Three perspectives on scripted productions, the funding jigsaw for high-end European drama, and the value of having a deep library.
The art of co-productions is among the key themes of the Creative Hub at MIPCOM. The location, once known as the Producers Hub, expanded dramatically during the boom peak TV years. It’s still a prominent meeting point in Cannes for scripted producers and distributors, but this year they’re also sharing space with microdrama creatives and social media storytellers, reflecting the increased competition for audiences’ attention.
ScreenMDM surveyed three producer/distributors with distinct positioning to get a sense of what’s happening in the Western European ecosystem: Rebecca Dundon at multi-genre major Fremantle, which has a global scripted footprint; Samantha Cameron-Mowat of U.S.-headquartered New Regency Productions, which is using its London operation to drive forward a European slate; and Nicky Davies-Williams, from U.K.-based DCD Rights, an indie distributor that represents a growing slate of British and Australian drama.
- The European scripted world after peak TV.
- Finding the right funding mix, from deficit-financing to soft money to investment funds.
- Capitalizing on deep libraries.
- The art of successful co-productions.
For an early look at this feature from our MIPCOM edition, become a ScreenMDM Extra paid subscriber or ScreenMDM Club member to access it now. For free access, look out for the print edition in Cannes or the digital edition of the magazine, releasing on ScreenMDM.com later this week.
