21 ENE 2021

NATPE 2021: CRUCIAL ELEMENTS FOR SCRIPTED CONTENT

Executives from The CW, Eccho Rights and Studiocanal discuss the most important components to implement into scripted productions, along with descriptions of some of their most popular scripted series.

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NATPE Miami’s 2021’s final session of its third day, “The Many Lives of Scripted Tale,” features producers’ input about what elements are important when drafting scripted content. The executives from StudioCanal, Eccho Rights, and The CW also highlighted some of their company’s most popular scripted series.

Executive Vice President of Development at The CW, Gaye Hirsch believes that the most important component of scripted content is the inclusion of specific characterization and a fan base. In terms of original format, Hirsch stated that the CW has seen success in formats from other countries and various sorts of IPs such as comic books. presented “Jane The Virgin” as an appropriate example as the Venezuelan format, which has been adapted in the US, exudes human reliability. The network is currently set to debut a remake of “Walker Texas Ranger,” named “Walker,” offering a modern spin to the classic, as well as Kung Fu, and a new Superman and DC titles inspired by decades-old comic books.

 According to Executive Managing Director TV Series at Studiocanal  Francoise Guyonnet, Whether it is an IP or character, having a fan-base and a target audience is important and a strong IP is also essential for successful scripted content. Guyonnet described how these characteristics are demonstrated in the TV series “Calls,” based on the 9/11 calls. Most of the series, composed of 3 seasons, takes a podcast form. Apple has expressed interest in the title. Studiocanal is currently working on a US version of the series.

Managing Director at Eccho Rights Fredrik Malmborg mentioned that it is common for him to receive a pitch and immediately recognize the IP as a good story and potentially a good remake. An example he presented was that of the Swedish series “Heder,” which now has five remakes in development around the world, including in the US and the Middleeast, one year after its release. He also emphasized the overwhelming success of Turkish content, revealing that it has sold out in almost every Latin American country, and most recently in Spain. The region has acquired approximately 45 scripts from Korea in the last 5-7 years, and there are two Turkish series airing on primetime for big networks. He noted “The Red Room” as a representation of a global audience’s attraction toward Turkish titles. Malmborg also spoke about the increasing popularity of Korean content, using “Parasite” as an example.

None of the companies the executives represent reported show cancellations as a result of the pandemic, and its production facilities are functioning for the most part, with Malmborg specifying that Eccho Rights’ studios in Turkey, Korea, and the Nordics, are open, ensuring a strong inventory for next year, which will cover medical content, documentaries showcasing the current circumstances of the pandemic. Advertising will be strong next year, and audiences will be open to new genres and categories as they continue to seek like, entertaining content. An example of the categories is the increasingly popular Korean content, which is set to be released in full segments on numerous SVOD platforms and linear channels.