launched the company in 2020. Its new slate includes a selection of single documentaries on world affairs including Israel/Gaza (One Day in October, The Israel Hamas War: The People’s Story), Russia/Ukraine (The Swallows Will Return), the 2024 US Presidential election (The Steal) as well as event pieces like Dynamo Is Dead and topical specials such as Barbie: Uncovered.
Head of acquisitions Will Stapley says: “It’s a very challenging, thinning market with studios and streamers hesitant on deals in the first half of the year. With the desperate mantra of ‘stay alive till 2025’ echoing around the production sector, or the more optimistic ‘thrive in 2025’, depending on who you talk to – times are tough right now. We are doing our best to support our producer partners through gap financing, pre-sale jigsaw funding and offering market intel and advice wherever helpful. But there are signs of hope with the ad market picking up a little in Q1 and some buyers’ frozen budgets beginning to thaw.
“Everyone in the market is having to be creative in finding cost-effective models for funding productions, whether through gap financing, pre-sales, distribution advances or attaching brands, private equity, grants or soft money via international coproductions. On occasions we bring in third-party financiers to help fund bigger budgets. We are seeing some producers offsetting expensive development costs through creating digital shorts and podcasts that can then be pivoted into TV features/series,” he continues.
“Distributors are now an essential part of the ecosystem rather than an afterthought. We are having conversations with producers right at the inception of an idea, offering market intel and both creative and commercial advice, helping piece together financing and on occasions partnering them up with the anchor broadcaster/s and then seeing the project through to delivery and sales.”
London-based Cineflix Rights has recently added Channel 4 series Chateau DIY from Spark Media as part of a strategic aim to acquire aspirational and inspirational UK lifestyle brands with global appeal. Another C4 series, Amanda Owen’s Farming Lives from Wise Owl Films, is also on the slate along with the company’s first collaboration with France’s Pernel Media for historical docudrama Ramses the Great: King of Ancient Egypt, and Channel 5 series Sue Perkins into Alaska from Chalkboard and Motion Content.
Richard Life, Cineflix Rights’ senior VP of acquisitions and coproductions, says: “We do find that the financial pressures faced by buyers means we have to be more creative in our deal-making. It is about understanding our buyers’ needs and working with them to offer solutions in what is a challenging environment for the whole industry.
With cash-strapped broadcasters turning away from original commissions and towards acquisitions, this could be a good time to be a distributor. But how are the independent sales houses not attached to channels or large production groups keeping a pipeline of content flowing and what models are they using to pay for it?
Looking around the content business at the moment, you’d be forgiven for thinking we’re in the midst of some doomsday, extinction event – and perhaps we are.
Not absolutely everybody is having a terrible time of it, though. For now, schedules and streaming services still need content to stock their shelves and if there isn’t the money to commission new originals then the obvious stop-gap is in acquisitions. READ MORE
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