Dave De Bie: “What makes ‘Masterchef’ unique is the longevity of the format”

As Banijay’s International Format & Production Consultant, Dave De Bie’s main responsibility on the production level is to ensure that all the parts involved know how to produce each show, especially during its first season, sharing innovation and new knowledge. Señal News spoke with De Bie to discuss the format’s global adaptation process in depth.

What are your responsibilities for every adaptation project in the Americas?
“’Masterchef’ is a global brand, with 70 adaptations in 37 markets. It is still growing, which is also interesting. The more significant markets have all adapted it, like the U.S., Australia, Germany, France, and Spain, but now also smaller markets, like French-speaking Canada, Malta, or Serbia. In those new markets where we're introducing the brand again, with over 90% recommissions, which is a high rate. What makes ‘MasterChef’ unique is the longevity of the format, with the ratings breaking records. My job is to make sure that all the parts involved know how to produce each show and protect the format. If people want to do something that potentially damages the brand, I must prevent it. For example, we're strict on not having endangered species on the show, and about sponsorship, we don't want fast food chains to be connected to ‘MasterChef.’ I connect the dots, protect the brand, and share creativity.”

What are the essential production standards that must be present at any adaptation?
“If you're producing the regular version of ‘MasterChef,’ the first essential element is amateur home cooks. So, we don't want professionals to be part of the cast. We need home cooks with a strong passion for food but no experience cooking in a professional kitchen. That's essential because these are people from all different backgrounds. We are talking about regular people, and that makes the show interesting because it's what viewers can relate to. The second element is the judges, who are experienced chefs or food critics, have a lot of credibility, and are highly regarded in the culinary world. The third element, which we always try to implement, is the production standards that make ‘MasterChef’ a global recognizable brand, like the iconic set, that wherever in the world you are, when you turn on the TV and you see the show, without seeing the logo, you know you're looking at ‘MasterChef’”.

How is that conversation? How do you create that perfect mix between the local flavor and the “MasterChef” international appeal?
I think it's mostly this: how we build the set, obviously, the set design. That's one element. The second element is the creative overview, the type of challenges you're doing. Besides having local dishes, it needs to include international cuisine. It's part of my job as well to have those conversations and to protect the international flavor, which is something most countries also want. They commissioned MasterChef because they want to have that international appeal. Countries want to listen to this advice because that's what they're paying for."

How does that conversation evolve as the format evolves?
"I think innovation is essential to keep the format alive. We obviously allow some freedom for countries to come up with their own twists and their own elements because we learn from that as well. Sharing this innovation is essential also to keep the brand alive, to keep it fresh, and to keep it relevant. For example, Australia created a whole new iteration, which is “MasterChef Dessert Masters,” which is a different show with professional pastry chefs who are competing to be the best pastry chef of that country. It is a massive hit in Australia. Season two was also a great hit. That idea was adapted in Brazil by one of our companies, “MasterChef Confeiteria.” They did one season with massive success and have created season two."

How important is it to be flexible in terms of production, innovations, and budget?
“We must be flexible because if you compare budgets from the U.S. or Australia with budgets in Uruguay, Serbia or any other smaller market, obviously they are very different. We have a lot of knowledge of how we can adapt the format and make it smaller, but there is also a limit to how much we can downsize it. There are certain standards that we must keep because we can't dilute the brand too much. We want it to look great, and with great dishes and credible judges, and that costs money. If a country production company or a channel cannot afford to pay a minimum production budget, we probably won't do it. Because it potentially damages or jeopardizes our brand. We want this show to travel to every country in the world at some point because it's one of the greatest formats.”

Considering the cultural differences, what specific things must you take care of when internationally adapting the format?
“I think part of the global success of ‘MasterChef’ is that it is a globally recognized brand that has certain values that allow every country to adapt to their local needs, without losing that international appeal and value of the brand. When countries want to change ‘MasterChef’ too much, I'm like, why would you pay us a license? If you want to create your own food competition, please go ahead and make it yours. But if you want to have an international appeal, there are certain things you need to include in your format.”