European broadcasters discuss the future of scripted projects

Insights from top European broadcasters on scripted content

In a recent roundtable discussion held in Madrid, commissioners from four of Europe’s leading public broadcasters shared their perspectives on the future of scripted projects. The event, part of the Iberseries & Platino Industria forum, was moderated by María Valenzuela and featured insights from Morad Koufane of France Télévisions, José Pastor of RTVE in Spain, Michele Zatta of Italy’s RAI, and Laura Mae Harding of Germany’s ZDF.

The importance of international co-productions

The panelists emphasized the significance of international co-productions in today’s media landscape. They discussed how these collaborations not only pool resources but also cater to diverse audiences. The European Alliance, a co-production agreement initiated in 2018 by RAI, France Télévisions, and ZDF, was highlighted as a successful model. This alliance has facilitated numerous projects, with a new one set to be unveiled at the MIA in Rome later this month.

Koufane explained the strategic approach of France Télévisions, stating, “We have a Plan A and a Plan B. Plan A involves presenting projects to our colleagues within the alliance. If they decline, we move to Plan B, which involves platforms.” This method underscores the preference for public broadcasters as partners, especially in light of recent cutbacks from global streaming platforms.

Established IPs: A safe bet

The panelists unanimously agreed that established intellectual properties (IPs) are highly attractive to commissioners. Examples like France Télévisions’ “Zorro,” the European Alliance’s “Around the World in 80 Days,” and the collaborative “The Count of Monte Cristo” were cited to illustrate this point. Pastor noted, “In today’s uncertain production landscape, taking risks is less feasible, making established IPs crucial.”

Koufane humorously added, “If you read the trades in the morning, the biggest announcements are always for scripted series, and they are always an IP, usually with Nicole Kidman attached.”

Crime thrillers: A universal appeal

Crime series continue to captivate audiences across Europe, though each market has its unique preferences. Zatta highlighted the distinct Italian approach to crime stories, using “Inspector Montalbano” as an example. He explained, “Italians are more interested in the character’s lifestyle and the comedic elements rather than the crime itself.”

Despite these differences, common ground can be found, as demonstrated by the upcoming “Weiss & Morales,” a co-production between RTVE and ZDF. Pastor described it as a true 50/50 partnership, both financially and creatively, with a balanced involvement of Spanish and German talent. “This collaboration helps us understand each other’s audiences better,” he said.

Engaging the EasyJet generation

The panelists acknowledged the evolving demographics of younger audiences, who are increasingly international and diverse. Zatta pointed out, “Young people are mixing and gathering everywhere, yet we haven’t fully tapped into the stories that resonate with them.”

Harding shared that ZDF has significantly increased its production for ZDFneo, targeting viewers aged 25-35. “We’ve doubled our co-productions from five to ten each year, focusing on content that appeals to a younger audience,” she said.

Bringing global stories to domestic audiences

While global streamers dominate the distribution of international hits, public broadcasters are keen to introduce their audiences to foreign content. Harding emphasized the importance of showcasing diverse stories on ZDF Fiction. “We want to provide our audience with a window to the world, featuring shows from Spain, Latin America, and beyond,” she explained.

This approach not only enriches the viewing experience but also fosters a greater understanding of different cultures. By commissioning, acquiring, and co-producing international content, broadcasters can surprise and engage their audiences with fresh perspectives.

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